It Don't Mean a Thing (If It Ain't Got That Swing) (1932)
Music and Lyrics Analysis
Soundtrack Information
Written by the Same Composer(s)
Duke Ellington And His O...
Max Roach Quintet
Clark terry & Red Mitchell
"In a trio setting pianist Monk delivers a breathtaking exploration of the song..."
- Ben Maycock
AKA It Don't Mean a Thing If It Don't Got That Swing
Music Duke Ellington
Lyrics Irving Mills
Considering the spare melody and lyrics of "It Don't Mean a Thing (If It Ain't Got That Swing)," the immediate success was due, in no small way, to the vocal by Ivie Anderson, who introduced it with the Duke Ellington Band in February, 1932. The original version is available on Ivie Anderson's It Don't Mean a Thing CD.
More on Ivie Anderson at JazzBiographies.com
Ellington's recording went onto the charts for six weeks, peaking at number six. In September, 1932, the Mills Brothers covered it and saw their rendition rise to number seven. It was the right combination of talent at the right time that made the song immediately popular.
There are many stories about the origin of the song's title. Depending on whom you believe, it was a favorite saying of James "Bubber" Miley, who played the trumpet with Ellington's band in the 1920's. Yet another account has Cootie Williams (Miley's replacement) insisting it was his catch phrase. Still another has Irving Mills taking credit for using the phrase in a sentence while telling Ellington that the customers weren't dancing to the band's music. In actual fact, any number of people may have been using the phrase when Ellington wrote the song.
More on Cootie Williams at JazzBiographies.com
The term itself, "swing," has been used in a number of ways. Today, the most common use among jazz musicians relates to subtle changes in the timing of the melody, which promote a "swing feeling." That is to say that the melody notes are played ahead of the beat, across the beat, or behind the beat, allowing the performer to express a more relaxed, rhythmic, or even driving feeling.
Another, more specific use of the term refers to the style of music played by big band dance orchestras of the 1930's and 1940's. But in the 1920's, and before, musicians usually used the term "swing" as a synonym for "jazz."
Regardless of the definition, there is little argument that Ellington's "It Don't Mean A Thing..." is the song that brought the word "swing" into general use. The song is further credited with predicting the swing era, giving the swing era its name, and providing one more reason to call Duke Ellington a prophet.
More on Duke Ellington at JazzBiographies.com
Stuart Nicholson
Reminiscing in Tempo: A Portrait of Duke Ellington
(In his portrait of Ellington, Nicholson entertains with anecdotes about "It Don't Mean a Thing.")
- Jeremy Wilson
This section suggests definitive or otherwise significant recordings that will help jazz students get acquainted with "It Don't Mean a Thing (If It Ain't Got That Swing)." These recordings have been selected from the Jazz History and CD Recommendations sections.
Not surprisingly, Duke Ellington's original recording of "It Don't Mean a Thing" (Ken Burns JAZZ Collection: Duke Ellington) is the most significant version of the tune, and it is musically brilliant. Ella Fitzgerald's up-tempo performance from 1956 (Day Dreams: The Best of the Duke Ellington Songbooks) is also significant, infectiously retaining the spirit of the original while updating it with a more modern interpretation of swing. Meanwhile, the tune has in many circles become popular as a test of musicians' capacity to handle extremely fast tempos. Max Roach's version with Sonny Rollins (Max Roach Plus Four) is the definitive example of this approach.
Noah Baerman - Jazz Pianist and Educator
Musical analysis of "It Don't Mean a Thing (If It Ain't Got That Swing)"
Original Key F minor ending in Ab major, with temporary shifts to Db major and Eb major during the bridge.
Form A – A – B – A
Tonality Primarily minor – major tonality at the end and during the bridge. Use of the flatted 5th "blue note."
Movement Arpeggiated up, stepping down; many repeated notes.
Comments (assumed background)
This is a favorite among jazz players, with its minor descending progression similar to "Steppin' Out With My Baby" and the folk song "Sixteen Tons." A few changes have taken place with this piece since it was written. They are not an improvement on the original. The last four measures of "A" contain the (in)famous "du-wah-du-wah-du-wah" passage. Modern players begin this on beat two, but if one listens carefully to Ellington's original 1932 recording, one finds that it actually starts on the second half of the first beat! The chord progression of this has also changed. Today, it is common to play IV-iv(ii7/I)-I ( Bb7 – Bbm – Ab). Originally, an ascending progression going to a diminished-seventh, leading tone chord was used (Bb7 – B˚7 – Ab – Cb˚7 – Ab) with a V7(+5) returning to the second "A." In both cases, the original is preferable.
K. J. McElrath - Musicologist for JazzStandards.com
One of the most interesting of the early recordings of Duke Ellington's defining paean to jazz was done by three sisters from New Orleans.
The Boswell Sisters--Connee, Helvetia (Vet) and Martha--grew up with jazz in the Crescent City and went on to have a short-lived yet prolific career on radio, in movies, and on records. They were the pioneer group of jazz vocal harmony. Their treatment of Ellington's tune is a typical illustration of their musical creativity, featuring a slow tempo solo chorus by Connee (who later went on to a successful solo career); a double-time, pig-Latin-style, scat chorus with the three sisters; a slow, haunting trombone solo by Tommy Dorsey; then a vocalized half chorus done double-time.
Boswell Sisters
Boswell Sisters Collection Vol. 3
Storyville Records 3009
Additional information for "It Don't Mean a Thing (If It Ain't Got That Swing)" may be found in:
(1 page including the following types of information: anecdotal.)
American Songwriters: An H.W. Wilson Biographical Dictionary
H. W. Wilson
(1 paragraph including the following types of information: history.)
(1 paragraph including the following types of information: film productions, history and performers.)
Alyn Shipton
A New History of Jazz
Continuum International Publishing Group
(1 paragraph including the following types of information: history and music analysis. (Page 275).)
"It Don't Mean a Thing (If It Ain't Got That Swing)" was included in these films:
Swing Kids (1993, Billy Banks)
Corrina, Corrina (2000, Ivie Anderson with Duke Ellington and His Orchestra)
This section shows the jazz standards written by the same writing team.
Duke Ellington and Irving Mills
Year Rank Title
1932 84 "It Don't Mean a Thing (If It Ain't Got That Swing)"
1937 629 "Azure"
1929 714 "The Mooche"
1930 932 "Ring Dem Bells"
Eddie De Lange, Duke Ellington and Irving Mills
1934 136 "Solitude"
Duke Ellington, Irving Gordon and Irving Mills
1938 46 "Prelude to a Kiss"
Duke Ellington, Manny Kurtz and Irving Mills
1935 19 "In a Sentimental Mood"
Duke Ellington, Irving Mills and Mitchell Parish
1933 31 "Sophisticated Lady"
Barney Bigard, Duke Ellington and Irving Mills
1930 161 "Mood Indigo"
Duke Ellington, Irving Mills and Juan Tizol
1936 17 "Caravan"
Harry Carney, Duke Ellington and Irving Mills
1930 369 "Rockin' in Rhythm"
Duke Ellington, Irving Mills, Henry Nemo and John Redmond
1938 152 "I Let a Song Go Out of My Heart"
Recommendations for This Tune
Click on any CD for more details at Amazon.com
Ken Burns JAZZ Collection: Duke Ellington
Original recording 1934
This visionary performance is where the storied history of this song began. Of particular note are the vocals of Ivie Anderson and a stunning alto saxophone solo by Johnny Hodges.
Day Dreams: The Best of the Duke Ellington Songbooks
It was inevitable that Ella Fitzgerald's "Songbooks" series would come around to paying tribute to Ellington, and this performance is a highlight of those sessions. The tempo is burning, and Ella, predictably, is in total control with her reading of the melody and a brief but brilliant round of scatting. There are also delightful solos by pianist Paul Smith, guitarist Barney Kessel, violinist Stuff Smith and saxophonist Ben Webster.
Ellington Is Forever 1
Much has been written about the mutual admiration between Duke Ellington and guitarist Kenny Burrell, and this album is the first in a loving two-volume tribute by Burrell to Ellington. This infectious performance is also noteworthy for reuniting Burrell with his longtime collaborator, organist Jimmy Smith. Burell and Smith anchor the rhythm section and contribute wonderful solos.
- Noah Baerman
Presenting Joe Williams & Thad Jones/Mel Lewis
1994, Blue Note 30454
Vocalist Williams gives a reading of the Ellington classic that jumps back and forth from playful to powerful. The song allows Williams to exercise his voice to its full potential, including some wonderful scatting.
Drummer Max Roach is joined by a "hitting-his-stride"' Sonny Rollins on sax for a blistering version of the song that has everyone pitching in with abandon.
Clark Terry and Red Mitchell
To Duke and Basie
1997 Enja 5011
Terry and Mitchell take this tune at a moderate tempo, allowing each of them to relax and swing lightly and soulfully while engaging in playful interaction.
Plays Duke Ellington
In a trio setting pianist Monk delivers a breathtaking exploration of the song, highlighting his ability to make a great song vibrate with new ideas.
1990 Atlantic 1325
The Modern Jazz Quartet's combination of sophistication and hard swing made them particularly well-suited to interpret Ellington's music. This up-tempo performance is a wonderful showcase for vibraphonist Milt Jackson.
The Ray Brown Trio
Summer Wind: Live at the Loa
1990, Concord 4426
The bassist's trios, despite personnel changes, had one thing in common, they could all swing. Gene Harris is at the piano here, but it is drummer Jeff Hamilton's show. By displacing the beat he transforms the song.
Ernestine Anderson
Hello Like Before
Original recording, 1977
Vocalist Anderson gives the tune its full measure of swing. The full sound of her back-up group belies a mere trio. But look at the personnel: Hank Jones (p), Ray Brown (b), and Jimmie Smith (d).