An article in the New York Times on the 94-year old Madeline Forman, who sang this song in 1946 in a style and voice almost identical to Eugenie Baird's, prompted me to revisit this recording again and to once more revel in its glories. I believe the arrangement was by Bill Challis who had been working for Casa Loma off and on since the early thirties. Vocal, arrangement (lovely intro, Fats Daniels on clarinet), Red Nichols' cornet solo and musicianship (the singing trumpets, Ray Grien's lead, the saxes anchored by Gil Parks' baritone) make this a magnificent example of what the more traditional big bands could still do.
An article in the New York Times on the 94-year old Madeline Forman, who sang this song in 1946 in a style and voice almost identical to Eugenie Baird's, prompted me to revisit this recording again and to once more revel in its glories.
I believe the arrangement was by Bill Challis who had been working for Casa Loma off and on since the early thirties. Vocal, arrangement (lovely intro, Fats Daniels on clarinet), Red Nichols' cornet solo and musicianship (the singing trumpets, Ray Grien's lead, the saxes anchored by Gil Parks' baritone) make this a magnificent example of what the more traditional big bands could still do.
One of my favorite songs sung by one of my favorite female vocalists from that era. Wonderfully explained, Joost.
Trumpet solo by Red Nichols. Described by British trumpeter Digby Fairweather as " a delightful vignette."
Cornet, rather than trumpet
Carl Stalling used this as the "theme" for Bugs Bunny's "Hare Splitter" (1948).