Blue Moon blogging,
from Benny Goodman (1935)
to Julie London (1961)
to She Keeps Bees (2012),
essay 2 of 2
In my first essay on “Blue Moon,” I traced the strange evolution of the story within the song from its original Rodgers and Hart composition through the Elvis Presley dismantling and finally to the Cowboy Junkies rewrite. I’m including all three highlighted versions here, too, because they really are favorites of mine.
Some obvious versions are missing from this selection simply because they aren’t my favorites.
So you won’t find Mel Torme’s jazzy hit from 1949, The Marcels’ doo-wop
classic from 1961, Bobby Vinton’s teen-dream version (best utilized as the American Werewolf in London
centerpiece), or The Mavericks smooth country reupholstering of the Elvis
interpretation. All were big hits and remain
easily accessible, via YouTube and other channels.
Finally, I’ve left off some dazzling instrumental jazz
interpretations largely because I’ve decided to maintain a focus on the interpretation of Lorenz
Hart’s lyrics.
The order is chronological, with two bonus tracks at the
end:
Benny Goodman in 1935: There was a lot of “Blue Moon” activity in the
mid-1930s, with different versions battling for chart supremacy. Glen Gray and his Casa Loma Orchestra sold
best, with Benny Goodman’s arrangement a close second.
I’ll take Goodman for the unaffected vocal by Helen Ward and the closing
trombone solo by Jack Lacey.
Billie Holiday in 1952: Lady Day deserved the love she sang about so
playfully here. It’s an unusually ironic
take on the song, with Holiday gently kidding
the very notion of love at first sight.
But she’ll enjoy the moment just fine while it lasts.
Jo Stafford in 1952: Stafford is
such a justifiably self-confident singer that she loses a little of the
vulnerability inherent in the lyric.
Nevertheless, this is pitch-perfect and a marvel of subtle
phrasing. Lou McGarity’s trombone
perfectly complements Stafford ’s high style.
Elvis Presley in 1954: As I posted in the first essay, I love the
still-teenage Elvis hitting those spooky high notes. His wordless improvisation fundamentally
changes the song, and brilliantly so.
Ella Fitzgerald in 1956: In the 1950s, Ella Fitzgerald set about reinterpreting
the great pop standards and that included the American songbook of Rodgers and
Hart. She plays it absolutely straight,
delivering what may be the most romantic interpretation of them all.
Julie London in 1961: London
delivers a sly understated and sexy “Blue Moon,” as she knowingly trades off with a slinky guitar
riff. It’s pure 60s and irresistible.
Bobby Bland in 1962: Straying far
afield from his traditional swaggering blues attacks, Bobby Bland and his ace arranger
Joe Scott cleverly adapted “Blue Moon” for a funky horns-dominated party atmosphere.
My Morning Jacket in 2002: I
wasn’t expecting this! Lead singer Jim James takes the Elvis falsetto
addition and completely re-imagines it—a new melodic twist that works with the original bridge and closing verse that Elvis had abandoned. Very cool.
She Keeps Bees in 2012: There’s no nostalgia in Jessica Larrabee’s vocal, just
a smart, hoarse, and spare late-night exploration of love in the 21st century. “Blue Moon” still matters.
AND TWO (2) BONUS TRACKS!!!
Shirley Ross in 1934: From Manhattan Melodrama (1934), Shirley Ross sings the song “The Bad In Every Man,” Lorenz
Hart’s second attempt at putting lyrics to Richard Rodgers’ “Blue Moon” melody. His fourth try would finally yield the
standard “Blue Moon.”
Harpo Marx in 1939: Although Groucho might urge you to
move on (“I’ve got to stay here, but there’s no reason why you folks
shouldn’t go out into the lobby until this thing blows over”),
here’s Harpo Marx playing “Blue Moon” on his harp in At the Circus (1939).
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