Listening pleasure in popular music has been widely available for generations. And within this there are some special arrangements and recordings. Initially of modest length some became extended pieces. One feature has been a recurring phrase building excitement into the close. Sometimes the mounting intensity was called a “ride-out”, sometimes a “coda”.
Historically, these range from Glen Gray in 1935 to Ellington at the 1956 Newport Jazz Festival to the Beetles and Rolling Stones in the late 1960s. Also, there is a Roy Orbison from 1989.
Glen Gray: No Name Jive
One of the earliest, if not the earliest, example is “No Name Jive” by the Glen Gray “Casa Loma” band. Recorded in 1935 it seems ahead its time. Especially with four trombones stating the main theme. There is a film version from 1941. Issued on both sides of a 12-inch 78, the version in the link is a little over 6 minutes.
In the Swing Era most bands were owned by leaders such as Benny Goodman or Glenn Miller. The Gray ensemble, also known as the Casa Loma Orchestra was organized differently. It was incorporated as a company with shareholders and a board of directors. Governed by strict rules, those uncongenial were voted out and bought out. Ejected from the band, usually for substance abuse.
“No Name Jive” was written by band member Larry Wagner.
Benny Goodman: Sing, Sing, Sing
The next one is big. “Sing, Sing, Sing” was written by Louis Prima, and Benny Goodman recorded it in 1937. At more than 8 minutes it took up both sides of a 12-inch 78 RPM record. The story goes that the idea to extend it was that on a performance the great drummer Gene Krupa would not stop. He just kept going and then Goodman joined in and then the ensemble. In arranging the whole thing a song called “Christophe Columbus” was added. Tenor sax man Chu Berry wrote it.
The Carnegie Hall Concert of January 1938 live performance ran for more than 12 minutes. This is the version, the one with the extended and improvised piano solo by Jess Stacey (at 9:22). The “life” in it is away beyond that of the studio recording.
The first commercial recording of the concert was on a two-disc “LP” album. Released in 1950 it was the first jazz album to sell a million copies. “LP” stood for Long Playing and it turned at 33 1/3 RPM, allowing for some 22 minutes of music per side.
Glenn Miller: In the Mood
In 1940, Glenn Miller’s band had a huge hit with “In the Mood” which featured recurring riffs that musicologists also call “repeated arpeggios”. It was a fun standard length recording and for a long time popular to dance to.
Ellington’s band was outstanding. In touring and recording it prevailed intact from 1926 to 1974 when the leader died. Definitely jazz, the band overlapped the Swing Era from a decade before to three decades after. With an unusual “voice” and remarkable compositions it is a unique part of America’s musical heritage.
Duke Ellington: Diminuendo and Crescendo in Blue
The Newport Jazz Festival started in that upscale enclave in Rhode Island in 1954. In 1972 the festival was “moved” to New York City. However, the 1956 event included Ellington’s “Diminuendo and Crescendo in Blue”. And the performance literally caused the audience to “riot”. Album notes include that Jo Jones (Basie drummer) was pounding the beat with a rolled-up newspaper against the side of the band stand. The performance ran for 15 minutes, extended by Paul Gonslaves tenor sax solo of 27 choruses. A couple of short numbers were intended to end the festival. Indeed, festival organizers tried to the end the program, but the audience was wild and wanted more. Which Ellington provided.
The term “Rock and Roll” in musical history dates back to the 1930s. One song within which it was specifically stated was in “Rock it For Me” written by Kay and Sue Warner. First recorded in 1938 it includes the line “wont you satisfy my soul with the rock and roll?”. The 1938 recording by Mildred Bailey is rather good.
Beatles: Hey Jude
And, of course, Rock and Roll takes this essay’s theme out to the Beatles. “Hey Jude” has been their extended song. Written by Paul McCartney, the recording ran for 7 minutes, with some 4 minutes of coda. It was released in August 1968. And the quip was that John Lennon could scream in key.
Rolling Stones: You Can’t Always Get Want You Want
Some think that the Rolling Stones’ “You Can’t Always Get Want You Want” was inspired by “Hey Jude”. Sure, if the Beatles recorded a long one, so would the Stones.
Written by Jagger and Richards the recording was released in July 1969. Writing in the London Bach Choir was a touch of genius. The single ran for 5 minutes and the album version for 7 minutes.
Roy Orbison: Oh, Pretty Woman
There has always been a lot of magic in Roy Orbison’s “Oh, Pretty Woman”. The first recording was released in August 1964 and never intended as an epic, it ran for the typical three minutes. However, the “Black and White” version extended it out to just little over 6 minutes with all kinds of recurring riffs. The full name of the recording and video is “Roy Orbison and Friends: A Black and White Night”. Amongst the “Friends” was Bruce Springsteen. The album was released in 1989.
When one thinks about it, music is a luxury that at one time big performances had limited audiences. Bach could not be everywhere and after his passing his music was not played everywhere. With the evolution of the symphonic form and large concert halls, such music could be enjoyed outside of the great palaces or cathedrals. In the early 1800s, Beethoven, for example, could be more widely appreciated. And, since, the ability to enjoy performance music has grown exponentially.
And, of course, there has always been singing—at home and anywhere—as well as individual instruments. From the home to small music halls to large night clubs and even stadiums. But music lovers have never had such a library of readily available tunes. And delivered with such good quality-- just turn the switch.
This essay is an attempt to review and share a few extended recordings with dynamic riffs from the 1930s to the 1980s. Get a glass of your favourite sipping wine or whiskey and chill out.
Bob Hoye (BobHoye.com) has been researching investments for decades, which eventually included the history of financial and political markets. He considers now to be the most fascinating time for both since the Great Reformation of the 1600s. Bob casts a caustic eye on all promotions and, having a degree in geophysics, is severely critical of the audacity that a committee can “manage” not just the economy, but also the temperature of the nearest planet. He has had articles published in major financial journals and, as a speaker, has amused assemblies in a number of cities, from London to Zurich to Tokyo.
Listening pleasure in popular music has been widely available for generations. And within this there are some special arrangements and recordings. Initially of modest length some became extended pieces. One feature has been a recurring phrase building excitement into the close. Sometimes the mounting intensity was called a “ride-out”, sometimes a “coda”.
Historically, these range from Glen Gray in 1935 to Ellington at the 1956 Newport Jazz Festival to the Beetles and Rolling Stones in the late 1960s. Also, there is a Roy Orbison from 1989.
