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| It was Parker’s version of “If I Should Lose You” that brought the song to the attention of both jazz instrumentalists and vocalists.... |
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- Sandra Burlingame
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The 1935 film Rose of the Rancho introduced the standard “If I Should Lose You.” The romantic comedy about early Spanish settlers in California starred John Boles and Metropolitan Opera star Gladys Swarthout in her film debut. The film was adapted from a successful Broadway show by David Belasco and Richard Walton Tully. In his book Hollywood Musicals Clive Hirschhorn describes the movie as an “uneasy mix of operetta and low comedy.” Swarthout plays a dual role as a demure senorita who by night disguises herself as the notorious bandit, Don Carlos, and leads a group of vigilantes. Although accounts of the film differ, it appears that she was the singer who introduced “If I Should Lose You.”
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The score was by composer Ralph Rainger and lyricist Leo Robin who had teamed up in 1931 and contributed many popular songs to films in the ensuing decade. However, this particular score was not memorable, and even “If I Should Lose You” didn’t catch on immediately. It was recorded in 1936 by Richard Himber and His Orchestra, a popular radio band, with vocalist Stuart Allen and rose to number 15 on the charts.
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Alec Wilder in his book American Popular Song: The Great Innovators, 1900-1950 calls it “a very good song” and an “illustration of safe gloom,” describing its harmonic direction as “interesting.”
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In 1949 jazz visionary Norman Granz recorded alto saxophonist Charlie Parker playing an album of all standards accompanied by strings arranged by Jimmy Carroll. The appeal of the album, the first to pair a jazz soloist with strings, prompted subsequent recordings with the same format. It was Parker’s version of “If I Should Lose You” that brought the song to the attention of both jazz instrumentalists and vocalists such as pianist George Shearing (Black Satin), and vocalists Frank Sinatra (Live in Australia 1959) and Nina Simone (Wild Is the Wind). It was also recorded by pianists Hank Mobley and Mulgrew Miller and vocalists Carmen McRae and Jimmy Scott. Contemporary instrumentalists and vocalists such as soprano saxophonist Jane Ira Bloom, singer/pianist Dena DeRose, and guitarist Philip Catherine continue to explore the song in fresh interpretations.
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More information on this tune... |
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- Sandra Burlingame
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| This section suggests definitive or otherwise significant recordings that will help jazz students get acquainted with
“If I Should Lose You.” These recordings have been selected from the Jazz History and
CD Recommendations sections.
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Joe Williams’ 1959 recording of “If I Should Lose You” (Music for Lovers) is an appealing and straightforward vocal ballad version and thus provides excellent source material for learning the song. One of the greatest instrumental ballad performances comes courtesy of saxophonist Charlie Parker with strings in 1949 (Charlie Parker with Strings: The Master Takes). The song is often swung as well, and Hank Mobley’s influential 1960 version (Soul Station) is a great example of that, also featuring Wynton Kelly, Paul Chambers and Art Blakey.
Noah Baerman - Jazz Pianist and Educator
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The dramatic lyrics imagine the results of lost love: “The Stars would fall from the skies...The birds in maytime would sing a lonely refrain....” Perhaps lack of enthusiasm for the 1935 film which introduced it, for the film’s score or both kept the song from reaching the popularity that it later enjoyed. Sandra Burlingame
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Musical analysis
of “If I Should Lose You”
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Original Key |
A
minor; brief periods of F major
and C major tonality |
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Form |
A
- B1 - A - B2 |
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Tonality |
Primarily
minor; the last half of “A” and
the first half of “B” spend time
in related major keys |
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Movement |
Following
an upward octave leap, the basic
motif of “A” drops a third with
a lower neighbor, with consistent
rhythmic variations. “B” starts
to climb step-wise, then drops a
sixth before ascending gradually
through a motivic device based on
an ascending scale and a syncopated
“cakewalk” figure (eighth, quarter,
eighth), followed by a half or two
quarter notes |
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Comments
(assumed
background)
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This piece contains a great deal
of rhythmic, melodic, and harmonic
complexity with wide intervals.
Although none of the syncopated
rhythms are carried across bar-lines,
this melody makes frequent use of
them. Dotted quarter, eighth, “cakewalk,”
and triplet figures make up most
of the melody, giving one the impression
that it started life as a tango
(and indeed it is usually performed
in the Latin style). The composers
have taken care to place more rhythmically
active passages toward the end of
phrases which gives this piece forward
momentum and energy not often found
in ballads. |
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K. J. McElrath - Musicologist for JazzStandards.com |
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Producer Norman Granz’s recording of
alto saxophonist Charlie Parker with lush
string accompaniment was a bold and clever
concept. In 1949, “modern” jazz was a hard
sell to the general public, yet this album
is almost in the “easy listening” category
popular then. Bird’s rendition of “If I
Should Lose You” illustrates his melodic
expertise.
In a similar string ensemble setting
from 1955, West Coast “Cool” School alto
saxophonist Lennie Niehaus shows his approach
is closer to Stan Getz’ than to Parker’s.
Niehaus plays the tune at a slower, dreamier
tempo.
A 1960 session found tenor saxophonist
Hank Mobley with a stellar lineup of Art
Blakey (drums), Paul Chambers (bass), and
Wynton Kelly (piano). (Kelly recorded “If
I Should Lose You” on his first solo session
in 1951.) Mobley was and remains sadly under-appreciated,
yet his work on this album demonstrates
what a fine musician he was.
Chris Tyle - Jazz Musician and Historian
Hank Mobley
Soul Station
Blue Note Records 95343
Original recording 1960
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Additional information for "If I Should Lose You" may be found in:
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| Click on any CD for more details at Amazon.com |
Nat King Cole
Penthouse Serenade
Blue Note Records
Original Recording 1952
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With his trio, Nat “King” Cole interprets “If I Should Lose You” instrumentally, playing the melody and a solo on the piano with striking lyricism.
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Joe Williams
Music for Lovers
Blue Note Records
Original Recording 1959
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The Jimmy Jones Orchestra, with some mostly subtle strings, provides gentle ballad backing for Williams’ appealing vocals. Guitarist Freddie Green holds it together, as he did so often for Williams in Count Baise’s band, and there are prominent contributions by Hank Jones on piano, Harry “Sweets” Edison on trumpet and Ben Webster on tenor saxophone.
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Roy Haynes
Out of the Afternoon
Grp Records
Original Recording 1962
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Drummer Haynes is at his crackling best here both in the rhythm section and as a soloist. It is debatable whether he is the star of this track, though, thanks to the edgy yet flowing work of multi-wind genius Rahsaan Roland Kirk. Pianist Tommy Flanagan and bassist Henry Grimes round out the swinging group.
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George Shearing, Carmen Mcrae
Two for the Road
Concord Records
Original Recording 1980
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This duo recording shows vocalist Carmen McRae and pianist George Shearing collaborating to explore “If I Should Lose You” tenderly at a very slow tempo.
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Mulgrew Miller
Live at the Kennedy Center 1
Max Jazz Records
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This hard-swinging live recording by Miller and his trio displays the mixture of tradition and modernism that have made him one of the most admired pianists of his generation.
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Hank Mobley
Soul Station
Blue Note Records 95343
Original recording 1960
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This exceptional hard bop reading features thoughtful solos from saxophonist Mobley and pianist Wynton Kelly. Drummer Art Blakey and bassist Paul Chambers keep things moving at a steady clip.
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Walt Dickerson
A Sense of Direction
1992 Original Jazz Classics 1794
Original recording 1961
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A light samba and the crystalline resonance of Dickerson’s vibes lend the song an optimistic if somewhat reserved tone.
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Howard Rumsey
Lighthouse All-Stars Vol. 6. Wea Corp
386
Original recording 1955
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Bass player Rumsey’s revolving ensemble of the brightest in West Coast Jazz swings through an upbeat, entertaining rendition of the song. Conte Candoli’s bright trumpet flashes prominently.
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Jimmy Scott
Moonglow
2003 Milestone Records
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This CD is a compilation of several studio dates with different personnel. Pianist Cyrus Chestnut, bassist George Mraz, and drummer Grady Tate are on hand for this gently swinging reading by vocalist Scott. Despite the up-tempo setting, Scott brings pathos to his story.
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