Stormy Monday

Count Basie

About Stormy Monday

"Stormy Monday Blues" is a jazz song first recorded in 1942 by Earl Hines and His Orchestra with Billy Eckstine on vocals. The song was a hit, reaching number one in Billboard magazine's "Harlem Hit Parade", making it Hines' only appearance in the charts. "Stormy Monday Blues" is performed in the style of a slow blues that "starts with Hines' piano and a walking bass for the introduction". Billy Eckstine then enters with the vocal: The lyrics "stormy" or "Monday" do not appear in the song. A trumpet solo by Maurice "Shorty" McConnell with big band backing is featured in the second half of the song. Eckstine later recorded "Stormy Monday Blues" in 1959 with Count Basie for their Basie/Eckstine Incorporated album. The song has sometimes been confused with T-Bone Walker's 1947 song "Call It Stormy Monday (But Tuesday Is Just as Bad)", which is frequently shortened to "Stormy Monday" or "Stormy Monday Blues". 


Year:
1959
3:11
125 
#1

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They call it stormy Moday, but Tuesday's just as bad
They call it stormy Moday, but Tuesday's just as bad
Wednesday's worse, and Thursday's also sad

Yes the eagle flies on Friday, and Saturday I go out to play
Eagle flies on Friday, and Saturday I go out to play
Sunday I go to church, then I kneel down and pray

Lord have mercy, Lord have mercy on me
Lord have mercy, my heart's in misery
Crazy about my baby, yes, send her back to me

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Count Basie

William "Count" Basie (August 21, 1904 – April 26, 1984) was an American jazz pianist, organist, bandleader, and composer. His mother first taught him piano and he started performing in his teens. Dropping out of school, he learned to operate lights for vaudeville and improvised to accompany silent films at a local theatre in his town of Red Bank, New Jersey. By 16, he increasingly played jazz piano at parties, resorts and other venues. In 1924, he went to Harlem, where his performing career expanded; he toured with groups to the major jazz cities of Chicago, St. Louis and Kansas City. In 1929 he joined Bennie Moten's band in Kansas City, and played with them until Moten's death in 1935. more »

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Written by: Aaron T-Bone Walker

Lyrics © Wixen Music Publishing, Universal Music Publishing Group, RALEIGH MUSIC PUBLISHING, Peermusic Publishing

Lyrics Licensed & Provided by LyricFind


7 facts about this song

Artists' Background
"Stormy Monday" is a famous composition performed by Count Basie and Earl Hines, two of the most influential jazz musicians in history. - William "Count" Basie was an American jazz pianist, organist, bandleader, and composer, who dominated the Swing Era with his remarkable skills and unique style. - Earl Hines was an American jazz pianist and bandleader. He is recognized as one of jazz's greatest pioneers due to his introduction of innovative harmonic concepts.
Song's Origin
"Stormy Monday Blues" is actually a blues standard written by T-Bone Walker initially. Some may confuse this with Basie and Hines’ "Stormy Monday" as they share the same title but they are distinctly different compositions.
Notable Performances
Though "Stormy Monday" is associated with Basie and Hines, numerous artists have since created their own renditions, including the Allman Brothers Band, Bobby "Blue" Bland, and even Eric Clapton.
Chart Success
"Stormy Monday Blues," the composition by T-Bone Walker, hit number five on the Billboard's R&B chart in 1948. While Count Basie and Earl Hines' "Stormy Monday" hasn't achieved the same chart success, its critical acclaim and influence within the jazz community are undeniable.
Album Inclusion
"Stormy Monday" song was included in the album "Jazz Giants '58" which was released in 1958. This album featured other heavyweight jazz musicians like Lester Young, Freddie Green, and Jo Jones.
Genre and Style
"Stormy Monday" by Basie and Hines is an instrumental epitomizing the smooth, swinging rhythms and intricate improvisation techniques that both artists were acclaimed for.
Recording Information
The specific recording dates and details for "Stormy Monday" by Count Basie and Earl Hines are not widely documented, reflecting the loose and spontaneous nature of many jazz recording sessions of the period.

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