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“The Blues Brothers” (1980)

  Voici le film qui a fait découvrir Cab Calloway à toute une génération de spectateurs (moi en l’occurrence) et qui a largement contribué à relancer sa carrière à l’approche de ses 80 ans ! On ne reviendra pas ou prou sur ce film épique tourné par John LANDIS et basé sur les personnages développés par John BELUSHI et Dan AYKROYD pour l’émission TV « Saturday Night Live ». Le rôle de Cab Calloway n’a que quelques répliques mais connaît son apogée au moment du concert final lorsqu’il chante sa chanson-signature « Minnie The Moocher ». Il apparaît alors comme par magie dans sa tenue de scène blanche des années du Cotton Club. Read the full story →

Who’s that little boy with Cab Calloway in “Sensations of 1945”?

Tout le monde - en tout cas, ceux qui ont vu le film - se souvient de la très jolie scène où Cab Calloway passe en revue le Hepsters' Dictionary dans "Sensations of 1945" d'Andrew Stone. Un gamin en queue de pie blanche accompagne Cab et lui donne la réplique tandis qu'un chat en dessin animé reproduit les mouvements zazous du maestro. Ce petit gamin a toujours beaucoup plu aux amateurs de jazz sans qu'il soit pour autant cité au générique du film. Du coup, on a perdu son identité. Du coup, The Hi de Ho Blog a mené l'enquête et a trouvé la réponse "tant" attendue par les connaisseurs. Read the full story →

Death of Fayard, last of the NICHOLAS Brothers

  Au début, ils étaient 2 : les fabuleux Nicholas Brothers, Harold (mort en 2000) et Fayard (91 ans). Depuis le 24 janvier dernier, il n'y a plus que les images pour se souvenir de ce duo de danseurs étonnants que Cab croisa plusieurs fois dans sa carrière : au Cotton Club et surtout avec le film « Stormy Weather ». Read the full story →

“The Singing Kid” (1936)

  Here's a movie of minor interest, except the stage is shared by two stars of the time, Al Jolson and - of course - Cab Calloway. In The Singing Kid, Jolson plays the role of a star of radio and stage who lives alone in a penthouse in New York. Unable to succeed in love, he is abandoned by his fiancée who leaves with his manager, the latter leaving him owing half a million dollars in taxes. Al drowns in alcohol and can no longer sing. Deciding to leave show business, he goes to rest in the countryside where he falls in love with a young girl. Forgive me if I didn’t inform you of the complexity of the plot...   Read the full story →

“Stormy Weather”, the song (1933)

  Voici un des grands standards du jazz co-écrit en 1933 par Ted Koehler (paroles) et Harold Arlen (musique) et qui donna 10 ans plus tard son titre au film éponyme d’Andrew L. Stone. La petite histoire veut qu'Arlen et Joehler pensaient destiner cette chanson à Cab, comptant sur ses ressorts dramatiques pour faire résonner les fameuses premières paroles : "Don’t know why…" Le sort - plus exactement le management du Cotton Club - en décida autrement. Read the full story →

The Lady With The Fan (1933)

  Cab a écrit et co-écrit une petite centaine de chansons au cours de sa carrière. Une de ses premières créations fut « Lady With The Fan ». Dans son autobiographie, Cab nous raconte qu'il avait en tête une des chorus girls du Cotton Club : Amy Spencer. Elle dansait en cachant ses formes derrière un large éventail à vous d"imaginer pourquoi Cab écrivit cette chanson (surtout de là où il était placé pour l’écrire…). Read the full story →

Cab: top afroamerican star in cartoons

  Avec une bouche dessinée comme s’il avait mangé sa bouillie au sabre, avec son extravagance et sa personnalité scénique, Cab était naturellement un sujet idéal pour la caricature. Mais c’est du côté des dessins animés que l’on doit regarder. Cab Calloway apparaît en effet en tête devant des personnalités noires au moins tout aussi influentes que lui à l’époque. On n’est jamais très loin des stéréotypes racistes. Read the full story →

“Shell Chateau”, the radio show with Al JOLSON (1936, Jan 25)

  Alors que Cab Calloway et son orchestre sont à Hollywood pour tourner dans le film "The Singing Kid" avec Al JOLSON, ce dernier profite de leur présence pour les inviter dans son émission radio du moment : "The Shell Chateau". Grâce à The Hi de Ho Blog, vous allez pouvoir écouter l'intégralité de cette émission qui comporte quatre numéros avec Cab Calloway et son orchestre !   Read the full story →

Henri SALVADOR : “Armstrong, Duke Ellington, Cab Calloway” (1947)

  Ce n'est pas à proprement parler une chanson de Cab. Pour autant, elle lui a permis d'être relancé en France lors de sa sortie en 1947 dans le film de Jean Boyer, "Mademoiselle s'amuse". "Armstrong, Duke Ellington, Cab Calloway", interprétée par Henri Salvador et les Collégiens menés par Ray Ventura a en effet contribué à remettre dans les bacs des disquaires les galettes de Calloway. Read the full story →

Cab’s outrageous zoot suit in “Stormy Weather”

    Vous le savez, le tournages aux USA durant la Seconde Guerre Mondiale subissaient les restrictions comme tous les autres domaines de l'économie. Par exemple, les décors n'avaient qu'un budget de 5000 $, tout comme les éclairages (ce qui vaudra d'ailleurs au chef-opérateur Leon SHAMROY de modifier sensiblement sa méthode de travail sur le plateau de Stormy Weather). Tandis qu'en France, les Zazous résistaient à leur manière en écoutant du jazz et en portant des costumes à larges pans (un véritable gâchis alors que la France entière se privait), la production du film ne trouva rien de mieux que de dessiner une tenue de scène hors du commun pour Cab Calloway. Read the full story →

THE SLAPPING CAREER OF BASSIST AL MORGAN 1

  Now forgotten and eclipsed by Milt Hinton, his brilliant successor in Calloway’s orchestra, Albert ‘Al’ MORGAN (August 19, 1908, New Orleans – April 14, 1974, Los Angeles), however, benefits from the image of an exceptional double bass player, considered one of the pioneers of slapping, in the same ranks as Wellman Braud or Pops Foster. During his career, Al Morgan walked his bass from the Riverboats on the Mississippi to New York, Europe, Boston, and Hollywood. PART 1: In New Orleans and with Cab Calloway Read the full story →

“Stormy Weather” and the french critics

  A cause de la guerre, Stormy Weather n'est sorti en France qu'en juillet 1946, soit 3 ans après les Etats-Unis. Entre les deux, le jazz avait déjà bien changé : Fats était mort et Cab commençait déjà largement à peiner pour faire vivre son big band. Pourtant, une fois n'est pas coutume, la critique française fut élogieuse.Alors, découvrez tout de suite l'intégralité de cette critique parue dans Jazz Hot en spetembre-octobre 1946 ainsi qu'une rarissime photo d'époque présentant l'affiche sur les Champs-Elysées. Read the full story →

“Stormy Weather”: from an arranger to another

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 →

Flip O’Vision: Cab Calloway’s flipbook (1949)

48 mm x 33 mm (1.89 inch x 1.30 inch)... These are the measurements of one of the most picturesque objects that can be found related to Cab Calloway! It is a small flip book published in 1949 by the TOPP brand of chewing gum. TOPPS released these flip books to get into the race with the irresistible growth of television. They were offered 5 cents with packs of tablets. The series would have counted up to 60 different flip books, among which is Cab Calloway. Read the full story →

“Stormy Weather”: Thanks, pal! and other anecdotes

  "Thanks, Pal!" était le titre de travail de Stormy Weather. Il faisait référence à tous les mots de remerciements émanant d'autres vedettes et que lit Bill Robinson durant tout le film. Arthur Knight estime dans son passionnant (mais complexe) ouvrage que dire ainsi merci à un Noir américain, à travers Bill Robinson, était une gageure eut égard à l'opinion générale de l'époque. Mais nous aborderons les aspects raciaux du film une prochaine fois. Pour le moment, nous avons encore quelques croustillantes anecdotes à nous mettre sous la dent... Read the full story →

Morris ‘Fruit’ WHITE: from the Missourians’ banjo to Calloway’s guitar

Very little is known about Morris WHITE, Cab Calloway’s first rhythm guitarist and banjo player.  While French critics seem to have appreciated his musicianship during the 1934 European tour, he attained little or no place in jazz literature.  In the history of Cab’s orchestra, it’s Danny BARKER who is recognized as the star of the guitar in the rhythm section. The musicologist Gunther SCHULLER, however, awarded White many compliments throughout his study of the music of the Cab Calloway orchestra.  The Hi De Ho Blog is excited to tell you everything we know about Morris ‘Fruit’ White.  And as a bonus, thanks to Nick ROSSI, guitarist, writer and jazz historian, we are able to offer you an extra deep dive into analyzing Morris' technique and instruments.   Read the full story →

Bill Bojangles ROBINSON: Cab Calloway’s less friendly partner

  Loin de moi l'idée de faire une énième biographie de Bill Bojangles ROBINSON (1878-1949), danseur de claquettes hors pair : d'autres l'ont fait avant moi ou le feraient mieux que moi. The Hi de Ho Blog va se contenter de retracer les différents moments où lui et Cab se sont croisés entre 1931 et 1949. Même s'ils ont été très souvent ensemble sur la scène du Cotton Club ou s'ils ont partagé l'affiche de Stormy Weather, ces deux compères-là avaient une relation étonnante : Cab était le jeune chef aux dents longues, et Bill le vieux briscard impitoyable. Read the full story →

"Eadie Was A Lady" as told by Keller WHALEN

“Eadie Was a Lady” was recorded by Cab Calloway on December 7, 1932. Today, The Hi De Ho Blog is happy to welcome an essay on this song, sharply written by one of the biggest Cab Calloway fan I know: Keller WHALEN. This American guy, friend of mine has digged the roots and the many covers of that song with such strange lyrics...   Read the full story →

Dotty SAULTERS: the petite singer larger than life (part 1)

She was the canary in Cab Calloway’s orchestra between 1943 and 1947 and her rather garish voice is heard on many live recordings… Nevertheless, she is actually a complete stranger in the eyes (especially the ears) of jazz connoisseurs.  Do not rely on reference books either: they do not even know she exists.  Yet Dotty SAULTERS was a helluva little woman, a singer and exceptional entertainer, not to mention a great tap dancer.  She was married to Honi Coles, the great tap dancer, and her life was always pulsed by the rhythm.  And what rhythm!  What a woman!  The Hi De Ho Blog reveals everything we know about Dotty Saulters. Here's the first of 3 part biography about Dotty: the first one is her life BEFORE working with Cab Calloway...   Read the full story →

The “ST. LOUIS BLUES” movie (1958): A MISSED OPPORTUNITY

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 →

Edwin SWAYZE, The muted story of an extraordinary trumpet 3/4

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 →

Mabel GARRETT, The Story of a Cotton Club Girl (1/2)

Appearing just a few seconds dancing with Cab Calloway in the movie Manhattan Merry-Go-Round (1937), this graceful, tall and jumping dancer remained unidentified until we asked jazz dance historian Harri HEINILÄ from Helsinki to help us. Then, with the name in mind, after several weeks of research, we are now able to tell you the story of Mabel GARRETT whose dancing feet crossed those of Cab Calloway many times as well as the path of many other artists of the Harlem scene. A journey with one of those performers who made it on Broadway, on Harlem stages and then had to struggle when hard times come with age… Read the full story →

Cab Calloway on Television: 1 - The Thirties

Before merchandized television sets were sold to the American customer, a couple of movies using the primitive and experimental television as a futuristic subject of fantasy welcomed Cab Calloway in a couple of scenes. And that started as early as 1933! In this first episode in our series "Cab Calloway on Television" by decades, we'll see that even when the television invention is at its dawn, Cab Calloway already has many assets to become one of the new big stars of the small screen... Read the full story →

“Hi De Ho” (1937): the Cab Calloway Vitaphone movie with genuine actors… and real music! 2/2

“Hi De Ho” is a Vitaphone movie released on February 20, 1937 by Warner Bros in the Melody Masters Series, that wonderfully demonstrates the musical qualities and stage persona of Cab Calloway and his musicians. But there’s more to know about this 11-mn and 1 reel movie, rarely seen, and often ignored by jazz historians and film or theater scholars: his uncredited cast shows besides Cab three distinguished and established actors nobody noticed.  Until now! (PART 2/2) Read the full story →

Cab Calloway in the movie “Manhattan Merry-Go-Round”, 1937

Among the cameos Cab Calloway did in several movies, this one for Manhattan Merry-Go-Round remains quite obscure and barely appears in people’s minds when talking about jazz on screen. Yet, this short sequence within a mediocre “filmusical” produced by the low budget Republic Studio is in fact interesting for jazz and dance fans: the song, the music with a great tenor sax solo by Chu Berry in his only known filmed appearance and the Lindy Hoppers gyrations plus the peculiar advertising for the movie make it worth some attention. The Hi De Ho Blog tells you everything we know about it! Read the full story →

“Hi De Ho” (1937): the Cab Calloway Vitaphone movie with genuine actors… and real music! 1/2

“Hi De Ho” is a Vitaphone movie released on February 20, 1937 by Warner Bros in the Melody Masters Series, that wonderfully demonstrates the musical qualities and stage persona of Cab Calloway and his musicians. But there’s more to know about this 11-mn and 1 reel movie, rarely seen, and often ignored by jazz historians and film or theater scholars: his uncredited cast shows besides Cab three distinguished and established actors nobody noticed.  Until now! (PART 1/2) Read the full story →

ONE NIGHT CLUB AT A TIME: THE STORY OF MAE DIGGS (part 1)

Mae Diggs was a singer, dancer, drummer, bandleader, composer and producer. She sang popular songs of the day, sultry blues numbers, and her own compositions.  She danced, usually solo on stage, with sexy, exotic moves dressed in a variety of costumes including a collection of evening gowns.  She played the drums.  She produced entire night club productions and occasionally conducted jazz bands and, for over twenty years, fronted a Rhythm & Blues combo. This is her story of resilience and reinvention. Read the full story →

“Don’t Be a Joe” (1947), the unreleased and lost movie with Cab Calloway

It takes a collector’s serendipity to find a clue about a movie nobody ever saw. When opening a program dated with pencil by the original owner “November 14, 1947,” we found at the penultimate page a mysterious photo with a tagline: “A scene from ‘DON’T BE A JOE’” After years of unsuccessful research to see this film and a last-minute discovery by jazz film specialist Mark Cantor, we have decided to share what little we know about it -- which is quite a bit considering the total absence of information in all the usual sources.  Plus some of our speculations are included for context. Read the full story →

THE SLAPPING CAREER OF BASSIST AL MORGAN 3

Now forgotten and eclipsed by Milt Hinton, his brilliant successor in Calloway’s orchestra, Albert ‘Al’ MORGAN (August 19, 1908, New Orleans – April 14, 1974, Los Angeles), however, benefits from the image of an exceptional double bass player, considered one of the pioneers of slapping, in the same ranks as Wellman Braud or Pops Foster. During his career, Al Morgan walked his bass from the Riverboats on the Mississippi to New York, Europe, Boston, and Hollywood. PART 3: in Boston with Sabby Lewis Read the full story →

THE SLAPPING CAREER OF BASSIST AL MORGAN 2

Now forgotten and eclipsed by Milt Hinton, his brilliant successor in Calloway’s orchestra, Albert ‘Al’ MORGAN (August 19, 1908, New Orleans – April 14, 1974, Los Angeles), however, benefits from the image of an exceptional double bass player, considered one of the pioneers of slapping, in the same ranks as Wellman Braud or Pops Foster. During his career, Al Morgan walked his bass from the Riverboats on the Mississippi to New York, Europe, Boston, and Hollywood. PART 2: After Cab Calloway, in California Read the full story →

THE SLAPPING CAREER OF BASSIST AL MORGAN 4

Now forgotten and eclipsed by Milt Hinton, his brilliant successor in Calloway’s orchestra, Albert ‘Al’ MORGAN (August 19, 1908, New Orleans – April 14, 1974, Los Angeles), however, benefits from the image of an exceptional double bass player, considered one of the pioneers of slapping, in the same ranks as Wellman Braud or Pops Foster. During his career, Al Morgan walked his bass from the Riverboats on the Mississippi to New York, Europe, Boston, and Hollywood. PART 4: Back in California Read the full story →