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| “A Ghost of a Chance” became the property of tenor saxophonist Chu Berry, whose 1940 version with Calloway bested later versions by Hawkins and Young. |
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- Chris Tyle
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Bing Crosby introduced “I Don’t Stand a Ghost of a Chance with You” with his 1933 recording on the Brunswick label. An immediate success, Crosby’s recording appeared on the pop charts in January of 1933 and rose to number five. The producers at Brunswick Records obviously did not anticipate “Ghost of a Chance” becoming one of the top jazz standards of all time, placing it on the B-side of “Just an Echo in the Valley,” a song from the film Going Hollywood.
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A few months later Brunswick again demonstrated their lack of confidence in “Ghost of a Chance,” releasing a rendition by Ted Fio Rito and His Orchestra (featuring vocalist Muzzy Marcellino) on the B-side of “I’ll Take an Option with You.”
Initial popularity is not always a predictor for jazz standards. Crosby’s “Just an Echo in the Valley,” surpassed his “Ghost of a Chance,” climbing the charts to number two while Fio Rito’s “I’ll Take an Option with You” overtook his “Ghost of a Chance,” peaking at number five. Today, on the other hand, there are 50 CD recordings of “Ghost of a Chance” for every one of “Just an Echo in the Valley” and over 150 for every one of “I’ll Take an Option with You.”
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Crosby also performed “I Don’t Stand a Ghost of a Chance with You” in the 1933 Paramount film short “Please,” which starred Mary Kornman, Vernon Dent, Dick Elliott, and Dickie Kilby. Other songs in the short’s score included “Please” and “You’re Getting to Be a Habit with Me.” With a twenty-two minute running time, the plot needed to be simple: Bing helps a girl with her car and her boyfriend becomes jealous. The guys sing to see who gets the girl and Crosby wins.
“I Don’t Stand a Ghost of a Chance with You” is now praised universally by jazz fans, jazz musicians, and jazz critics. Alec Wilder, in his book, American Popular Song: The Great Innovators, 1900-1950, says, “It’s a very special, extremely tasteful ballad.”
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More information on this tune... |
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- Jeremy Wilson
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Using a 32-bar A-A-B-A form, lyricists Washington
and Crosby start out each A section with two rhyming
2-bar phrases, declaring love, desire, and doubt
for one who is popular to the point of being unattainable.
The last four bars of each A section start with
“And,” “But,” or “’Cause” and end with the song
title and hook, “I don’t stand a ghost of a chance
with you.”
The cleverly written bridge starts out,
If you’d surrender just for
a tender kiss or two,
You might discover that I’m the lover meant
for you.
Washington and Crosby use inner rhyming to create
a contrasting mood, a modicum of hope in a wonderful
but otherwise melancholy song. -JW
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Musical analysis of
“(I Don’t Stand A) Ghost of a Chance (With
You)”
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| Original
Key |
C major |
| Form |
A1 – A2 –
B – A2 |
| Tonality |
Primarily
major |
| Movement |
Section “A”
is mostly static; repeated notes are interspersed
with an occasional skip, then a leap and
a skip up to the top of the song’s range
before an arpeggiated descent; “B” is generally
upward by steps and skips. |
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Comments
(assumed
background)
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| The initial harmonic progression of section
“A” is descending and controlled by the
bass line: C – B7(+5) – Bb – A7(b9) – Ab
– C/G (similar to “Lover”),
followed by a vi – ii7 - V7 that resolves
deceptively to another descending progression
starting on the bVII7 chord of Bb7 and ending
on the V7 for the repeat. The second time,
this resolves to I. Section “B” is mostly
ii7 – V7 – I(i), played once in C major
and a second time in E minor before using
a circle of fifths with minor substitutions
in order to return to the tonic. |
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K. J. McElrath - Musicologist for JazzStandards.com |
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Even though one of the first great recordings
of this tune was by cornetist Bobby Hackett in 1938,
“A Ghost of a Chance” became the property of the
great but short-lived tenor saxophonist Chu Berry.
Berry had, as his colleague guitarist Danny Barker
stated, a “great inner feeling with great facility
and technique; speed, topped with a beautiful tone,
and he never once stopped practicing and experimenting.”
“Ghost...” was his feature with the Cab Calloway
Orchestra. Berry, along with Coleman Hawkins and
Lester Young, was part of the great triumvirate
of tenor players of the ’30s and ‘40s. Even though
influenced by Hawkins, Berry’s 1940 version with
Calloway bested later versions by Hawkins and Young.
Chris Tyle - Jazz Musician and Historian
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Additional information for "(I Don't Stand A) Ghost of a Chance (With You)" may be found in:
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Thomas S. Hischak
The Tin Pan Alley Song Encyclopedia
Greenwood Press
Hardcover: 552 pages
(1 paragraph including the following types of information: film productions, history and performers.)
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“(I Don't Stand A) Ghost of a Chance (With You)” was included in these films:
- Folies Bergere (1935, Maurice
Chevalier)
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| Click on any CD for more details at Amazon.com |
Thelonious Monk
Thelonious Himself
1991 Original Jazz Classics 254
Original recording 1957
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This performance, from Monk’s first full solo piano album, is both an important version of the tune and a definitive example of his approach to interpreting standard ballads. The stark angularity of Monk’s solo ballad style proves to be extremely compatible with the song’s pathos.
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George Shearing, Carmen Mcrae
Two for the Road
Concord Records
Original Recording 1980
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Vocalist McRae and pianist Shearing are both justly revered for their abilities to tenderly interpret standards with little or no additional accompaniment. Surprisingly, this album is their only recorded collaboration, and this ballad performance is a highlight.
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Billie Holiday
Music For Torching
1995 Verve 527455
Original recording 1955
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Who better to evoke the loneliness of this song than Billie Holiday? Tenderness abounds as she and saxophonist Ben Webster engage in dialogue.
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Benny Carter
Sax A La Carter
2004 Blue Note 93513
Original recording 1960
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Carter manages to find the bluesy swing alter ego of a tune usually interpreted as a ballad. It does not hurt that he is accompanied by the exceptionally swinging rhythm section of pianist Jimmy Rowles, bassist Leroy Vinnegar and drummer Mel Lewis.
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Clifford Brown/Max Roach
Brown and Roach Inc
1990 Emarcy 814644
Original recording 1954
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Clifford Brown’s trumpet harbors a sad, ethereal tone on this melancholy rendition of the song which is at the same time heartbreakingly plaintive and deeply satisfying.
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Lennie Tristano
1946-1947
2002, Melodie Jazz Classic 1184
Original recording 1946
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A highly original and dramatic reading from pianist Tristano, this solo effort is intriguing and seductive. It draws the listener in with its passion and sophisticated chording.
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Wes Montgomery
Movin' Along
1991 Original Jazz Classics 89
Original recording 1960
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Montgomery begins by interpreting the melody beautifully in octaves, as was his signature. Along the way, he plays other sections in single notes and block chords, while also making room for a piano solo by Victor Feldman.
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Diana Krall
Love Scenes
Grp Records
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Pianist/vocalist Diana Krall offers a gentle yet evocative reading of the song. Her delivery is playful and passionate over the laid-back rhythm of bassist Christian McBride and guitarist Russell Malone.
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Illinois Jacquet
Bottoms Up
1991, Original Jazz Classics 417
Original recording, 1968
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Tenor sax man Jacquet delivers an introspective, moody version of the song. His playing is resonant and commanding, conveying the heavy yearning of the lyrics.
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