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Stardust (1927 song)

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For other songs with similar names, seeStardust (disambiguation) § Songs.

"Stardust"
SongbyHoagy Carmichael and His Pals
Written1927
PublishedJanuary 19, 1929 byMills Music, Inc.[1]
ReleasedOctober 1928
RecordedOctober 31, 1927
StudioGennett Studios, Richmond, Indiana
GenreJazz
Length3:02
LabelGennett Records
Composer(s)Hoagy Carmichael
Lyricist(s)Mitchell Parish
Hoagy Carmichael and His Palssingles chronology
"Stardust"
(1928) 		""Barnacle Bill The Sailor ""
(1936)

"Stardust"is a1927 songcomposedbyHoagy Carmichael,withlyricslater added byMitchell Parish.It has been recorded as aninstrumentalorvocaltrack over 1,500 times. Carmichael developed a taste forjazzwhile attendingIndiana University.He formed his own band and played at local events inIndianaandOhio.Following his graduation, Carmichael moved toFloridato work for alaw firm.He left the law sector and returned to Indiana, after learning of the success of one of his compositions. In 1927, after leaving a local university hangout, Carmichael started to whistle a tune that he later developed further. When composing the song, he was inspired by the end of one of hislove affairs,and on the suggestion of a university classmate, he decided on its title. The same year, Carmichael recorded an instrumental version of the song forGennett Records.

In 1928, Carmichael left Indiana afterMills Musichired him as a composer. Mills Music then assigned Mitchell Parish to add words to the song.Don Redmanrecorded the song in the same year, and by 1929 it was performed regularly at theCotton Club.Isham Jones's 1930 rendition of the song made it popular on radio, and soon multiple acts had recorded "Stardust". Because of the song's popularity, by 1936,RCA Victorpressed adouble-sidedversion that featuredTommy DorseyandBenny Goodmanon respective sides.

By 1940 the song was considered astandard,and it was later included in theGreat American Songbook.That year, RCA Victor released two more recordings of "Stardust": one by Dorsey featuringFrank Sinatraas the singer, and one byArtie Shaw.Shaw's recording sold one million copies, andGlenn Miller's rendition was published in the same year. Artists includingJo Stafford,Ella Fitzgerald,Nat King Cole,Billy Ward and his Dominoes,Ringo Starr,andWillie Nelsonhave recorded "Stardust". The song was featured in several films, includingMy Favorite Year,Goodfellas,Sleepless in Seattle,andCasino.It was inducted into theGrammy Hall of Famein 1995 and added to theNational Recording Registryin 2004.

Background[edit]

Soon after enteringIndiana University,Carmichael developed a taste forjazz music.He had learned to play the piano with his mother, who performed at dances and movie theaters.[2]In 1922, Carmichael met and befriendedBix Beiderbecke.Carmichael often played with Beiderbecke, and he became acquainted with his band,the Wolverines,who recorded his original composition "Riverboat Shuffle"in 1924.[3]While still attending Indiana University, the singer formed a band called Carmichael's Collegians. Carmichael and his band performed locally inIndianaand aroundOhio.[2]The band appeared at 50 events between 1924 and 1925, while between 1925 and 1926, they played three to five nights a week at different engagements.[4]Carmichael received hisbachelor's degreein 1925 and had earned aBachelor of Lawsby 1926.[5]In the same year he worked as a law clerk in Miami, but he returned to Indiana after failingthe Florida Barexamination.[6]However, he passed theIndiana State Bar Associationexamination and worked for a law firm in that state.[7]With the success ofRed Nichols' 1927 recording of Carmichael's original "Washboard Blues",the composer decided to leave the practice of law in pursuit of a career in music.[3][8]

Composition, first recording and addition of lyrics[edit]

Photographic portrait of Charmichael looking at the camera
Carmichael pictured while attending Indiana University, where he composed the tune.

Carmichael wrote the song with inspiration from the end of his love affair with Kathryn Moore, who would later marry Art Baker, the trumpet player in Carmichael's Collegians.[9]While Carmichael related several explanations of how he was inspired to write it on the University campus, biographerRichard Sudhalterdeemed the stories "encrusted in myth, much of it the composer's own creation".[10]One night after leaving the Book Nook, a university hangout, Carmichael whistled what would become the opening of the song. The composer later declared that he felt that the tune "had something very strange and different".[11]He worked on the details with different pianos, including one at the Book Nook. According toErnie Pyle,the composer did further work at the Carmichael family's home.[9][12]While he visited Carmichael, Pyle asked him to play the song he had been working on.[11]Pyle later commented that Carmichael asked him not to reveal the details of the night he worked on the song with the family's piano, saying "the public likes to think these sweet songs are conceived under the moonlight, amid roses and soft breezes".[9]Carmichael finished the details of the composition on agrand pianothat was later thrown away because of its poor state.[10]Baker and Carmichael's Collegians' singer Violet Deckard Gardner remembered Carmichael humming the tune of the incomplete composition before 1926.[9]Fellow student Stuart Gorrell suggested the title "Star Dust";[13]Gorrell felt the tune sounded like "dust from stars drifting down through the summer sky".[14]

Recording[edit]

After working out the details with the band, Carmichael booked a recording session withGennett Recordsfor October 31, 1927.[9]Since he had not written anysheet musicfor the song, he had to whistle the tune to the musicians.[15]Carmichael played the piano, backed by Emil Seidel and his orchestra: Byron Smart (trumpet), Oscar Rossberg (trombone), Dick Kent and Gene Wood (alto saxophones), Maurice Bennett (tenor saxophone), Don Kimmel (guitar), Paul Brown (tuba), Cliff Williams (drums).[16]The session took place at Gennett's studio inRichmond, Indiana.The recording featured a "medium fast and jazzy tempo" with no lyrics. Under the single-word title "Stardust," it was placed on the flipside of "One Night In Havana", assigned the release number 6311, and credited to Hoagy Carmichael and His Pals.[13] Carmichael received a one-sided pressing of "Stardust" from the studio, before he left Indiana in 1928 to work for Mills Music as a composer.[17]The first manuscript for the song was deposited at theUnited States Copyright Officeon January 5, 1928.[13]The sheet music featured a tune in akeyofDwith no indication oftempoand no lyrics. Mills Music then published different sheet music for the song on January 19, 1929, as a piano composition.[13]Don Redman,who worked for Mills Music, often played the song.[18]After hearing Redman's rendition of it, a company arranger suggested playing the song at a "slower tempo and in a sentimental style". Feeling it could be a potential success,Irving Mills"decided on the song having lyrics added.[19]

Lyrics[edit]

Mills assigned lyricistMitchell Parishto add the words to Carmichael's "Star Dust".[17]Parish used as a working title "Then I Will Be Satisfied", but he accepted Redman's suggestion to re-title the song to "Stardust".[20]Author Gene Fernett suggested Redman wrote the verse of the song, but his claim could not be supported.[20][18]Parish wrote the song using Carmichael's account of how he was inspired to compose the melody, while the lyricist developed a story focused in the concept of lost love.[21][22]Regarding the lyrics, authorPhilip Furiadescribed the phrasing as "utterly casual", while he felt that the "imagery and diction strain to be poetic". Furia stressed that Parish "made the subject of the song the melody itself".[23]The sheet music for the vocal composition was published as "Star Dust" on May 10, 1929[13]in thekeyofC major.

Analysis[edit]

Thesong's structurehas two introductory verses that are sometimes omitted. These are followed by a32-barchorusin ABAC form (instead of the traditional AABA form) that is often repeated. The intriguing openingharmonic progressionof the chorus starts on theIV chordfor two bars which then changes from major to minor, a method also used by two contemporary songs: "After You’ve Gone"(1918) and"I’ll See You In My Dreams"(1924).[24]

The melody fluctuates betweenminorandmajor thirdintervalsinrangeof anoctaveand athirdto "heighten drama".[25]

Early recordings[edit]

Sheet music cover, 1929

In early 1929, Redman and his bandThe Chocolate Dandiesreleased "Star Dust" on Okeh 8668. The recording retained Carmichael's original key of D.[18]The song soon circulated among black musicians and jazz interpreters,[26]and it was often performed at theCotton Clubafter being introduced in 1929.[17][23]Duke Ellingtonperformed the song at the club. The revueHot Chocolatesfeatured a version byLouis Armstrong,[27]which was inducted into theGrammy Hall of Famein 2009.[28]

While Carmichael worked forRCA Recordsas a session jazz ensemble leader, journalistWalter Winchellpromoted the song. His writings attracted the attention ofIsham Jones,who recorded a version with his orchestra as a slowballad.[17]Jones's session took place on May 14, 1930, in Chicago, andBrunswick Recordsreleased it under catalog number 4856, with the title once again "Stardust."[29]The 1931 release became one of his most popular recordings.[30]By 1931, "Stardust" was often played by the orchestras of several US radio stations.[31]While remarking on the popularity of the tune on the radio, theCalgary Heraldopined of Jones's version: "This beautiful melody seems destined to achieve the popularity which it so richly deserves and which is so long overdue."[32]In August 1931,Bing Crosbyreleased the song as "Star Dust" on Brunswick Records.[33]The same year,Lee Simsalso released "Stardust" on Brunswick 6132, a version that theSydney Morning Heraldcalled "a melody of a considerable intensity and with dramatic outbursts," with a "realistic and very full" piano reproduction.[34]Throughout the 1930s, record labels used both the one and two-word versions of the title, though Carmichael himself favored the one-word title, as evidenced by his private correspondence[35]and his 1946 memoirThe Stardust Road.

Big band era and success[edit]

By 1935, while radio announcers commonly credited the orchestra only, Carmichael was mentioned as the composer of the song during introductions because of its popularity.[36]The same year, saxophonistColeman Hawkinsrecorded the song on March 2 in Paris. Compagnie de Gramophone Française released it with the catalog number K-7527.[37]The song was often performed byArt Tatum,Garnet Clark,andFats Waller.Mills recorded the song himself with his multiple bands, and recorded versions by theMills Blue Rhythm BandandCab Calloway.[38]In 1936, for the first time in its history,RCA Recordspressed two versions of the same song by two different artists on a single record:Tommy Dorseyon one side andBenny Goodmanon the other. Goodman used an arrangement byFletcher Henderson,while Dorsey's version featured the vocals ofEdythe Wright.[14]By 1937, Goodman remarked that Carmichael's tune was the most popular dance number of his repertoire.[39]"Stardust" became astandardofbig bandmusic.[40] In 1940, RCA Victor executive Harry Myerson proposed that the label again release a two-sided recording of "Stardust": one side would featureArtie Shaw,the other a new version by Dorsey.[41]Shaw and Dorsey's versions were ultimately released on separate records. Dorsey's recording of the song featured vocals byFrank Sinatraandthe Pied Pipers,while Shaw's release would become the most popular recording by the clarinetist,[42]selling a million copies.[9]The Baltimore Suncelebrated the release of both recordings in the same week. It considered Dorsey's version "emotional", and felt the vocals by Sinatra and the Pied Pipers made the record suitable for "armchair listening". Of Shaw's version, the reviewer remarked on his "fluid clarinet above strings", and determined the record is for "straight dancing".[43]TheTampa Bay Timeswelcomed Dorsey's "silky trombone" and the "slow vocal style" of Sinatra and the Pied Pipers. Of Shaw's version, they stressed his "intricate and dazzling clarinet wizardry", and the "medium slow drag" playing style of the band.[44]TheTimes-Dispatchalso remarked on the "intricate clarinet work" by Shaw, while it felt that Dorsey's version featured "expert trombone work" and an "unusual vocal" that the reviewer preferred over Shaw's version.[45]Shaw's recording was arranged byLennie Hayton,while the clarinetist used his new orchestra composed of:Billy Butterfield(trumpet),Jerry Jerome(tenor saxophone),Johnny Guarnieri(piano),Nick Fatool(drums), andJack JenneyandVernon Brown(trombones). Hayton's arrangements included solos by Shaw, Butterfield and Jenney, while they were focused on the use of the string section.[46]

See caption
Glenn Miller and theAAFTCOrchestra recording issued asV-Discin 1943

Also in 1940,Glenn Millerrecorded his version of the song, which enteredBillboard'sNational Best Selling Charton October 26, and peaked at number 20.DownBeat's review considered the release "among the greatest bits of big band scoring in history".[47]While it considered the song "beautifully arranged with good sax and trumpet solos",The Boston Globefelt the result is "completely dead and lifeless". The publication attributed this to an imbalance in the number of musicians in the woodwind section, compared to the rhythm section, which the reviewer described as "just competent musicians, no more".[15]

In 1940, the tune was among those affected by theASCAP boycott.The dispute between theAmerican Society of Composers, Authors and Publishers(ASCAP) and radio broadcasters focused on the increase in the price of song royalties. To counter the use of ASCAP tunes including "Stardust",Broadcast Music, Inc.was created, and the broadcasters did not renew their contract for the use of an estimated two million tunes.[48]After nine months of negotiation, a settlement was reached in October 1941 and major networks aired the tunes again.[49]In 1941,Don Byasrecorded a version of "Stardust" featuringThelonious Monk,as he was the house pianist atMinton's Playhouse.Monk disliked "Stardust": he described it as "a sad song... if you know anything about music and harmony". He felt the melody was "lousy" and that performers have to "do a lot of figuring how to play that in order to make it sound good".[50]Another version by Miller was released on theV-Disclabel in 1943.[51]During the 1940s, "Stardust" was recorded by multiple artists either as an instrumental song or as a romantic ballad by vocalists.[52]For the period from July 1947 to July 1948, "Stardust" placed at number one on the Juke Box Standard Favorites pollBillboardconducted throughjuke boxoperators and using the Peatman Survey for radio audiences. According toBillboard,it "proved to be a nationwide favorite, drawing top votes from all parts of the country".[53]

Later recordings[edit]

In May 1953, according to jukebox operators, "Stardust" placed three times on the Ten Pop Standard Records list. Shaw's version topped the chart, while Dorsey and Miller's versions placed at numbers seven and eight, respectively.[54]Ella Fitzgeraldrecorded the song, accompanied byEllis Larkinson the piano. The tune was included on her 1954 albumSongs in a Mellow Mood.Saturday Reviewdescribed Fitzgerald as doing "absorbing things with 'Stardust'",[55]while theChicago Tribuneconsidered the tune "completely in line with her magnificent singing".[56]In 1954, when the copyright of 14 of his songs including "Stardust" wasdue for renewal,Carmichael sued Mills Music to receive total ownership or co-ownership of the compositions.[57][58]Carmichael's contract with Mills Music granted the songwriter royalties in case any of his songs were published.[59]He started his legal action on the grounds of "unconscionable advantage taken of him at the time the contracts were executed".[60]Summary judgmentwas denied,[60]as the court considered that "the assignee paid large royalties".[61]In 1955, during the 25th anniversary of its publishing,Timeestimated that Carmichael received a total of $250,000 in royalties for "Stardust", while the song made at the time $15,000 to $20,000 a year.[62]

ProducerLee GilletteconvincedNat King Coleto include the song on his 1957 releaseLove Is the Thing.Cole initially refused to record it because of the number of renditions available at the time. Cole, who had been singing the song since 1954, declared: "I hate to sing Stardust, it wears me out". On its release, the song received good airplay.[63]In 1957,Billy Ward and his Dominoes' version placed at number 12 onBillboard'sTop 100.[64]The same year,Pat Boonereleased a version on his albumStar Dust,which reached number two onBillboard'sBest selling LP'schart.[65]In 1958,Pat Suzukiincluded her recording on her self-titled album.[66]SaxophonistJohn Coltranerecorded a ballad version also in 1958[67]in what was later known as theStardust Sessions,later released as the title track of his 1963Stardust album.[68]Sinatra's 1962Sinatra and Stringsalbum arrangerDon Costaomitted Stardust's chorus, to instead focus the "musical and lyrical mind on all the neglected nuances of the verse".[69]A review inThe Rock Island Arguscalled Sinatra's "Stardust" his "choicest" track on the album and remarked on his "entirely new approach overlooking the perennially favored chorus".[70]

Between 1958 and 1963, "Stardust" produced US$50,000 yearly in royalties for Mills Music.[13]In 1964,Nino Tempo & April Stevens' version peaked at number 32 onBillboard'sTop 100[64]and number 27 inCanada.[71]Ringo Starrrecorded the song featuring arrangements byPaul McCartneyfor his 1970 debut solo album,Sentimental Journey.[72]In 1978,Willie Nelsonrecorded it as the title-trackof his album of pop standards.In its review, theGannett News Servicefelt that "Carmichael would be proud".[73]Nelson's album toppedBillboard'sTop Country Albums,[74]while reaching the summit onBillboard'sTop LPs & Tapes.[75]Stardustremained on theBillboardcharts for 540 weeks until 1988.[76]Of Nelson's version of "Stardust",National Public Radiocommented: "Today, people who never heard of Isham Jones or Artie Shaw or even composer Hoagy Carmichael know his work thanks to Willie Nelson."[11]Tiny Timrecorded the song withBrave Comboon what would be his final recording,[77]the 1996 albumGirl.[78]Rod Stewartincluded the song onStardust: The Great American Songbook, Volume IIIin 2004.[79]In 2017,Bob Dylanrecorded it for histhree-discsetTriplicate,that covered American standards. Daniel Kreps ofRolling Stoneconsidered that "Dylan's approach finds a pleasing, country-tinged arrangement" that the reviewer noted to be "somewhere between" Sinatra and Nelson's version.[80]

Legacy[edit]

"Stardust" is considered a part of theGreat American Songbook.[81][82]The song has been recorded over 1,500 times,[83]and has been translated into 40 languages.[3]TheEncyclopædia Britannicahas defined it as "one of the most renowned and most recorded standards in all of American music".[84]Carmichael's 1927 version was inducted into theGrammy Hall of Famein 1995.[85]The 1940 recording of the song byArtie ShawAnd His Orchestra was inducted into theGrammy Hall of Famein 1988.[86]National Public Radio included it on their NPR 100, a 1999 list of the 100 most important American musical works of the 20th century. For NPR,Susan Stambergdefined it as "an American song of longing, dreams, desires, [that] still stretches across the decades to touch the spirit of anyone who hears it".[11]In 2004, theLibrary of Congressinducted Carmichael's "Stardust" into theNational Recording Registry,[87]which lists "culturally, historically or aesthetically important" music that "informs or reflects life" in the United States.[88]Carmichael's entry to theSongwriters Hall of Famedeemed the song "most notably one of the greatest standards" from theJazz Age.[89]Carmichael's biographerRichard Sudhalterattributed the song's popularity to "some combination of young Carmichael's heartland upbringing, Bix's uniquely bardic sensibility, and the unself-conscious emotional directness that characterizes much non-urban American pop music".[90]Nelson'sStardustalbum was inducted into the Grammy Hall of Fame in 2015.[91]

In popular culture[edit]

In 1938,Orson Welles's radio broadcastThe War of the Worldsfeatured an excerpt of "Stardust" played by the fictional Ramón Raquello Orchestra.[92]The 1961 episode "The Hit Songwriters" ofThe Flintstonesfeatured a version byFred Flintstone.[93]Different versions of the song appeared in films, includingStardust Memories(1980),Goodfellas(1990), Another Man's Poison(1951), Sleepless in Seattle(1993),Casino(1995),[94]The Aviator(2004),[95]A Star Is Born(2018),[96]Captive State(2019).,[97]and Carmichael's own short 1942 recording[98]is featured at the start of closing credits inNightmare Alley (2021).OnYouTubethat 1942 recording has garnered nearly 230,000 views of one posting alone.[99]

On December 1, 2000, Nelson's version of "Stardust" was used to wake up the crew ofSpace ShuttleEndeavour's missionSTS-108.[94]The Caretakersampled versions of the song for 2 of his albums; Marjorie Stedeford's version inWe'll All Go Riding on a Rainbow[100]and Charlie Spivak's version inEverywhere at the End of Time.[101]

Charts[edit]

Year Artist Chart Peak position
Chart performance for "Stardust"
1941 Tommy Dorsey(featuringFrank Sinatraand thePied Pipers) USBillboardHot 100[102] 7[103]
Artie Shaw USBillboardHot 100[104] 6[105]
1943 Glenn Miller USBillboardHot 100[106] 20[47]
1957 Billy Ward and his Dominoes USBillboardHot 100[107] 12[64]
1964 Nino Tempo & April Stevens USBillboardHot 100[108] 32[64]

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Sources

External links[edit]

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