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“Tatum’s piano playing is so rich and colorful that the listener tends to forget that this is a solo effort.” |
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- Ben Maycock
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This Rodgers and Hart song was introduced by Benny Goodman, with vocalist Louise Tobin, on the Columbia label on September 13, 1939. It entered the charts on October 28, lasting for 13 weeks and peaking at sixth position. On December 23, Jimmy Dorsey & His Orchestra’s version hit the charts for 2 weeks and rose to thirteenth position.
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Around the same time, Marcy Westcott and Richard Kollmar sang “I Didn’t Know What Time It Was” in the Broadway musical for which it was written, Too Many Girls, which opened at the Imperial Theater on October 18, 1939, and ran for 249 performances.
In 1940, Rodgers and Hart wrote the score for another musical, Higher and Higher, which included the song “It Never Entered My Mind.” The lyrics for both of these songs have two things in common: both are examples of the then current trend to use a common expression as the key phrase or song title; and the subject of the lyrics of both songs are said to reflect Lorenz Hart’s alcoholism.
According to Rodgers, Hart would write his lyrics after Rodgers had written the music, whereas Oscar Hammerstein would present the lyrics to Rodgers before the music was written. Getting Hart to write was not often easy. After Hart missed several meetings, Rodgers would sometimes go to Hart’s apartment and start playing the piano in an attempt to coax lyrics from the reticent Hart.
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In Listening to Classic American Popular Songs Allen Forte says of Rodger’s music, “This temporal wandering in the tonal space directly corresponds to the confusion expressed in the lyric, ‘I Didn’t Know What Time It Was.’” It is a matter of conjecture, then, whether the confusion reflects Hart’s alcoholism, Rodgers’ tonal wandering, or both.
The successful Broadway musical was ripe for screen adaptation. In the 1940 film, Too Many Girls, Lucille Ball replaced Broadway’s Marcy Westcott, although Ball’s voice was dubbed by Trudy Erwin. A Cuban drummer named Desi Arnaz was recruited from the Broadway cast, and it was on the movie set that Lucy and Desi met.
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More information on this tune... |
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Allen Forte
Listening to Classic American Popular Songs Yale University Press; Book & CD edition
Hardcover: 219 pages
(Author/educator Forte devotes eight pages to the Rodgers & Hart song, including its history and analyses of the both the music and the lyric which is reprinted in the book. It also has a companion CD.)
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- Jeremy Wilson
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This section suggests definitive or otherwise significant recordings that will help jazz students get acquainted with
“I Didn't Know What Time It Was.” These recordings have been selected from the Jazz History and
CD Recommendations sections.
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Billie Holiday’s world-weary 1957 version of “I Didn’t Know What Time It Was” ( All or Nothing at All) stands out as one of the tune’s most noteworthy ballad interpretations and one of its greatest vocal renditions. Nowadays, the tune just as often performed at a medium tempo, Sonny Clark’s classic trio version, also from 1957 ( Sonny Clark Trio), is the definitive performance in this vein.
Noah Baerman - Jazz Pianist and Educator
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“I Didn’t Know What Time It Was” has long been
a favorite of jazz instrumentalists and vocalists.
In his book
Easy to Remember: The Great American Songwriters
and Their Songs William Zinsser states,
“The contrapuntal bass line … invites an instrumentalist
or singer to improvise the melody, secure in the
elegant safety net below.” -JW
Musical analysis of
“I Didn’t Know What Time It Was”
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Original
Key |
One sharp.
Great ambiguity between E minor and G major
through much of the song. Ends in G major. |
Form |
A1 – A2 –
B – A2 with four measure extension |
Tonality |
Swings back
and forth between major and minor |
Movement |
“A” contains
many rhythmic repeated notes with upper,
lower and passing embellishing tones. “B”
is a descending tetrachord followed by descending
minor-third figure; this sequence repeats. |
Comments
(assumed
background)
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Part of what keeps this song from becoming
“tonicized” is Rodger’s choice of the 11th
as the important melody note over several
minor chords. Since the 11th is closely
related to the interval of a fourth (being
the fourth an octave higher), it is inherently
unstable from a harmonic standpoint. In
the “B” section, the G major harmony is
heard, but the important sustained melodic
tone turns out to be the 6th. While more
stable than the 11th, it is less stable
than the root, 3rd or 5th, and what follows
(a descending scale over Am, going to B7
and ending on Em) does not serve to strengthen
the sense of G tonality. It is especially
important to have a thorough knowledge of
the tune’s “head” and to find as many guide
tone lines as possible. |
K. J. McElrath - Musicologist for JazzStandards.com |
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By the advent of the long-playing record in the
1950s, record producers were exploring the potential
of the medium by recording longer works. No longer
constrained to creating a performance in a mere
three minutes, musicians were allowed to explore
a piece in a more detailed and relaxed manner.
Record producer and jazz impresario Norman Granz
brought together a remarkable group of musicians
for his Verve label in 1956. Aptly named “The Jazz
Giants,” the group was an ensemble of swing-era
greats: Roy Eldridge (trumpet); Lester Young (tenor
saxophone); Vic Dickenson (trombone);
Teddy Wilson (piano); Jo Jones (drums). One
of the highlights of the recording is the splendid
version of “I Didn’t Know What Time it Was.” Taken
at a ballad tempo, it is one of Lester Young’s best
performances.
Chris Tyle - Jazz Musician and Historian
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Additional information for "I Didn't Know What Time It Was" may be found in:
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Allen Forte
Listening to Classic American Popular Songs Yale University Press; Book & CD edition
Hardcover: 219 pages
(8 pages including the following types of information: history, lyric analysis, music analysis and song lyrics. (Book includes CD).)
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Robert Gottlieb, Robert Kimball
Reading Lyrics Pantheon
Hardcover: 736 pages
(Includes the following types of information: song lyrics.)
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“I Didn't Know What Time It Was” was included in these films:
- Too Many Girls (1940, Lucille
Ball dubbed by Trudy Erwin)
- Pal Joey (1959,
Frank Sinatra)
- A League of Their Own (1992,
James Taylor)
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Click on any CD for more details at Amazon.com |
Sonny Clark
Sonny Clark Trio
2002 Blue Note 33774
Original recording 1957
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Until his untimely death, pianist Clark was poised to become a major heir to Bud Powell as a dominant bebop-inspired pianist. One of his most influential and enduring moments can be found on this tight, swinging recording of this tune along with bassist Paul Chambers and drummer “Philly” Joe Jones.
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Billie Holiday
All Or Nothing at All
Polygram Records
Original Recording 1956
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Holiday’s later years are well-documented on this performance featuring the stellar backing of a group including pianist Jimmy Rowles and saxophonist Ben Webster. Her voice is scratchy, but the command and emotion are striking, as she injects a great deal of pathos into the tune.
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Art Blakey
Ugetsu
1991 Original Jazz Classics 90
Original recording 1963
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In the mid-1960s, saxophonist Wayne Shorter would exert a tremendous influence with his interpretations of his own harmonically modern ballads. Here we rewind a couple years to the height of his tenure in Art Blakey’s Jazz Messengers to hear his interpretation of a standard ballad. The results are both beautiful and historically enlightening.
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Benny Golson
Groovin' With Golson
1991, Original Jazz Classics 226
Original recording, 1959
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Tenor saxophonist Golson leads a quintet featuring trombonist Curtis Fuller and drummer Art Blakey on a spirited rendition of the song which allows the horn men some valuable time in the forefront.
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Art Tatum
Best of Solo Masterpieces
2003, Pablo Records
Original recording, 1955
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Tatum’s piano playing is so rich and colorful that the listener tends to forget that this is a solo effort. The pianist’s reading allows an insightful look into the nuts and bolts of the song.
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Cassandra Wilson
Blue Skies
2002 Winter & Winter 919018
Original recording 1988
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Vocalist Wilson shows her versatility and interpretive skill with this delightful performance. Mulgrew Miller is the star behind the scenes, contributing some modern, soulful piano and a very hip arrangement.
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Cedar Sweet Basil Trio: Walton, Carter, Higgins
St Thomas
Evidence
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This performance is a definitive example of the Sweet Basil Trio, a name given to pianist Cedar Walton, bassist Ron Carter and drummer Billy Higgins, who often played together at the New York club by that name. The tight arrangement and dramatic transition from a relaxed, open groove to full-on swing are irresistible and are trademarks of this highly sympathetic unit.
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Buster Williams
Something More
1995 In + Out 7004
Original recording 1989
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Bassist Williams presents a spirited performance here of one of his signature tunes. The clever and moody arrangement is helped along by an all-star band featuring saxophonist Wayne Shorter and pianist Herbie Hancock.
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Brad Mehldau
The Art of the Trio Vol.1
1997 Warner Bros. 46260
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In the hands of pianist Mehldau and trio the song takes on a whole new life. Mehldau’s improvisation is wildly imaginative while remaining grounded, and the group plays with a symbiosis that is stunning. The tune is interpreted in 5/4 time, yet feels totally relaxed.
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Dorothy Dandridge
Smooth Operator
1999, Polygram
Original recording, 1961
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While not the strongest singer Dandridge’s voice is suited to the song, giving it a late-night, gin-joint feel. The real treat here is her “backing band” of Oscar Peterson on piano, Herb Ellis on guitar, Ray Brown on bass, and Alvin Stoller on drums.
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