Friday, April 10, 2026

Billie Holiday liked St. James Infirmary so much that ...

When I was browsing a favourite website this morning, Expecting Rain, I read some contributions by Scott Miller exploring Billie Holiday’s influence on Bob Dylan, which reminded me of a connection between Holiday and St. James Infirmary.

Billie Holiday was born 111 years ago this month. She really liked St. James Infirmary and wanted something similar but ‘original’ that she could take into the recording studio. The result was a song called Tell Me More based on SJI but with writing credit to Holiday herself. Holiday recorded the song in 1940.

In his book Billie Holiday: Wishing on the Moon, Donald Clarke quotes songwriter Arthur Herzog. Herzog is recalling the encounter between Billie Holiday, himself, and his songwriting partner Danny Mendelsohn which led to the writing of the ‘new’ song (all of the following is from Donald Clarke’s book):


“Tell Me More” is credited to Lady herself. And on the subject of this song Herzog was grumpily funny in 1971. One evening, Danny Mendelsohn was at his house. “The house was two blocks below 14th and 8th Avenue. And we were four or five blocks away from CafĂ© Society. She used to come over sometimes Monday nights, which were her nights off.

I forget where she was living at the time. It made no difference to her because she lived all over the place. She popped up once living a floor under my younger son. He had an apartment on the west 80’s and discovered one day he was living above Billie.

She came rushing in to Danny. She was a great artist. Creative? No. She said to Danny, “Danny, I’ve got a great tune. Take it down for me.”

And she sings da-daing St. James Infirmary. So Danny says, “Yes Billie it’s a great tune but it’s St. James Infirmary.”

“Oh Danny bend it a little for me. Bend it.”

So Danny took out his pencil. Put it in blues time 4:4. Attached a bridge to it and said, “Alright Arthur, give me some words.”

So I popped the first thing that came into my mind “Tell Me More And More And Then Some.” Inane kind of thing. So we scratched this underneath and forgot about it completely.

Six months went by and there’s a record out. “Tell Me More” words and music by Billie Holiday, sung by Billie Holiday, accompanied by the Billie Holiday Orchestra, of which there was no such thing of course. There it was.

“Danny what are we gonna do about this?” This idiot friend has done this to us, and the song isn’t worth a goddamn. I mean St. James Infirmary.”

After she dies Herbie Marks [probably Herzog’s employer/publisher of the Edward B. Marks Music Company] called me up and said, “I seem to remember that you had something to do with this song?” And I’d like to do something with it.

And I said, “Herbie, I can’t prove anything but this song was written by yours truly and the late Danny Mendelsohn.” That’s how it happened. It never made any money.

Herzog is being unfair to their own “hack work.” To say nothing of using the word creative in a very limited sense. Lady had commissioned the song and even told them how to write it. Of course they should’ve got some credit. The song has a strong blues feeling and its lingering resemblance to St. James Infirmary doesn’t hurt a bit — so that it sounds as if you’ve heard it before, but you can’t remember where.

The way the words fall is pleasing and with the arrangements stop time movements and solo from Teddy (Wilson on piano), it’s an unusual love song and a nice record.

Monday, April 6, 2026

Song and Dance: The popularity of the foxtrot and the ongoing evolution of "St. James Infirmary"

 

The versions of “St. James Infirmary” that appeared in Carl Sandburg’s collection of traditional American songs (The American Songbag – ©1927) were written in 6/8 time. They were ballads, or dirges. One of the significant differences between these songs and the recordings that both included and followed the 1928 Louis Armstrong recording was a change in rhythm – to 4/4 time. With this change the song became danceable. One could dance the foxtrot to it.


The foxtrot originated around 1914 in vaudeville, by dancer Harry Fox. As part of his act Fox was executing trotting steps to ragtime music. Referred to as “Fox’s trot” the dance was set to a broken rhythm (slow-slow-quick-quick). Bit by bit the dance moves changed, and with remarkable speed the foxtrot came to dominate the dancehalls and the music scene—becoming the dance phenomenon of the 1920s. And the 1930s. And the 1940s. One could whirl around the dance floor, or one could execute the steps in the crush of a crowded venue, dancing (oh, dear!) close together and more or less in place. (From the Catholic Telegraph of Cincinnati: “… there are certain houses appropriate for such dances; but those houses have been closed by law.”)

People danced for the sheer fun of it. They danced for exercise. To aid digestion. To meet people. Dancehalls were ubiquitous. It would not be a great exaggeration to say that dancehalls littered the landscape like coffee houses in the 21st century. The exhibition ballroom dancers Irene and Vernon Castle were among the major celebrities of the day. By daringly including the scandalizing foxtrot in their routines, they sped its popularity. Even tragic songs like “St. James Infirmary” clothed themselves in upbeat danceable rhythms.

Inquiries into the early years of SJI