| Beginning in medieval times, the Limehouse area of London was an important port. |
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- Chris Tyle
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The Queen’s Dance Orchestra in England, under the direction of Jack Hylton, introduced an instrumental version of “Limehouse Blues” in 1922. But it wasn’t until the number was introduced in the U.S. that it became a best-seller and climbed the charts:
- Paul Whiteman and His Orchestra (1924, #24)
- Carl Fenton and His Orchestra (1924, #14)
- Duke Ellington and His Orchestra (1931, #13)
- Glen Gray and the Casa Loma Orchestra (1934, #20)
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English pianist and arranger Jack Hylton joined the Queen’s Dance Orchestra in 1921. In August, 1922, they introduced “Limehouse Blues,” and a month later the same group, under the name Jack Hylton’s Jazz Band, recorded a second version of the tune. In 1923 the Queen’s Dance Orchestra became the Jack Hylton Orchestra.
Hylton’s ensemble became the leading dance band in England. In 1929 they sold over three million records and gave 700 performances in the United Kingdom and on the continent. He disbanded it in 1940 due to the loss of key sidemen to World War II conscription, but he continued to be involved with the entertainment industry until his death.
English actress/vocalist Gertrude Lawrence introduced “Limehouse Blues” to American audiences in the Broadway show Andre Charlot’s Revue of 1924. The revue opened in January, 1924, closing in September that year after running for 298 performances. Lawrence returned to England in 1930, recording “Limehouse” the following year. Following the success of the tune in the show, several prominent dance orchestras recorded the number as an instrumental, including Paul Whiteman, the California Ramblers, and Carl Fenton’s Orchestra.
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Since Hylton’s original recording is an instrumental, it’s possible the music was written first by Philip Braham, and the lyrics by Douglas Furber were added later specifically for the Revue.
Beginning in medieval times, the Limehouse area of London was an important port. Part of the area is the Limehouse Basin which connects the Thames River with the British canal system. In the late 19th century it became London’s Chinatown and was notorious for opium dens and illicit activities. The name “Limehouse” may have derived from the nickname for the seamen that disembarked there, “Lime-juicers” or “Limeys” after the ration of lime juice the English Navy gave sailors to ward off scurvy. However, the name actually comes from the local lime kilns operated by large potteries that served the London docks.
Limehouse Blues was the title of a 1934 Paramount Picture starring George Raft, set in the Limehouse area of London. Composer Sam Coslow (“My Old Flame,” “Cocktails for Two,”) wrote the soundtrack.
The tune’s popularity over the years has been mostly as an instrumental, especially loved by jazz musicians. It’s easy to understand why, as the lyrics are very politically incorrect today and not particularly relevant. The last line sums up the tune’s message: “rings on your fingers and tears on your crown, that is the story of Old Chinatown.”
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Chris Tyle - Jazz Musician and Historian
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Musical analysis
of “Limehouse Blues”
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Original Key |
G
major |
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Form |
A
- B - A - C |
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Tonality |
Major |
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Movement |
Primarily
by step, initially ascending; chromatic
passing tones throughout |
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Comments
(assumed
background)
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“Blues” in this title is a misnomer;
the chord progression-of “B,” at
least-has more in common with “Charleston”
than a strict “blues” progression,
while “A”-with its Lydian sounding
opening and odd resolutions-is unique.
Although many tunes begin on a IV
chord (“I’ll See You In My Dreams,” “Just Friends,” et. al), this
IV is almost invariably followed
by its parallel minor, and the melody
usually avoids the leading tone
of the tonic key, which would create
an odd-sounding tri-tone interval.
In “Limehouse Blues” this tri-tone
relationship is fully embraced,
and the IV chord resolves not to
iv as we would expect, nor even
to I, but to the secondary dominant
V7/V. Then, by passing the dominant
altogether, it proceeds directly
to the tonic, again surprising the
ear. This may have been due to impressionistic
influences of the time (Bix Beiderbecke
was rather enamored of Debussy’s
music), or an attempt on the composer’s
part to make the song sound exotic
and “oriental” (referring to the
lyric, the subject of which is the
hard life suffered by denizens of
“Old Chinatown”). |
K. J. McElrath - Musicologist for JazzStandards.com
Check out K. J. McElrath’s book of Jazz Standards Guide Tone Lines at his web site (www.bardicle.com). |
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