Minnie the Moocher: the "controversy" over the Hi-De-Hos

I have a few posts waiting in the wings, so you will be seeing them in close succession. I have chosen this one as the first of these because it refers to the previous post, about a rambunctious, startling, and thoroughly captivating modern New Orleans version of SJI. In that post I wrote that this version by the New Creations Brass Band contains "nods to the 1930s Cab Calloway with the call and response and the Hi-De-Hos."

So, about these Hi-De-Hos (or Ho De Hos . . .). I have written about these before. And I shall add a few more words about them here. But I do want to emphasize that, when I talk about the controversy, I am only talking about a pop song, and that the word "controversy" resides within that realm.

So here we go:

First, "Minnie The Moocher" was based upon two or three other songs - one being SJI (Calloway used SJI as his signature tune in his early days at the Cotton Club and insisted that its replacement should stay close, in the instrumental arrangement, to SJI) and another being an old song from the Wild West, "Willie The Weeper" (from which Calloway and Irving Mills borrowed very heavily). In Cab Calloway's autobiography, "Of Minnie The Moocher And Me" (1976) Cab (with his co-writer Bryant Rollins) said:

"The 'hi-de-ho' part came later, and it was completely unexpected and unplanned. ... During one show that was being broadcast over nationwide radio in the spring of 1931, not long after we started using 'Minnie the Moocher' as our theme song, I was singing, and in the middle of a verse, as it happens sometimes, the damned lyrics went right out of my head. I forgot them completely. I couldn't leave a blank there as I might have done if we weren't on the air. I had to fill the space, so I just started to scat-sing the first thing that came into my mind.
"'Hi-de-hi-de-hi-de-ho. Hi-de-hi-de-hi-de-ho. Ho-de-ho-de-ho-de-hee. Oodlee-odlyee-odlyee-oodlee-doo. Hi-de-ho-de-ho-de-hee.' The crowd went crazy. And I went right on with it - right over the live radio - like it was written that way. Then I asked the band to follow it with me and I sang, 'Dwaa-de-dwaa-de-dwaa-de-doo.' And the band responded. By this time, whenever the band responded some of the people in the audience were beginning to chime in as well. So I motioned to the band to hold up and I asked the audience to join in. And I sang and the audience responded; they hollered back and nearly brought the roof down. We went on and on for I don't know how long, and by the end the rafters were rocking and the people were standing up and cheering."


That sounds pretty straight forward. But, in his introduction to the same book Calloway also wrote, referring to Minnie:
"I don't know how it got started, really, the scat singing. I think one night in the Cotton Club I just forgot the words to a song and started to scat to keep the song going ..."

Hmmm. His manager and co-writer (Irving Mills), on the other hand, was adamant that he, Mills, wrote most of the song, basing it upon "Willie The Weeper," and that the call-and-response had always been an integral part of it, as it had been with "Willie The Weeper." From the link above: "Irving Mills claimed he wrote 'Minnie the Moocher' himself. He completed it in a couple of hours, using one of the Mills Music house musicians to transcribe the melody." Calloway then, according to the 1933 newspaper interview with Mills, “injected his catching musical personality into the piece.”

The image accompanying this post is from one of the first sheet-music covers for "Minnie The Moocher." (Sheet music sales were still a major commercial enterprise.)  The date is 1931, the year Calloway started performing the song and, as you can see in the image below, the scat-singing was already integrated into the song sheet. (Clicking should enlarge the image.) Calloway became known as "The Hi-De-Ho Man," audiences loved responding to his Hi-De-Hos and - from the perspective of his career - "Minnie The Moocher" and its call and response were very important.

This doesn't, by any means, settle the "controversy." But it might help to give it an outline.

Brushing the borders of anarchy: SJI in today's New Orleans. Wow!

Michael Ward-Bergeman, a musician about whom I have previously written on this blog, will soon be moving to New Orleans, and he sent me a link to a current New Orleans performance of "St. James Infirmary." Of course SJI has long been associated with New Orleans, and one might be tempted to consider the song a kind of city anthem. The only time Louis Armstrong mentioned the song in his writings was in relation to a funeral in New Orleans. A member of his club, the Tammany Social Club, had died and Louis was one of the pall bearers. This was around 1917 (he mentioned that "Livery Stable Blues" had just been released) so Louis would have been about sixteen.

He wrote: "The funeral left from the corner of Liberty and Perdido Streets. All the members had to wear black or real dark suits, and I had been lucky enough to get my black broadcloth suit out of pawn in time for the funeral. In those days we did a good bit of pawning. As soon as a guy got broke the first thing he thought of was the pawn shop. All out of pawn that day. I looked like a million dollars. . . . It had been raining all morning; the gutters were full of water and the streets real muddy. I had on a brand new Stetson hat (like the one in St. James Infirmary), my fine black suit, and patent leather shoes. Believe me, I was a sharp cat."

In Louis' case the funeral didn't go quite as planned. His girlfriend Daisy saw him chatting with another girl, and in a jealous rage chased him down the street with a razor. His Stetson fell off, and she cut it to ribbons. (From Armstrong's "Satchmo, My Life in New Orleans," 1954)

Which might be a round-about way of introducing this contemporary version of "St. James Infirmary." But even before Louis' time, SJI had been played at New Orleans funerals, and the singer we are about to encounter works within this venerable tradition, being employed in his off-hours at a New Orleans funeral parlor.

Malcolm "Sticks" Morris is the lead vocalist, and also plays a fine bass drum and cymbal on this song. The group is called the New Creations Brass Band, and they can be found on this Facebook Page. Their musicianship is a wonder. The percussive drive here threatens, at all times, to turn the song into a runaway train, but the group is tight and incredibly energetic, and somehow everything holds together. Well, of course it holds together; this is a rehearsed and polished performance, and its effect is deliberate. There are nods to the 1930s Cab Calloway with the call and response and the hi-de-hos. But this 2013 interpretation is its own creature, lurching down the streets, scraping against buildings, staggering through the lyrics, blasting clouds out of the sky, before finally succumbing to the (inevitable) funeral march, but never giving up the ghost.

This is a "St. James Infirmary" for the 21st century. Wow! As you will soon hear, this song just keeps getting better.

I recommend turning up the volume for this. At 192 kbps and clocking in at 6:22, here is the New Creations Brass Band and St. James Infirmary Remix. (Many thanks for your permission to post this!!)

The New Creations Brass Band have a new CD coming out - as soon as I hear more, I shall let you know where to find it.

The Golden Grail - found! Gambler's Blues (aka St. James Infirmary), the first sheet music

Ahhhh.

I have been looking for this sheet music for years. Dare I say, for at least a decade?! And it escaped me. It was as if the object did not exist. I mean, I read about it, and I even found evidence that it was locked in the archives of the New York State judicial library, as evidence in a 1930s lawsuit. But it was rare as the Dickens and I could never find the actual thing.

But two months ago I did.

I found it on ebay. The starting price was ninety-nine cents (plus postage), and there were two weeks left in the bidding. "Oh dear," I thought, "this is such an important historical document, one that has eluded me for a decade, and I am sure many people will be bidding for this. There is no chance that, with my meager resources, I shall be able to actually get my hands on this item." But, as you can see, I did win it. For ninety-nine cents (plus postage).

What an odd thing!! This was something of considerable importance to me. And I was the only one to enter a bid. Nobody else in the world cared. It was my golden grail. And nobody else cared. There were no other bids. And so I now possess (what I thought to be) a great historical document at a cost of ninety-nine cents (plus postage).

I must be deluded. I have been pursuing this story, this history of "St. James Infirmary," for over a decade. One of the critical links in the saga of this song appeared for sale, and . . . well . . . it sold for ninety-nine cents.

I shall have to ponder this.

Maybe history depends upon who writes the story.

The year on this music sheet is 1925. It was published by Phil Baxter in Little Rock, Arkansas. My research had informed me that "Harry D. Squires, Inc." was the original publisher of this song, and that Squires was the person who convinced Fess Williams to record it. So it is possible that Baxter released this edition before finding a bona fide publisher. Also, I had noted that Baxter and Moore neglected to copyright the song (thereby leaving the way open for "Joe Primrose" to take ownership of it). But "International Copyright Secured" is printed on these pages. I had found no evidence of this when I contacted the U.S. copyright offices, so I am not sure what this means.

The sheet music with lyrics is below - the pages should expand when you click on them. I leave it to you to compare this music with the versions of this song in Carl Sandburg's "American Songbag," published in 1927. Whatever this comparison tells you, it will be clear that neither Phil Baxter nor Carl Moore nor Joe Primrose nor anybody else wrote "St. James Infirmary."

The sheet music can be found in the post below.

Sheet music for Gambler's Blues

The sheet music with lyrics is below - the pages should expand when you click on them. I leave it to you to compare this 1925 music with the second oldest versions of this song in Carl Sandburg's "American Songbag," published in 1927. Whatever this comparison tells you, it will be clear that neither Phil Baxter nor Carl Moore nor Joe Primrose nor anybody else wrote "St. James Infirmary."