Here is a fantastic arrangement from the twenties that is not the work of a Challis, an Ellington or a Redman, or even a Hill or Nesbitt:
Discographies show leader/vocalist Arnold Johnson and pianist (as well as legend of the American songbook) Harold Arlen as this band’s arrangers. Lord’s discography and Jazz Oracle list Johnson as the arranger for this particular track.
The chart is not just jam-packed with instrumental and vocal textures; it’s also a stylistic smorgasbord. The introduction spotlights Pete Pumiglio’s clarinet riffing over suspenseful guitar chords, combining hot jazz and modern harmonies for some brief chamber music. Then a lush dance band baritone sax intones the chorus with prominent syncopated brass hits and violin runs mocking society bands: sweet, hot and comic all at once, and barely halfway into the record.
Another modernistic verse and transition feature the unique touch of soprano sax lead, followed by an alto sax break turning into a sax section break in barely two bars. Then, it’s right into a sax soli that is both lyrical and rhythmic, the type of written part sounding like an improvising soloist that would become synonymous with jazz arrangement. Wildman Jack Purvis even gets the hot trumpet bridge.
It all happens before the record even gets to the vocal. That vocal might now be dismissed as “dated,” but that would just be temporal prejudice. Stylistic preferences aside, the choir harmonies move against the lead in some interesting ways and the words are always clear. “Move” is the key word here: thanks to the vocal arrangement and the lightly stepping, resonant guitar and tuba underneath, there is no slackening of momentum. A short shout chorus followed by a vocal coda closes out this odyssey through the sonic landscape of twenties popular music.