Composer J. Fred Coots and lyricist Sam Lewis, both of whom enjoyed success on Broadway, wrote “For All We Know” in 1934. Vocalist Morton Downey, the “Irish Thrush” who was voted best male vocalist on the air in 1932, introduced it on his popular radio show.

Two recordings of the song made the charts in 1934. The version by Hal Kemp’s “sweet band,” arranged by John Scott Trotter, went to number three. The Kemp band was twice voted the Best Sweet Band by Metronome readers in the ‘30s for its romantic tone, and Skinnay Ennis’ sexy, intimate vocals complemented the band’s style. Gordon Jenkins arranged the number for the Isham Jones band which had a strong ensemble sound. Their rendition rose to number 16 on the charts.

• Hal Kemp and His Orchestra (1934, Skinnay Ennis, vocal, #3)
• Isham Jones and His Orchestra (1934, Joe Martin, vocal #16)
• Dinah Washington (1962, #88)

It was recorded by the early bands of Kay Kyser and Guy Lombardo and by Nina Simone in 1959, but it didn’t chart again until 1962 when singer Dinah Washington took it to number 88. Many jazz instrumentalists recorded the song as well as vocalists Billie Holiday, June Christy and Nat “King” Cole. New recordings include those of the Clayton/Hamilton Jazz Orchestra, pianists Cyrus Chestnut and Monty Alexander, vocalists Freddy Cole, Arild Andersen, and Eden Atwood, and, in 2006, British pianist Stan Tracey.

Johnny Hartman’s rendition was used on the soundtrack of Bridges of Madison County while Rosemary Clooney’s version played over the closing credits in the 2005 film Mrs. Palfrey at the Claremont, starring Dame Joan Plowright. The song, Mrs. Palfrey’s favorite, is memorably performed on screen by Rupert Friend who sings it to her, accompanying himself on guitar, in a touching and memorable scene.

“For All We Know” is not to be confused with the Academy Award-winning song by the same title, written by Fred Carlin, Robb Wilson, and Arthur James for the 1970 film Lovers and Other Strangers. The Carpenters took that song to the charts in 1971, and it was also recorded by jazz violinist Stephane Grappelli and singers Mary Stallings, and Astrud Gilberto.

While the pop song, written for the film’s wedding scene, deals hopefully with the future of a love that grows with time, Lewis’ poignant lyric for the jazz standard recalls the pain of parting. He captures the uncertainty of the future with images such as “We come and go like a ripple on a stream” and ends with the anguished plea, “So love me tonight...Tomorrow may never come.”