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Beginning in medieval times, the Limehouse area of London was an important port. |
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- Chris Tyle
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The Queen’s Dance Orchestra in England, under the direction of Jack Hylton, introduced an instrumental version of “Limehouse Blues” in 1922. But it wasn’t until the number was introduced in the U.S. that it became a best-seller and climbed the charts:
- Paul Whiteman and His Orchestra (1924, #24)
- Carl Fenton and His Orchestra (1924, #14)
- Duke Ellington and His Orchestra (1931, #13)
- Glen Gray and the Casa Loma Orchestra (1934, #20)
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English pianist and arranger Jack Hylton joined the Queen’s Dance Orchestra in 1921. In August, 1922, they introduced “Limehouse Blues,” and a month later the same group, under the name Jack Hylton’s Jazz Band, recorded a second version of the tune. In 1923 the Queen’s Dance Orchestra became the Jack Hylton Orchestra.
Hylton’s ensemble became the leading dance band in England. In 1929 they sold over three million records and gave 700 performances in the United Kingdom and on the continent. He disbanded it in 1940 due to the loss of key sidemen to World War II conscription, but he continued to be involved with the entertainment industry until his death.
English actress/vocalist Gertrude Lawrence introduced “Limehouse Blues” to American audiences in the Broadway show Andre Charlot’s Revue of 1924. The revue opened in January, 1924, closing in September that year after running for 298 performances. Lawrence returned to England in 1930, recording “Limehouse” the following year. Following the success of the tune in the show, several prominent dance orchestras recorded the number as an instrumental, including Paul Whiteman, the California Ramblers, and Carl Fenton’s Orchestra.
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Since Hylton’s original recording is an instrumental, it’s possible the music was written first by Philip Braham, and the lyrics by Douglas Furber were added later specifically for the Revue.
Beginning in medieval times, the Limehouse area of London was an important port. Part of the area is the Limehouse Basin which connects the Thames River with the British canal system. In the late 19th century it became London’s Chinatown and was notorious for opium dens and illicit activities. The name “Limehouse” may have derived from the nickname for the seamen that disembarked there, “Lime-juicers” or “Limeys” after the ration of lime juice the English Navy gave sailors to ward off scurvy. However, the name actually comes from the local lime kilns operated by large potteries that served the London docks.
Limehouse Blues was the title of a 1934 Paramount Picture starring George Raft, set in the Limehouse area of London. Composer Sam Coslow (“My Old Flame,” “Cocktails for Two,”) wrote the soundtrack.
The tune’s popularity over the years has been mostly as an instrumental, especially loved by jazz musicians. It’s easy to understand why, as the lyrics are very politically incorrect today and not particularly relevant. The last line sums up the tune’s message: “rings on your fingers and tears on your crown, that is the story of Old Chinatown.”
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This section suggests definitive or otherwise significant recordings that will help jazz students get acquainted with
“Limehouse Blues.” These recordings have been selected from the Jazz History and
CD Recommendations sections.
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Fletcher Henderson’s up-tempo 1934 recording of “Limehouse Blues” (Tidal Wave) is a standout swing-era recording of the tune, featuring solos Red Allen, Buster Bailey and Ben Webster within a great arrangement by Benny Carter. In 1936 Django Reinhardt recorded a small-group interpretation of the song (Best Of) that upped the ante for soloists. Meanwhile, Cannonball Adderley’s burning 1959 recording (Quintet in Chicago) featuring John Coltrane demonstrates the applicability of the song to a more modern context.
Noah Baerman - Jazz Pianist and Educator
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Musical analysis
of “Limehouse Blues”
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Original Key |
G
major |
Form |
A
- B - A - C |
Tonality |
Major |
Movement |
Primarily
by step, initially ascending; chromatic
passing tones throughout |
Comments
(assumed
background)
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“Blues” in this title is a misnomer;
the chord progression-of “B,” at
least-has more in common with “Charleston”
than a strict “blues” progression,
while “A”-with its Lydian sounding
opening and odd resolutions-is unique.
Although many tunes begin on a IV
chord (“I’ll See You In My Dreams,” “Just Friends,” et. al), this
IV is almost invariably followed
by its parallel minor, and the melody
usually avoids the leading tone
of the tonic key, which would create
an odd-sounding tri-tone interval.
In “Limehouse Blues” this tri-tone
relationship is fully embraced,
and the IV chord resolves not to
iv as we would expect, nor even
to I, but to the secondary dominant
V7/V. Then, by passing the dominant
altogether, it proceeds directly
to the tonic, again surprising the
ear. This may have been due to impressionistic
influences of the time (Bix Beiderbecke
was rather enamored of Debussy’s
music), or an attempt on the composer’s
part to make the song sound exotic
and “oriental” (referring to the
lyric, the subject of which is the
hard life suffered by denizens of
“Old Chinatown”). |
K. J. McElrath - Musicologist for JazzStandards.com |
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Benny Carter, the talented multi-instrumentalist,
arranged an up-tempo version for Fletcher
Henderson’s Orchestra which they recorded
in 1934. New Orleans trumpeter Henry “Red”
Allen blows a hot chorus followed by clarinetist
Buster Bailey, and tenor saxophonist Ben
Webster doffs his hat to recently departed
Henderson mainstay, Coleman Hawkins.
Cab Calloway’s tenor saxophonist “Chu”
Berry (another Hawkins disciple) gives the
number a workout on his first session as
leader in 1937. He’s ably assisted by a
group that includes Fletcher Henderson’s
brother Horace on piano and plunger-mute
growl specialist, trumpeter Oran “Hot Lips”
Page. Berry opens the proceedings on trumpeter
Wingy Manone’s 1939 version of the tune
while clarinetist Buster Bailey plays with
both groups.
Another New Orleans musician, soprano
saxophonist/clarinetist Sidney Bechet, created
a virtual showpiece on his 1941 recording.
Also featured are the fireworks of trumpeter
Charlie Shavers.
Chris Tyle - Jazz Musician and Historian
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Click on any CD for more details at Amazon.com |
Duke Ellington
Duke Ellington 1931-1932
Classics France/Trad Alive
Original Recording 1931
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This relaxed, swinging performance revolves around some great ensemble writing by Ellington, who also contributes some edgy piano work. There are also some short but excellent solo features for three woodwinds, Johnny Hodges on alto, Barney Bigard on clarinet and Harry Carney on baritone.
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Django Reinhardt
Best of
Blue Note Records
Original Recording 1936
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Though the feel is relaxed, the tempo on this performance is actually quite fast, which becomes apparent as violinist Stephane Grappelli and guitarist Django Reinhardt engage in burning solos.
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Art Tatum
The Art Tatum Legacy
Everest Records/Suite 102
Original Recording 1943
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On this solo piano recording, Tatum manages to maintain a relaxed feeling in spite of a bright tempo and some technical fireworks. The arrangement begins sparsely, but gradually builds up steam with some lightning-fast left hand stride playing and stunning right hand runs.
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Cannonball Adderley, John Coltrane
Quintet in Chicago
Universal I.S.
Original Recording 1959
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This extremely up-tempo quintet recording documents all of the sidemen in the 1959 Miles Davis sextet. Of particular note are saxophonists Adderley and John Coltrane, who each take stunningly fluid solos before engaging in an exciting “cutting contest” of sorts with one another.
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Joe Henderson, Wynton Kelly
Straight No Chaser
Polygram Records
Original Recording 1968
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Henderson, accompanied by Wynton Kelly’s trio, modernizes “Limehouse Blues” with a harmonically adventurous approach tot the chords. The fast swing feel is busy and aggressive, largely due to the fiery drumming of Jimmy Cobb.
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Rosemary Clooney
Rosie Solves the Swingin' Riddle
1997 Koch Jazz 7991
Original recording 1961
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It’s a match made in heaven as a high-flying Clooney teams up with orchestra leader Nelson Riddle. The mid-tempo arrangement allows the singer to savor each word while the big band vamps it up behind her.
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Roy Eldridge/Dizzy Gillespie
Roy and Diz
1994 Verve 314521647
Original recording 1954
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Trumpeters Eldridge and Gillespie play an exciting game of cat and mouse at breakneck speed. The high tension is broken by frequent witty asides aimed at knocking each other off kilter. Pianist Oscar Peterson is able to butt in long enough to take a super solo.
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Sonny Rollins
Sonny Rollins and the Big Brass
1999 Verve 314557545
Original recording 1958
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As drummer Connie Kay rides the high-hat, saxophonist Rollins takes a spare but dynamic solo. Though his ingenuity is subtle, the live audience eats it up.
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Grappelli / Kessel
Limehouse Blues
1992 Black Lion 760158
Original recording 1969
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Violinist Stephane Grappelli and guitarist Barney Kessel are beautiful matched. With a French rhythm section they bring an infectious swing to “Limehouse Blues” and present a program of standards and originals that deserves a gold star.
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