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Showing posts with label 'The Cat's Got Kittens'. Show all posts
Showing posts with label 'The Cat's Got Kittens'. Show all posts

8 October 2016

Post 435: KAT'S GOT KITTENS!

One of my friends says every jazz programme should include at least one bit of nonsense. And I know a couple of fans who constantly request The Cat's Got Kittens (often written as The Kat's Got Kittens).

It is not a tune that's easy to find on YouTube - or anywhere else. I don't know its origin. But the earliest recording of it seems to have been made in New Orleans on 15 May 1945, when the singer was Edward 'Noon' Johnson (1903-1969) and the supporting band included George Lewis, Lawrence Marrero, Baby Dodds, Bunk Johnson and Alcide Pavageau. Here's a picture of Noon Johnson in later years, playing an instrument he invented - the bazooka - along with Kid Sheik Colar (trumpet) and George Guesnon (banjo).
The Cat's Got Kittens could have been 'composed' by anybody (maybe Noon himself). All that was needed was to put some nonsense words and a slightly different melodic emphasis to You Can't Escape From Me (aka San Jacinto Stomp), (words by Charles French, music by Erskine Hawkins and Sammy Lowe). It was published and recorded in 1939.

Fifty years after the Edward 'Noon' Johnson recording, The Cat's Got Kittens was popularized by Cliff 'Kid' Bastien (1937-2003), when he played for years in Toronto.
Cliff 'Kid' Bastien
You can access his storming version - and purchase it, if you wish - BY CLICKING HERE. (Then click on the arrow to make it play.)

And Marla Dixon - herself from Toronto and inspired by Kid Bastien's band - can sometimes be persuaded to sing it at The Spotted Cat in New Orleans, with The Shotgun Jazz Band.

It's a merry and simple tune to play. It works well in Bb. Need the chords? Just think You Can't Escape From Me. I am deeply indebted to my friend John Whitehorn for supplying me with copies of the sheet music.

For a clear performance by a British group CLICK ON TO THIS VIDEO. It's the The Black Cat Jazz Band.
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Footnote:
Friend and Correspondent Carsten writes:
I, in turn, was doing a bit of research in relation to 1930s British dance bands and suddenly had my memory jogged about Henry Hall's recording of An Elephant Never Forgets (they famously recorded Bananas, too, of course).  In case it's capable of incorporation into your humorous repertoire, here's a YouTube clip - my favourite line in the lyrics is "You can soft-soap an antelope, but an elephant never forgets".   https://www.youtube.com/watch?v=1rqC4gje5_c

29 October 2015

Post 286: TUNES WITH SIMILAR CHORD PROGRESSIONS

Puttin' on the Style.
Enjoy Yourself.
It's the Royal Telephone.
Listening to Tuba Skinny performing Vine Street Drag (also known as Lonesome Drag), in this video (click on to watch), I noticed that the chord progression sounds remarkably similar (possibly identical) to that of I'm Looking for the Bully of the Town recorded in 1927 by The Memphis Jug Band. You can hear The Memphis Jug Band performance by clicking here.
Similarly, if you listen to Tuba Skinny performing the eight-bar tune Mississippi River Blues, you may agree with me that it has the same chord structure as the first eight bars of Lonesome Road:
CLICK HERE.
I wonder how many hundreds of cases there are (in addition to the obvious examples of 12-bar blues) where this occurs.

There are dozens of 32-bar tunes based on the same chord progression as Bill Bailey, Won't You Please Come Home. Similarly, there are several using the same chords as When the Saints Go Marching In.


A less known example of a parallel is the 32-bar Please Don't Talk About Me, for which you can use exactly the same chord progression as for Has Anybody Seen My Girl? (also known as Five Foot Two) and Who's That Knockin' At My Door? and also for Aaron Gunn's great song Caffeine. It seems to me that Postage Stomp has an almost similar sequence too.

And I'm fairly sure you can play Livin' in a Great Big Way and Christopher Columbus to the very same chord structure as I Got Rhythm.

Where Am I Gonna Live When I Get Home improbably uses the same chord progression as Just a Closer Walk With Thee!

Bei Mir Bist Du Schön seems to me to use the same chord progression as When I Get Low I Get High and Blue Drag and Root, Hog, or Die and Jubilesta.

And my friend Ralph Hunt, the banjo player, tells me that Pennies from Heaven has exactly the same chord structure as I Can't Give You Anything But Love, apart from just one chord, which is a 7th in one tune and a minor in the other - hardly a significant difference.

My Josephine (first recorded by Papa Oscar Celestin's Tuxedo Band in 1926) is virtually identical to Some of These Days (composed by Shelton Brooks in 1910) - not only in chord structure but even in its melody. My theory is that someone (Celestin himself, perhaps) wrote a lyric dedicated to Josephine - a fan of his band - and set it to the music of Some of These Days, with only the the most negligible of modifications to the tune and chord structure.

I also think that the two spirituals Precious Lord, Take my Hand and When I Move to the Sky, if played in the same key, would be found to have the same chord progression.

I Wish I Could Shimmy Like My Sister Kate seems to me to have the same chord sequence as Red Light RagSouthern Shout and the Chorus of Heebie Jeebies and of Dallas Rag. But the alternating of dominant and tonic chords is a very familiar ploy in dozens of tunes.

You Can't Escape From Me (aka San Jacinto Stomp) uses the same chord sequence as The Cat's Got Kittens.

The chord sequences for CoquetteYes, Sir, That's My Baby and I Want to Be Happy all seem pretty much the same to me.

Rip 'Em Up Joe is an example of a 16-bar tune that seems to have a familiar chord sequence: it is similar to that found in Crazy 'Bout You (recorded by The State Street Boys in 1935) and sundry other tunes.

The House of the Rising Sun sounds suspiciously similar to St. James Infirmary. My ear tells me they have the same chord progression and almost the same melody.

Improbably, the religious number Royal Telephone is remarkably similar to Enjoy Yourself, It's Later Than You Think and to the rocking tune Puttin' On The Style.

Listening again on YouTube to the wonderful Tuba Skinny playing How Do They Do It That Way?, I thought the chord sequence sounded identical to that of the 1925 popular song Ice Cream (Ice Cream, You Scream, Everybody Loves Ice Cream). They are both very fine songs. How Do They Do It That Way? is a song about which I know very little, though I believe it dates from 1929, when Victoria Spivey recorded it. It is probable that she also composed it. I can't prove the chord progressions are identical as I do not have copies of the printed music. They are fairly different styles of song (Ice Cream is also usually played more quickly than the other) but it's interesting that to my ear at least the same chord pattern works very well for both. Listen to Tuba Skinny by double-clicking here. Try humming Ice Cream during the vocal and see whether you agree with me.
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Luke Holladay has sent me this email:
I believe the chords for "Do Lord" are identical to "This Little Light of Mine" and "Battle Hymn of the Republic".
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As for 'modern' jazz, there have been many tunes based on the chord sequences of good old songs, I'm told. For example:
Grooving' High is based on the chord sequence of Whispering
Anthropology is based on the chord sequence of I Got Rhythm
Take the A Train is based on the chord sequence of Exactly Like You
Donna Lee is based on the chord sequence of Indiana
In a Mellow Tone is based on the chord sequence of Rose Room
Ornithology is based on the chord sequence of How High The Moon
Hackensack is based on the chord sequence of Lady Be Good
Koko is based on the chord sequence of Cherokee.