Lee Wiley Sings Harold Arlen

Here is the third in our exploration of the composer songbooks recorded by the great Lee Wiley from 1939-43. The earlier posts were devoted to Gershwin and Rodgers and Hart. The R&H article provides background on the singer.

This time, Wiley does wonders for Harold Arlen, a distinctive composer whose songs are suited to her vocal manner.

Lee Wiley Sings Songs by Harold Arlen dates from 1943 and was issued by the Schirmer label, in succession to the Liberty Music Shop (Gershwin and Cole Porter) and Rabson's (R&H). 

Along with the Schirmer album, for this collection I've added five other Wiley recordings of Arlen, dating from both earlier and slightly later in her career.

Wiley's Cole Porter recordings will be next in this series.

Shirmer's Lee Wiley Sings Songs by Harold Arlen

As with the previous songbooks, for the Harold Arlen album the vocalist is accompanied by a group of like-minded musicians, led in this case by guitarist Eddie Condon.

Eddie Condon

The album starts off with a jaunty version of "Down with Love," with a intensely swinging Billy Butterfield trumpet obbligato that plays off Wiley's vocal perfectly. She is in excellent voice here, and the session is notably well recorded. A strong opener.

Billy Butterfield

"Down with Love" comes from the 1937 musical Hooray for What, where Arlen worked with his frequent partner, lyricist Yip Harburg. Introducing the song was Jack Whiting, June Clyde and Vivian Vance.

The contrasting next number is "Stormy Weather," which was premiered by Ethel Waters and Duke Ellington in the 1933 Cotton Club Parade revue, but could have been written for Wiley. Her combination of weariness and wistfulness is ideal for the song. Butterfield is again a standout. Ted Koehler wrote the famous lyrics for this one.

Ernie Caceres

Lee sings the verse for many songs, including "I've Got the World on a String." Her vocal quality and presentation do wonders for the song. The clarinet soloist here is the versatile Ernie Caceres, who was at the time the baritone saxophonist in the Glenn Miller band. The song, again with Koehler lyrics, dates from the 1932 Cotton Club Parade.

"Between the Devil and the Deep Blue Sea" is another celebrated number with a relatively unfamiliar verse, which sets off the chorus nicely. It comes from a 1931 Cotton Club show, again with words by Koehler. Ernie Caceres is featured.

Bobby Hackett

For the second set of four songs, the band is augmented by three trombones, with Billy Butterfield succeeded by Bobby Hackett, who also wrote the arrangements for the first two songs. The busy pianist you hear is Dave Bowman.

"Fun to Be Fooled" is a strikingly good song that is not heard often enough. It comes from the 1934 revue Life Begins at 8:40, where Frances Williams introduced the number. Yip Harburg and Ira Gershwin were the lyricists.

The earliest song in the set is "You Said It," from the 1931 college musical of the same name, with book and lyrics by Jack Yellen. It has an ecstatic element that is well suited to Lee's vocal quality.

"Let's Fall in Love" is another Ted Koehler collaboration from a 1933 film of the same name. Ann Sothern sang it on screen. This is another favorite song of mine, and Wiley does it well. She does not include the distinctive verse, though.

One of the least known songs in the Schirmer set is the final one, "Moanin' in the Mornin'," another number from Hooray for What, sung on Broadway by Vivian Vance. It's an extraordinary piece, one of the most attractive songs in Arlen's catalog. Wiley is superlative; Hackett too is memorable in this fine composition.

Harold Arlen

More Arlen Songs

We have five additional Arlen songs that Lee recorded both before and after the Schirmer album, starting relatively early in her career. The first song comes from a 1933 Dorsey Brothers date that remained unissued until decades later, when it turned up on a Epic LP set devoted to 1930s recordings.

The young Dorseys

The song is "I Got a Right to Sing the Blues," from a 1932 Earl Carroll Vanities. It is very much suited to Lee's talents and temperament. She is in splendid voice and already a full formed artist at age 24. The obbligato is by Bunny Berigan. I've also included an alternate take that has appeared on bootlegs over the years, but it doesn't differ markedly from the Epic release.

During the 1940s, Eddie Condon promoted a variety of jazz concerts, at times with Lee as vocalist. A second version of "Down with Love" is taken from a March 31, 1945 date at the Ritz Theater in New York. It uses the same arrangement as the Shirmer recording, and even the same trumpeter - Billy Butterfield. Unsurprisingly, it's just as good a performance.

Jess Stacy

A few months later, Lee was in the Victor studios with her erstwhile husband, pianist Jess Stacy, and a relatively large ensemble. The subject was one of Arlen's most familiar songs, "It's Only a Paper Moon." That number was written for the 1932 play The Great Magoo, where it was known as "If You Believed in Me." The next year, it was interpolated into the screen version of the musical Take a Chance. A number of artists recorded it at the time, including Paul Whiteman.

In 1944, Nat Cole revived it and had some success, which apparently stimulated other recordings, perhaps including the Stacy-Wiley session. The easygoing arrangement features Stacy's idiosyncratic pianism, followed by Wiley's equally idiosyncratic singing. In truth, Russ Case's chart is not all that suited to either pianist or vocalist, but it's well played even so.

Dick Jurgens

Finally, we have a second version of "Stormy Weather," taken from a 1948 aircheck of the Dick Jurgens band. This large ensemble is very good indeed - and Lee is too - but she is best in a small group setting.

These selections for this post are taken from Internet Archive needle drops and my own collection, cleaned up for listening. The sound is generally splendid.

LINK to Lee Wiley Sings Harold Arlen

Harold Arlen Sings Harold Arlen

Harold Arlen himself was a singer who began making records in the 1920s and was still at it in the 1960s. As a performer, he was sly, witty and attuned to conveying the meaning of the lyrics. He had everything but a great voice, but even so is fun to hear. I've gathered 13 of his 1930s recordings in a new post on my other blog.