Bands and Bandleaders - Page 5 of 7

“Short an’ Sweet” (1927)

February 18, 2021

“Short an’ Sweet.” Words by Billy Tracey and Sam Ehrlich, music by Dan Dougherty (1926). Recorded in Studio B, Hayes, Middlesex on October 20, 1927 by the Devonshire Restaurant Dance Band under the musical direction of Bert Firman with vocalist Maurice Elwin. Zonophone 5033.

Personnel: Bert Firman-vn dir. Frank Guarente-another-t / ?Ben Oakley-tb / ?Arthur Lally-cl-as-bar / as / ?Bill Barton-ts / John Firman-p-cel / Jack Simmons-bj / ?Billy Bell-bb / Jack Trebble-d / Maurice Elwin-v

The Devonshire Restaurant Dance Band (dir. Bert Firman; v. Maurice Elwin)
“Short an’ Sweet” (1927)
(Transfer by John Wright)

In the Devonshire Restaurant Dance Band version of “Short an’ Sweet,” Maurice Elwin gushes about a diminutive woman that he is in love with. The lyrics themselves are about as cute as their “eeny-meeny-teeny-weeny” subject, and Elwin effervesces with enthusiasm that almost seems to give rise to the hot instrumental segment. I was happy to see that Rust lists this song not only in his dance band discography, but also in his jazz book.¹

Near the end of the song, Elwin returns abruptly to reveal something more about his motivation in pursuing his love interest:

Lovely ma,
Wealthy pa,
Bank account and a great big car,
She's as sweet as she can be.

It turns out that the little lady is wealthy. Elwin rattles off these lines quickly and does not sing the rest of the verse, highlighting the joke.

“Short an’ Sweet” is thus a predecessor to the Coon-Sanders song “Got a Great Big Date with a Little Bitta Girl” (1929), in which Joe Sanders expresses excitement about a “little bitty² girl,” only to reveal that he finds her ugly — but she is rich. At least “Short an’ Sweet” has Elwin merely expressing two different reasons to be attracted to a woman. The song is funny, and Elwin’s vocals complement the band nicely.

I am so used to seeing a bewildering number of band names attached to what appears to have been one Zonophone studio band directed at various times by Bert or John Firman that I had written off the individual band names as mere marketing gimmicks, but it turns out that in 1926-1927, Bert Firman really did direct music at the Devonshire Restaurant in Piccadilly (and so presumably had acquired the legal right to use its name commercially).³

The only other version I could find of “Short an’ Sweet” was one by American Jay C. Flippen and His Gang. The composer, Dan Dougherty, would go on to write the music for the song “Moanin’ for You” (1929).

Brian Rust and Sandy Forbes, British Dance Bands on Record, 1911 to 1945, and Supplement, Bungay, Suffolk: Richard Clay, Ltd., 1989, 230; Brian Rust, Jazz and Ragtime Records 1897-1942, Sixth Edition, Free Personal-Use Edition, Littleton, Colorado: Mainspring Press, 2016, 442, https://archive.org/details/rust_jazz-records_free-edition-6. ↩︎
He never does say “bitta,” does he? And yet that is what is on the label. ↩︎
John A. B. Wright. “Short ’n Sweet.” The British Dance Band Show 377 (May 25, 2018 – June 8, 2018).[/ref] It would appear that the restaurant band’s personnel overlapped quite a bit with the studio personnel in this recording.[ref]Chris Hayes, Dance Band Diaries from the Melody Maker 2 (1927): 2. ↩︎

Percival Mackey

“I Fell for You” (1930)

February 16, 2021

“I Fell for You.” Composed by Rowland Leigh (words) and William Walker (music) for Charlot’s Masquerade (1930). Recorded in London on October 4, 1930 by Percival Mackey and His Band with vocalist Maurice Elwin. Columbia CB-145 mx. WA-10736-2.

Personnel: Percival Mackey dir. Jack Jackson-Andy Richardson-t / Ben Oakley-tb / Chester Smith-another?-cl-as / George Smith-ts / Dave Fish-vn / Pat Dodd-p / Bob Martin-bj-g / Jim Bellamy-bb-sb / Bill Harty-d / Maurice Elwin-v

Percival Mackey and His Band (v. Maurice Elwin) – “I Fell for You” (1930)

Percival Mackey’s version of “I Fell for You,” with its Maurice Elwin vocal refrain, starts out in a most impressive, stately fashion, and until we hear the lyric, it does not sound ridiculous in the slightest. Like “Who Cares?” “I Fell for You” comes from André Charlot’s sophisticated, short-lived Charlot’s Masquerade (1930) and has the same lyricist, Rowland Leigh. The song was introduced on stage by actors Constance Carpenter and Patrick Waddington, and we are fortunate to have a record of Waddington himself singing it to the piano accompaniment of Peggy Cochrane and William Walker (the song’s composer). The complete song is very witty, but I think the funniest lyrics have been fully preserved in the arrangement that Percival Mackey uses:

I fell like an apple from an apple tree,
I fell like a Dutchman in the Zuiderzee,
I fell like a Scotsman falls for £sd
On the day I fell for you.

(As an American, I had to think a little bit when I first heard that verse. “Ell-ess-DEE” refers to the symbols for pounds, shillings, and pence, and not the popular hallucinogenic drug, and Scotsmen were once reputed to be thrifty, if not stingy or miserly. Apparently Maurice Elwin, a Scot himself, was being a good sport that day.)

The lyrics continue in that vein, using bathetic similes involving falling, literally or metaphorically, to describe the act of falling in love. Elwin seems to be doing something comparable to telling a joke with a completely straight face; he sounds earnest, as if he does not know in the slightest how silly he sounds. He is all enthusiasm and warmth.

Another British dance band version recorded of “I Fell For You” in 1930 was that of Jack Leon (v. Jack Plant). Ray Noble had recorded an instrumental version of it in a medley of songs from Charlot’s Masquerade.

Carroll Gibbons

“Try a Little Tenderness” (1932)

February 11, 2021

“Try a Little Tenderness.” Composed by Jimmy Campbell, Reg Connelly, and Harry Woods (1932). Recorded in London on December 1, 1932 by Carroll Gibbons and the Savoy Hotel Orpheans with vocalists Maurice Elwin and the Carlyle Cousins. Columbia CB-546.

Personnel: Carroll Gibbons-p dir. Bill Shakespeare-Billy Higgs-t / Arthur Fenoulhet-t-tb / Paul Fenoulhet-tb / Sam Acres-tb / George Melachrino-cl-as-vn / Laurie Payne-cl-as-bar / George Smith-ts / Ben Frankel-vn / Sid Bright-2nd p / Harry Sherman-g / Jack Evetts-sb / Rudy Starita-d-vib-x / Maurice Elwin-The Carlyle Cousins (Cecile Petrie-Pauline Lister-Irene Taylor)-v

Carroll Gibbons and the Savoy Hotel Orpheans – “Try a Little Tenderness” (1932)
(Courtesy of Charles Hippisley-Cox)

Some musical compositions have inherent flaws, while others, as a result of their success, acquire unpleasant associations over time. I would argue that “Try a Little Tenderness” actually falls into both categories. By making overly general psychological observations about women, it risks sounding patronizing and heavy-handed. Moreover, there is something about the tune and the lyrics that encourage saccharine performances.

Some renditions appear to be more than a little aware of the song’s cloying tendencies. I think particularly of the intentionally awkward title sequence of Kubrick’s 1964 film Dr. Strangelove, in which a rather syrupy instrumental version of the tune is played over images of a nuclear bomber being fueled by another plane’s flying boom in a manner inviting Freudian interpretation. Then there is the 1958 recording of Dragnet star Jack Webb speaking the lyrics in his trademark stiff, dead way over overproduced orchestral music (by way of a joke, presumably, although it is not clear that Webb himself was in on it). These sorts of offbeat uses of a tune can be very entertaining, but they can also forever ruin our ability to enjoy it unironically.

Carroll Gibbons’s 1932 version of “Try a Little Tenderness” rescues the song for me, serving as a sort of musical palate cleanser and reminding me of what was good about the original composition. The whole recording is imbued with the elegance one expects from the Savoy Hotel Orpheans, and Maurice Elwin is exactly the right singer to deliver the song’s prescriptions for harmonious human behavior. His tone of sincerity and sympathy brings out what is admirable in the lyrics, and the alternation between his voice and those of the Carlyle Cousins is sweet, light, and playful.

Other British dance bands who recorded “Try a Little Tenderness” in 1932-1933 were Jack Payne and His Band (v. Jack Payne), Ray Noble and His Orchestra (v. Val Rosing), Ambrose and His Orchestra (v. Sam Browne), Jack Hylton and His Orchestra (v. Pat O’Malley), Billy Cotton (rejected by Regal Zonophone), and Syd Roy and His R.K.O.lians (v. Sam Browne), and Oscar Rabin and His Romany Band (v. Sam Browne; on Sterno and 4 in 1).