"Don't Get Around Much Anymore" | |
---|---|
Song by Duke Ellington | |
Written | 1940 (music), 1942 (lyrics) |
Published | 1942 by Robbins Music |
Composer(s) | Duke Ellington |
Lyricist(s) | Bob Russell |
"Don't Get Around Much Anymore" is a jazz standard written by composer Duke Ellington. [1] The song was originally entitled "Never No Lament" and was first recorded by Duke Ellington and his orchestra on May 4, 1940. [2] "Don't Get Around Much Anymore" quickly became a hit after Bob Russell wrote its lyrics in 1942. [3]
Two different recordings of "Don't Get Around Much Anymore", one by The Ink Spots and the 1940 instrumental by Ellington's band, [4] reached No. 1 on the US Billboard R&B chart in 1943. Both were top-ten pop records, along with a version by Glen Gray. The Duke Ellington version reached No. 8 on the pop chart. [5]
The discography of American traditional pop and jazz singer Tony Bennett consists of 61 studio albums, 11 live albums, 33 compilation albums, three video albums, one extended play and 83 singles.
"Do Nothing till You Hear from Me" is a song with music by Duke Ellington and lyrics by Bob Russell. It originated as a 1940 instrumental that was designed to highlight the playing of Ellington's lead trumpeter, Cootie Williams. Russell's words were added later. In 1944, Ellington's own recording of the song was a number one hit R&B chart for eight non-consecutive weeks and number six on the pop chart.
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A Tribute to Duke is a 1977 studio album by various artists, recorded in homage to bandleader and composer Duke Ellington.
Duets II is an album by Tony Bennett, released on September 20, 2011. It was released in conjunction with Bennett's 85th birthday and is a sequel to his previous duet album, Duets: An American Classic. "Don't Get Around Much Anymore" was released on iTunes as a free download on August 2, 2011.
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Black, Brown, and Beige, subtitled A Duke Ellington Tone Parallel to the American Negro, is a live album of phonograph records by Duke Ellington featuring the suite of the same name in live performance in 1943. Released under the Victor Showpiece designation, the album was the first release of the suite, which has primarily been perceived in retrospect as a botched attempt by Ellington to capture his feelings on race in the United States through music. Consequently, it has been studied as an interesting work highlighting Ellington's complex relationship with race relations.