The Daily BoopaDoop...
"LuLu's Back in Town"!
"LuLu's Back in Town"!
“LuLu's Back in Town” (words and music by Al Dubin and Harry Warren) is yet another classic 32-bar AABA 20th Century American Popular Song that has, over time, become a Jazz Standard. Originally performed as part of the 1935 movie “Broadway Gondolier”, it was popularized by Fats Waller, who had a modest hit with it that same year.
The diversity of artists who've paid musical homage to this femme fatale character stretches from Art Tatum to Leon Redbone to Booker T. It was part of Thelonious Monk's regular repertoire. I first became familiar with the tune from an episode of “Sanford and Son”, an American TV comedy, where it was performed by Redd Foxx and Timmie Rogers, two legendary comedians (see vid below). Unlike many songs of the era, the lyrics here are actually pretty slick. If you already knew what a "boutonniere" was (rhymes with "hair), please raise your hand!
The diversity of artists who've paid musical homage to this femme fatale character stretches from Art Tatum to Leon Redbone to Booker T. It was part of Thelonious Monk's regular repertoire. I first became familiar with the tune from an episode of “Sanford and Son”, an American TV comedy, where it was performed by Redd Foxx and Timmie Rogers, two legendary comedians (see vid below). Unlike many songs of the era, the lyrics here are actually pretty slick. If you already knew what a "boutonniere" was (rhymes with "hair), please raise your hand!
The “Betty Boop” cartoon reference here, attempts to draw a parallel between the song's “LuLu” and “Ms. Boop”. Both represent a Jazz Age, roaring twenties “liberated” generation of young American and European woman of a century ago.
It has, however, been purported - and not at all that difficult to imagine - that the Betty Boop animated character was actually inspired by - and appropriated from - the real-life singer Esther Jones, who was African-American. She performed as “Baby Esther” at Harlem's legendary Cotton Club and is said to have sung in a baby voice - with signature “boop-boop-a-doops” - as part of her act.
But if Betty Boop is still alive and well as an animated character, so is “LuLu's Back in Town” - as a popular vehicle for improvisers.
One of the things that makes this tune so appealing - and challenging to blow over - is its deceptively simple chord progression.
The graphic in Ex. 1, from the downloadable etude (link at bottom of page), shows the song's initial chord as C7, which functions as the VI7 in the home key of Eb, and an uncommon first chord. However, it makes it's way logically to Eb Maj7 in the second half of bar #2, with two more dominant 7th chords via the Cycle of 5ths (F7 | Bb7 Eb Maj7 |).
In fact, these first 4 chords make up a rearranged I - VI7 - II7 - V7 progression, with the Eb Maj7 tonic chord at the end instead of up front. Descending Tritone substitutions are often employed within this short progression (C7-B7-Bb7-EbMaj7 or F#7-F7-E7-EbMaj7) which can be used as an alternative wherever appropriate.
Because of the Cycle's harmonic movement throughout various parts of the tune, the tritone plays a major role in the melodic line, as well. In this etude, it happens within Major, Diminished and Whole Tone Scale material.
Bar #5 starts off with a IV6* to #IV diminished passing chord, moving to a tonic I chord with the 5th in the bass (Eb/Bb) in the first half of bar #6 - creating your typical chromatically ascending bass line (Ab-A-Bb, in this case). The Cycle again takes over for the next 2 ½ bars (C7#9 | F7 Bb7 | Eb ), leading into the second A-Section via a tritone-sub (Db7#11) to the upcoming C7 in bar #9.
Rhythmically, the entire etude employs a triplet swing throughout, at 160 bpm.
*Correction - The Ab7 in bar #5 should read Ab6.
Ex. 1 - First eight bars (first A-Section), beginning on the VI7 chord.
It has, however, been purported - and not at all that difficult to imagine - that the Betty Boop animated character was actually inspired by - and appropriated from - the real-life singer Esther Jones, who was African-American. She performed as “Baby Esther” at Harlem's legendary Cotton Club and is said to have sung in a baby voice - with signature “boop-boop-a-doops” - as part of her act.
But if Betty Boop is still alive and well as an animated character, so is “LuLu's Back in Town” - as a popular vehicle for improvisers.
One of the things that makes this tune so appealing - and challenging to blow over - is its deceptively simple chord progression.
The graphic in Ex. 1, from the downloadable etude (link at bottom of page), shows the song's initial chord as C7, which functions as the VI7 in the home key of Eb, and an uncommon first chord. However, it makes it's way logically to Eb Maj7 in the second half of bar #2, with two more dominant 7th chords via the Cycle of 5ths (F7 | Bb7 Eb Maj7 |).
In fact, these first 4 chords make up a rearranged I - VI7 - II7 - V7 progression, with the Eb Maj7 tonic chord at the end instead of up front. Descending Tritone substitutions are often employed within this short progression (C7-B7-Bb7-EbMaj7 or F#7-F7-E7-EbMaj7) which can be used as an alternative wherever appropriate.
Because of the Cycle's harmonic movement throughout various parts of the tune, the tritone plays a major role in the melodic line, as well. In this etude, it happens within Major, Diminished and Whole Tone Scale material.
Bar #5 starts off with a IV6* to #IV diminished passing chord, moving to a tonic I chord with the 5th in the bass (Eb/Bb) in the first half of bar #6 - creating your typical chromatically ascending bass line (Ab-A-Bb, in this case). The Cycle again takes over for the next 2 ½ bars (C7#9 | F7 Bb7 | Eb ), leading into the second A-Section via a tritone-sub (Db7#11) to the upcoming C7 in bar #9.
Rhythmically, the entire etude employs a triplet swing throughout, at 160 bpm.
*Correction - The Ab7 in bar #5 should read Ab6.
Ex. 1 - First eight bars (first A-Section), beginning on the VI7 chord.
In Ex. 2, The process repeats itself over the next eight bars (#9 - #16), with an Eb7alt at the end of bar #16 leading into the the bridge.
*Correction - The Ab7 in bar #13 should read Ab6. The second written Eb in bar #14 should be an E-natural.
Ex. 2 - Second A-Section, (bars #9 - #16).
*Correction - The Ab7 in bar #13 should read Ab6. The second written Eb in bar #14 should be an E-natural.
Ex. 2 - Second A-Section, (bars #9 - #16).
The bridge (Ex. 3) features the same 3-chord chromatically ascending bass line found in the second half of each A-Section (Ab-A-Bb), featuring a #IV diminished passing chord. It repeats 3 times before turning back to the final eight bars, via II7-V7 (F7-Bb7) with a G7alt on the last beat. Bar #25 contains a classic lick for your library.
*Correction - Eb7 in bar #22 should read C7b9.
Ex. 3 - The bridge (B-Section - bars #17 - #24), beginning on the IV chord.
*Correction - Eb7 in bar #22 should read C7b9.
Ex. 3 - The bridge (B-Section - bars #17 - #24), beginning on the IV chord.
The final A-Section (Ex. 4) sees almost exclusive usage of descending diminished 7th chord material over the dominant 7th chords. Because they clearly express the tritones of each dominant, creative use (rhythmic variation, etc.) of diminished material is a sure way to win fair LuLu's heart!
*Correction - The Ab7 in bar #29 should read Ab6.
The E/C in bar #30 should read Eb/Bb.
Ex. 4 - The last eight (third A-Section - bars #25 - #32), beginning on the IV chord.
*Correction - The Ab7 in bar #29 should read Ab6.
The E/C in bar #30 should read Eb/Bb.
Ex. 4 - The last eight (third A-Section - bars #25 - #32), beginning on the IV chord.
So there you've got it! LuLu's back - in your town. And she's lookin' for you!
Better get yourself a bout-on-niere!
B. Stern
Better get yourself a bout-on-niere!
B. Stern
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