A Forest of 'Poincianas'

Before anyone inquires, that is a poinciana at left, a colorful tree that is indigenous to Madagascar but found in many tropical and semi-tropical locations. For our purposes, "Poinciana" also is a humid song that was popular in the 1940s into the 50s, and even later.

The sheet music reads "Poinciana (Song of the Tree)," and record labels will tell you the authors were Nat Simon and Buddy Bernier. In reality it is a traditional Cuban tune adapted in 1936 into a popular song, "La canción del árbol," with Spanish lyrics by Manuel Lliso.

The tropical Bing

Today we'll explore eight varied interpretations of the Americanized "Poinciana" - vocals, exotica, jazz and R&B. (I haven't found a recording of  "La canción del árbol," unfortunately.) Why "Poinciana"? It's a favorite of mine.

The Simon-Bernier version was published as far back as 1936, but the first recorded version I've found is a 1942 instrumental by David Rose. But our journey will begin, as many do around here, with Bing Crosby, who was the first to have a hit with "Poinciana," in 1943. Even before Bing begins singing, you will note that John Scott Trotter has identified the song as a boléro, and has patterned the accompaniment after Maurice Ravel's famous composition of that name In the verse, Bing's languid singing, in a higher register than usual, contrasts well with the rat-a-tat of the accompaniment. The chorus is more conventional.

Bing's Decca record is something of a scarce item. It has been reissued on CD a few times, but not nearly as often as its 78 flip side, "San Fernando Valley," which was a huge hit. This could be because "Poinciana" was not especially well recorded or processed.

Benny Carter

It took very little time for other artists to take note of the song. Shortly after Bing's recording, Benny Carter took a big band into a studio for an early Capitol session. The song is a showcase for his fluid alto saxophone and assertive band. There is no Ravel "rat-a-tat."

Another big band - a very big one, with strings and all - took up the song the next year. It was Capt. Glenn Miller and the Army Air Force Training Command Orchestra, who performed an elaborate Jerry Gray arrangement in what I believe to be a May 1944 broadcast, which has excellent sound.

Sgt. Johnny Desmond

Gray's chart is certainly more Miller than Ravel, with the brass's characteristic "boo-wah" effects prominent in the opening chorus. The performance segues into a romantic vocal by the young Johnny Desmond, backed up by the Crew Chiefs. Desmond is relatively convincing with Bernier's melodramatic lyrics: "Somehow I feel the jungle heat / Within me, there grows a rhythmic savage beat." He looks more stiff than savage at right.

Miller's recording is longer than the norm of the time, coming in at about five minutes. So too was the next interpretation, that of mood music maestro Andre Kostelanetz. He recognized the song as a prime piece of exotica, and packaged it into a Columbia album called Exotic Music, along with "Flamingo," a hit for Duke Ellington, "Song of India," a hit for Tommy Dorsey, and Cyril Scott's "Lotus Land" from 1905. You can hear the whole album via my friend Lee's blog.

My own introduction to "Poinciana" came several decades ago via a copy of Frank Sinatra's 1946 version with the usual superb backing from Axel Stordahl, who arranged almost all of the Voice's records until said Voice joined Capitol. Stordahl was very skilled, and his best work was done with Frank. Their "Poinciana" is outstanding, with Stordahl's sophisticated chart perfectly underpinning the intensely romantic vocal.

Frank Sinatra and Axel Stordahl

One of Sinatra's many rivals was the excellent Alan Dale, who didn't have a huge career but was nonetheless talented. He recorded "Poinciana" in 1948 for Bob Thiele's high-class but short-lived Signature label, backed by Ray Bloch. Dale's entrance blares, but the rest of the performance is fine. His singing is more Bing than Frank, and perhaps closest to the extroverted Don Cornell of Sammy Kaye's band.

Lynn Hope

"Poinciana" continued to appeal to both singers and bandleaders at mid-century. R&B saxophonist Lynn Hope did it for the small Premium label in 1950. His idea of the song was a calypso, and in that guise it's very listenable.

"Poinciana" inevitably became a subject of interest to the exotica mavens of the 1950s, inspiring recordings by Esquivel, Les Baxter, Arthur Lyman and today's featured artist, Tak Shindo, an American arranger-composer who combined American and Asian influences in his music.

The Shindo selection comes from his 1960 LP Brass and Bamboo, done for Capitol. The recording jumbles all types of effects into a captivating trip to another land - several of them, in fact.

These recordings were cleaned up from my collection and that of the Internet Archive folks.

LINK

A Parade of 'Easter Parades'

What you see at left is perhaps the first Easter parade in song - it is a still from As Thousands Cheer, the 1933 revue with music by Irving Berlin that introduced his "Easter Parade."

I believe the right foreground displays Clifton Webb and Marilyn Miller, who first sang the number. At left is co-star Helen Broderick.

Webb recorded the song for Victor with conductor Leo Reisman, and it's the first entry in today's "Parade of 'Easter Parades'," a collection of 10 diverse interpretations of the song, including the best known renditions and some lesser recognized discs as well.

Henry Hall

Following its introduction, it wasn't long before Berlin's holiday classic made it across the Atlantic and intro the hands of Henry Hall, the conductor of the BBC Dance Orchestra. The label for his 1935 recording says that the song is from a West End revue called Stop Press, about which little information has survived. We do know that either the producers or Berlin himself altered the lyrics to fit London - removing the reference to Fifth Avenue, and to "the rotogravure," which, come to think of it, is a term that may baffle anyone younger than me. ("Rotogravure" refers to the picture supplements of Sunday newspapers, taking its name from the printing process used for their production.)

A much different approach to the song was taken in 1939 by the Jimmie Lunceford band, performing a stylish arrangement by Sy Oliver. This swing version has a smooth vocal by Trummy Young, trombonist in the band and later a long-time associate of Louis Armstrong.

Jimmie Lunceford and Trummy Young

Our next selection could hardly be more of a contrast - it is Andre Kostelanetz's lush reading from his 1942 album Musical Comedy Favorites, Volume II. Both volumes are available on my other blog.

Bing Crosby had a go at the song for his 1942 film Holiday Inn, where he warbled to Marjorie Reynolds and her Easter bonnet, as seen below. For his commercial recording Bing had to be content with the Decca microphone and maestro John Scott Trotter. (The complete Holiday Inn recordings are here.)

Bing and Marjorie Reynolds

The most famous recording of "Easter Parade" may be the one in the 1948 film of the same name, as performed by Judy Garland and Fred Astaire, who look splendid promenading below. The soundtrack version may be celebrated, but in truth Garland's singing does blare a bit.

Judy and Fred

Freddie Mitchell

Judy is not nearly as blaring, however, as the tenor sax of Freddie Mitchell in his 1949 R&B version for the Derby label. Freddie turned most everything into a boogie - literally so in this release, which first came out as "Easter Boogie," with Mitchell as co-author, but later was retitled "Easter Parade," with Berlin reinstated as composer. On the disc, the leader's tenor sax solo quotes Illinois Jacquet's legendary break in Lionel Hampton's "Flying Home." As usual on Mitchell's records, a tinny sounding upright piano is prominent.

The following year, the duo of Margaret Whiting and Jimmy Wakely were in the Capitol studios to record one of their bigger hits, "Let's Go to Church (Next Sunday Morning)" along with its flip side, their take on "Easter Parade." Both featured the same creaky organ accompaniment.

Back then, the fashion in jazz circles was to record a noted soloist accompanied by sumptuous strings, following the success of alto saxophonist Charlie "Bird" Parker in that setting. Trumpeter Roy Eldridge got the treatment in late 1951, with his accompaniment arranged and conducted by George Williams. Eldridge recorded this cushiony interpretation for Mercury.

Roy Eldridge

To close we have an enjoyable version from the Ray Charles Singers, who made a long series of excellent records in the 1950s and 60s. This is from their Spring Is Here collection for M-G-M. The recording, from 1955, also features the Columbus Boychoir, for reasons that aren't obvious.

The Ray Charles Singers at a recording session. The leader is to the right of the microphone.

The recordings in this collection were remastered from Internet Archive and my collection.

LINK