Perdido (song)

Perdido ( Spanish for lost aufgeschmissen, ) is a jazz standard composed by Juan Tizol of the ( Copyright 1942), and was first recorded by Duke Ellington. The song refers to the allegedly Perdido Street, New Orleans. In 1944, Ervin Drake and Harry steering wrote (Hans Lengsfelder ) the text to the song.

Genesis

The song was on a tour of Ellington and his orchestra to the Tizol belonged for many years. Tizol wrote the song by its own account, as he sat on the train next to Herb Jeffries and then handed it to continue Ellington, who wrote equal to an arrangement for his band. Already the same evening featuring the Orchestra of the song for the first time.

Features of the song

The song is in B flat major and the song form AABA. He " is a real swing number it a striking eighth-note riff in A-section and a melting blues phrase in the B section. " In the text, care is taken that can be sung the reef as possible as " Perdido ": " Perdido, I look for my heart, it's perdido. I Lost it way down in Torrito. " According to the text also plays with other Spanish rhymes, such as from " siesta "and" fiesta " or" bolero " and" sombrero. "

First recordings

The first recording of the Duke Ellington Orchestra took place on December 3, 1941 instead of the default Radio Transcription Services, whose recordings alone were the radio companies available; the first regular recording session was held for RCA Victor on January 21, 1942. This recording was a pop hit the following year; on May 22, 1943, she reached No. 21 in the American charts. The Ellington band played the song usually as an instrumental number. An exception is the recording with Ella Fitzgerald for her album Ella Fitzgerald Sings the Duke Ellington Songbook ( Verve ), which was added in 1957. Other recordings Ellington, which can coexist with the original version, his quartet recording in 1950 with Oscar Pettiford or band gig in Paris in 1963 ( The Great Paris Concert). Also Ellington soloist Johnny Hodges took the piece several times with his bands.

The way to Jazz Standard

The song, with its simple theme, it was highly suitable for jam sessions, for example as part of the Jazz at the Philharmonic tours, where it was used in 1947 by Illinois Jacquet and Flip Phillips Tenor Sax in a Battle. The song was recorded by many other artists, including Art Tatum, Erroll Garner (1944 ), Stuff Smith (1945 ), Louis Armstrong ( 1956) Quincy Jones, the Charlie Parker Quintet (1950 ) and the around him and Dizzy Gillespie gathered Allstar Quintet ( Jazz at Massey Hall, 1953). Permanent vocal interpretations originated by Sarah Vaughan (1954 with the Count Basie Orchestra ) and Dinah Washington.

But this piece is not only part of the Sessionrepertoirs treated, but " in advanced stylistics " of jazz always " new interpretations ", for instance by Aki Takase (1982 ), Jimmy Hamilton and the Clarinet Summit ( 1987) or Don Byron ( 1999) a Latin -bop version.

Use in films

The song was also used in films and television series, including the recording of Dave Brubeck Quartet in Woody Allen film Another woman from the year 1988 and Next Stop, Greenwich Village in the year 1976. The Ellington version was in The Fabulous Baker Boys used from the year 1989. Also in the series The Sopranos took the song its use.