Celui qui fut l’alter ego du grand Duke (co-composant et co-arrangeant de nombreux standards de l’orchestre et du jazz en général tels que Take The ‘A’ Train) doit (un peu) de sa carrière au morceau de Cab, The Jumpin’Jive. Read the full story →

Read the full story →

Lorsque l’on se penche sur la musique du film Stormy Weather, on est frappé par sa proportion dans le film : près de 90 % ! C’est dire la minceur du scénario et, en contrepartie, l’attention que nous devons porter à la richesse de sa musique. Au-delà des grandes stars du jazz qui sont présentes dans le film, la question des arrangements musicaux a soulevé suffisamment de problèmes pour que The Hi de Ho Blog vous en parle un peu. Il faut dire que l’on est passé d’un compositeur classique à un jazzman, tous deux Afro-Américains, sous la houlette du directeur musical (et blanc) de la 20th-Century-Fox, Alfred Newman. Read the full story →

  Voici le portrait de l’un des plus fidèles compagnons de route de Cab Calloway mais sur lequel on ne sait que trop peu. Et pourtant, Walter Thomas resta avec Cab depuis les Missourians jusqu’après le tournage de Stormy Weather. Géant aux pieds démesurés (d’où son surnom), Walter Thomas avait notamment enregistré avec Fate Marable, Jelly Roll Morton, avant de rencontrer Cab. Durant toute sa période chez Calloway, il fut l’arrangeur attitré de l’orchestre et son conseiller musical mais resta toujours dans l’ombre des grands ténors qui y passèrent comme Ben WEBSTER et Chu BERRY. Et la seconde partie de sa vie après est loin d’être sans intérêt. The Hi de Ho Blog vous en dit plus sur cet inconnu célèbre auquel il n’a jamais été consacré plus de 10 lignes d’affilée… Read the full story →

  Deuxième partie du portrait de l’un des plus fidèles compagnons de route de Cab Calloway mais sur lequel on ne sait que trop peu. Après une enfance heureuse dans l'Oklahoma, Thomas est vite parti sur les bateaux du Missouri et joué en compagnie d'Ed Allen, Fate Marable, Ferdinand Jelly Roll Morton. C'est à New York qu'il veut réussir et l'orchestre du Cotton Club d'Andy Preer lui ouvre les bras. Vient ensuite un engagement avec les Missourians rapidement dominés par le petit nouveau : Cab Calloway. Avec lui, Walter Thomas va rester au même pupitre durant 13 ans, accumulant les fonctions de chef de la section des saxophones, arrangeur, directeur musical et chef d'orchestre par intérim lorsque le Cab en chef n'est pas sur scène. Tout cela sans jamais passer de l'ombre à la lumière. A partir de 1943, il voudra voler de ses propres ailes, mais sera lui aussi confronté à la dureté de l'époque. N'empêche, les quelques pistes gravées en 1944-45 comme les moments qu'il passera encore avec quelques-uns des plus grands donnent à la deuxième partie de son existence un goût fantastique. The Hi de Ho Blog vous la raconte... Read the full story →

In March 1968, Cab Calloway released an album entitled “Cab ‘68” with 11 songs arranged and conducted by Maurice Bugs BOWER. The LP was the first release by label P.I.P., of Pickwick International. Leaning on the Hello Dolly!’ success, Cab sang tunes from the Broadway repertoire with new arrangements that were also of a new kind for the 60 year old king of Hi De Ho. The goal? Reaching a new and younger audience. We’ve been lucky and honored to interview Dr. Bugs Bower who has fond memories of this record. You’d never guess he’s 92! Read the full story →

Cab Calloway’s 1962 album of standards, Blues Make Me Happy has recently been released on CD on the Sepia label. The original Coral LP has been re-mastered and cleaned up for the first time using the CEDAR noise-reduction process, with rare bonus material from the Coral and ABC-Paramount labels.  The new CD “Blues Make Me Happy The ABC-Paramount and Coral Years 1956-1961” includes a booklet with full discographic details and very informative liner notes by Christopher POPA, webmaster of the Big Band Library website. It’s unfortunate that Cab didn’t record more albums of standards or contemporary tunes during this era, because he was at the height of his powers as a vocalist.  Although the rapid high-pitched scatting and vocal pyrotechnics of the hot-jazz 1930s were somewhat diminished, they were more than equaled by a mature and powerful voice, perfect diction and breath control, and an impressive three-octave range. The Hi De Ho Blog brings you the whole story, reviews the CD, and adds new information about this milestone yet underrated album.     Read the full story →

Recorded in December 1958, this album was supposed to let people discover Cab Calloway’s “stylized vocal” in full stereo, backed by a big band orchestra. It was eventually released in June 1960! The Hi De Ho Blog tries to explain the story of those tracks, neglected by Jazz historians, forgotten by most but which are a lively experience of Cab Calloway’s sound and voice in this era: timeless! Read the full story →

On several occasions in the 1970s Cab teamed up with producer Ben Bagley to record musical comedy show tunes for LP salutes to the great popular songwriters.  Bagley’s Revisited series of albums pay tribute to the iconic Broadway composers and lyricists with some of their more obscure and forgotten songs. Those exceptional albums are cherished and widely coveted by collectors. Keller Whalen, for The Hi De Ho Blog, tells you the whole story. And it’s history! By Keller WHALEN Read the full story →

St. Louis Blues (1958) starring Nat King Cole, Eartha Kitt, Pearl Bailey and Cab Calloway is a truly awful film with an outstanding cast.  Our friend and fellow Cab Calloway fan Keller Whalen has left no stone unturned in uncovering the behind-the-scenes details – he even watched the movie several times.  The Hi De Ho Blog is pleased to present a fascinating look at the story of how a bad film was made and the often hilarious reviews that followed its release.  Read the full story →

Crowned “The King”, inspired by King Oliver, leader of his own band for a while, famous for composing Jitterbug, noted soloist on muted trumpet and high notes, Edwin Swayze is a musician who deserves to be rediscovered for his intense career that started in Arkansas, made him a bandleader, lead him twice to Europe, and ended abruptly at only 29 during a stay the world-famous Cotton Club in Cab Calloway’s orchestra. Part I: With Alphonso Trent, Sammy Lewis, Jelly Roll Morton, Chick Webb and many more Read the full story →

Crowned “The King”, inspired by King Oliver, leader of his own band for a while, famous for composing Jitterbug, noted soloist on muted trumpet and high notes, Edwin Swayze is a musician who deserves to be rediscovered for his intense career that started in Arkansas, made him a bandleader, lead him twice to Europe, and ended abruptly at only 29 during a stay the world-famous Cotton Club in Cab Calloway’s orchestra. Part III: USA and Europe with Cab Calloway at the Cotton Club Read the full story →

Crowned “The King”, inspired by King Oliver, leader of his own band for a while, famous for composing Jitterbug, noted soloist on muted trumpet and high notes, Edwin Swayze is a musician who deserves to be rediscovered for his intense career that started in Arkansas, made him a bandleader, lead him twice to Europe, and ended abruptly at only 29 during a stay the world-famous Cotton Club in Cab Calloway’s orchestra. Part II: In Paris and Holland with the Blackbirds and the Plantation Orchestra Read the full story →