Welcome to Week 22 of The Definitive Version, a regular feature of my website. You can read more about the project here and read all past entries here.
Song: “In A Sentimental Mood” (1935)
Composer: Duke Ellington
Lyricist: Manny Kurtz
Form: AABA
Standard Key: F Major / D minor
Duke Ellington (1899-1974) was one of the most important compositional voices of the 20th Century. His work shows incredible breadth – from simpler blues and AABA forms to complex suites. His sophistication was without parallel, and over 1,000 compositions display that sophistication.
“In A Sentimental Mood” is a great example of Ellington at his most sophisticated – the bridge is simple and expansive, with almost no forward harmonic motion, dwelling in D minor and G minor before chromatically cadencing to F Major, while outlining a mostly pentatonic melody. (The same beginning as Gershwin’s 1926 song “Someone To Watch Over Me”.)
Then the bridge – a surprise modulation to D-flat, functional harmony, and a final deceptive cadence back to the final A.
It’s rangy, challenging to sing in tune, and the text painting is heartfelt and poignant. It’s one of the great ones.
Definitive Version: Nancy Wilson (1971, from But Beautiful)
Form: || Full Chorus ||
Feel: medium swing (q = ~120)
Key: G Major / E minor
Instrumentation: quartet – rhythm section + guitar
Nancy Wilson brings out the pathos of everything she sings, and that is so true here – beautiful, conversational phrasing. The arrangement features a beautiful bass obbligato line leading the charge in the A sections. The b section features lovely harmonic backgrounds from the piano and guitar.
And the band! Hank Jones, Ron Carter, Grady Tate, and Gene Bertoncini! Wow.
No need for solos, no need for overly elaborate arrangement – simple, straightforward, letting Ellington’s song be front and center.
Also Recommended:
- Ella Fitzgerald (1957 from Ella Sings the Duke Ellington Songbook) How would Duke interpret it with Ella singing? You don’t need to wonder.
- Sarah Vaughan (1961, from After Hours) just guitar and bass to accompany her freewheeling interpretation.
- Nellie McKay (2018, from Sister Orchid) A lovely new interpretation from McKay, who is a completely guileless singer.
- Duke Ellington & John Coltrane (1962) He wrote it in 1935 but was perfectly comfortable reinterpreting it to John Coltrane’s approach. So sophisticated. (no vocal)