The Definitive American Songbook: Arthur Schwartz Pt. 1

Arthur Schwartz kept much better company than most attorneys in his day. While he was practicing law, he was also hanging out with some serious legends. At the encouragement of his friends George Gershwin and Larry Hart, Schwartz jumped into the composing game after convincing another (temporary) suit, Howard Dietz--who was working in publicity at MGM--to collaborate with him. Thankfully their careers took off, allowing them to trade desk for piano and press release for lyric sheet. The songs that came out of their partnership are some of the very best in the American songbook.

“Dancing in the Dark” Duke Ellington from Ellington Indigos

The Schwartz/Dietz team had their biggest success on Broadway writing revues instead of musicals. They were the 1930’s Broadway equivalent of variety shows today. One of the most famous Arthur Schwartz songs was written for the 1931 revue The Bandwagon. There are many tasty recordings of “Dancing in the Dark” from which to choose your next slow jam,but the one that casually immortalized the song has slipped under the radar. While the masses swoon over Sinatra, Ella, and the perfectly acceptable Diana Krall version (which has a great instrumental section to close out the song, BTW), the really, really important version is by America’s greatest composer: Duke Ellington. An Ellington arrangement of your song is like a Spielberg remake of your movie. It’s among the highest honors a composer can receive. This is a gorgeous arrangement, featuring Harry Carney on baritone sax (Carney almost always played lead on Ellington’s biggest hit “Sophisticated Lady”), with the same meticulous care Duke put into his own music.

“By Myself” Judy Garland from Classic Judy Garland-The Capitol Years:1955-1965

A funny thing about Broadway revues… some of them grew up to be Hollywood films. The Bandwagon was produced for the silver screen in 1953 starring Fred Astaire. The Arthur Schwartz song “By Myself” was repurposed for the film from an earlier show (Between the Devil), and was featured in a great scene with Fred Astaire walking ‘solo mio’ out of a train station. But the definitive recording was by Ms. Judy Garland for Capitol Records. Her voice is in amazing shape and the Gordon Jenkins arrangement is super-duper.

“I Guess I’ll Have to Change My Plan” Tony Bennett and Count Basie from Count Basie/Tony Bennett

Schwartz’s first big hit was “I Guess I’ll Have to Change My Plan,” also included in The Bandwagon film… also from an earlier project (The Little Show). Tony Bennett sings the original lyrics, which are often changed, but not here: "I guess I'll have to change my plan. I should have realized there'd be another man. Why did I buy those blue pajamas, before the big affair began?" Not exactly what you want to hear after investing in some fly PJ’s for that hot date. The Basie Band should have backed Tony Bennett more often, because this is a sweet collaboration. It swings hard and often, making it the definitive version.

“Then I’ll Be Tired of You” Peggy Lee from The Man I Love

Peggy Lee, Frank Sinatra and Nelson Riddle walk into a studio. (Not a joke, this really happened.) Riddle arranged the song, Sinatra conducted the orchestra, and Peggy Lee made it all worth it. Her “throbbing heart” showed up for this one, helping deliver one of her most inspired recordings. Pure. Gold. This is the only song on this list that wasn’t written for a larger project. “Then I’ll Be Tired of You” wasn't on Broadway, in a movie or on television, and that’s OK. Composers gotta write, right? Here’s Peggy Lee.

“You and the Night and the Music” Frank Sinatra from Ring A Ding Ding

Written for the Broadway show Revenge With Music, this jazz standard has become a staple of the late-night jam session and the cabaret circuit. “You and the Night and the Music” is tailor-made for melodic exploration. The minor key, minimal chord changes and simple bridge make this one a real crowd pleaser when properly executed. And the lyrics are just as good: “You and the night and the music, fill me with flaming desire.” They really don’t write them like they used to. Sinatra’s recording of the Johnny Mandel arrangement is instantly recognizable and has more character than any other version.