Jazz Standards Songs and Instrumentals (In a Sentimental Mood) 5/20/15, 9:54 AM

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In a Sentimental Mood (1935)

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Rank 19

Music Duke Ellington

Irving Mills
Lyrics
Manny Kurtz

On April 30, 1935, Duke Ellington and His Orchestra introduced

“In a Sentimental Mood.” Recorded on the Brunswick label and
featuring Otto “Toby” Hardwick on alto saxophone, the
composition went onto the pop charts on July 13, rising to
number fourteen.
See the CD recommendations below for:
“In a Sentimental Mood” enjoyed a wave of popularity in the Duke Ellington
Duke Ellington
1930’s. Other recordings to make the pop charts that decade
Nancy Wilson
included Benny Goodman and His Orchestra, 1936, which rose Sarah Vaughan
to number thirteen, and Mills Blues Rhythm Band, also in 1936, piano Earl Hines
which rose to number nineteen. In an age of radio, “In a World Saxophone Quartet
Sentimental Mood” was the theme song for no less than nine Mark Whitfield
radio shows. Sonny Rollins

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Although Ellington is credited for the music of “In a Sentimental
Mood,” Toby Hardwick should be recognized beyond his
introductory performance. In his biography, Duke Ellington, Ads by Google
James Lincoln Collier comments, “...the central melodic ideas of
virtually all of Ellington’s best-known songs originated in ► Jazz Guitar
somebody else’s head.” Among many others examples, Collier Duke Ellington Sonny Rollins
► Best Jazz Music
points out that “In a Sentimental Mood,” “Sophisticated Lady,”
and “Prelude to a Kiss” were adaptations of Hardwick melodies. ► Piano Songs

More on Otto Hardwick at

JazzBiographies.com

Duke Ellington Nancy Wilson

More on Duke Ellington at
JazzBiographies.com

The combination of Ellington’s music and the Kurtz/Mills lyrics

has elicited high praise from music critics. Accolades have

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Jazz Standards Songs and Instrumentals (In a Sentimental Mood)
included “Simply the most beautiful song ever written” and “The
perfect soundtrack for falling in love.”
More on Irving Mills at JazzBiographies.com
More on Manny Kurtz at JazzBiographies.com
Improvisa de
Verdad
Sé un maestro de la armonía
y toca cualquier canción de
oído.
More information on this tune...
James Lincoln Collier
Duke Ellington
Oxford University Press, USA
Hardcover: 352 pages
(Ellington biographer Collier devotes two paragraphs to
anecdotes and a musical analysis of the song.)
See the Reading and Research panel below for more references.
- Jeremy Wilson
Music and Lyrics Analysis
It is always tempting to question how much Irving Mills
contributed to a song bearing his name. In this case the lofty
phrases,
“stars come through my room”
“flame that lights the gloom”
“wings of every kiss”
are so similar in style to Mills’ individual effort on “Caravan”
(1937)
“stars above that shine so bright”
“The myst’ry of their fading light...”
that it seems likely credit is due.
In his book American Popular Song: The Great Innovators,
1900-1950, Alec Wilder comments that the lyrics to “In a
Sentimental Mood” have little fluidity. While that may be true, as
with “Caravan” their strength lies in the evocative power of the
phrases. The lyrics are not witty, urbane, or exemplary in their
construction like those of Lorenz Hart or Cole Porter, but they do
successfully create images that support the mood of Ellington’s
music.
“In a Sentimental Mood” is written in the basic popular song
format A-A-B-A and appears to capitalize on a supporting phrase
from a Gershwin song. The chorus opens with a seven-note
climb up the scale that, with the exception of key, is the same as
the opening of the chorus in Gershwin’s 1926 “Someone to
Watch over Me.” The songs part company there, however, with
Gershwin launching into a series of repeated notes before
closing the first chorus (and others) with the title phrase. “In a
Sentimental Mood,” on the other hand, pauses for a full measure
at the end of the initial seven-note climb, providing emphasis
http://www.jazzstandards.com/compositions-0/inasentimentalmood.htm
5/20/15, 9:54 AM
Sarah Vaughan piano Earl Hines
World Saxophone Mark Whitfield
Quartet
Sonny Rollins
Jazz History Notes
Duke Ellington’s lovely melody was the basis for
a number of arrangements in the 1930’s, most
notably those recorded by reedman Jimmy
Dorsey, the Mills Blue Rhythm Band, guitarist
Dick McDonough, Benny Goodman, and
Elllington himself. The Belgian-gypsy guitarist
Django Reinhardt’s version with the Quintette of
the Hot Club of France in 1937 showed he was
not intimidated by the song’s harmonic
structure; his work on the recording is forward-
thinking.
The tune had a bit of hiatus during the 1940’s
but resurfaced in 1953 with recordings by Sonny
Rollins and Art Tatum, after which it was
revisited by many jazz players.
Chris Tyle - Jazz Musician and Historian
Django Reinhardt,
Stephane Grappelli
Classic Early Recordings in
Chronogical Order
Jsp Records
Getting Started
This section suggests definitive or otherwise significant
recordings that will help jazz students get acquainted
with “In a Sentimental Mood.” These recordings have
been selected from the Jazz History and CD
Recommendations sections.
The original Duke Ellington version of “In A
Sentimental Mood” from 1935 (The Duke: The
Columbia Years 1927-1962) is haunting and
lyrical, showing what a brilliant composer and
arranger he already was. Perhaps better known,
especially among modern musicians, is his
revisiting of the tune in 1962 (Duke Ellington
and John Coltrane) with a quartet featuring the
passionate saxophone of John Coltrane. A
standout among vocal performances of the tune
is Sarah Vaughan’s assured, intimate version
from 1961 (Ballads: Sarah Vaughan)
accompanied only by the guitar of Mundell Lowe
and the bass of George DuVivier.
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Jazz Standards Songs and Instrumentals (In a Sentimental Mood) 5/20/15, 9:54 AM

that establishes the sequence of notes as the hook phrase and Noah Baerman - Jazz Pianist and Educator
as the logical place to fit the title of the song. -JW

CD Recommendations for This Tune

Musical analysis of “In a Sentimental Mood”
Click on any CD for more details at Amazon.com
Original One flat; “A” starts in D minor and ends in F
Key major with a false key change to Db major Duke Ellington
The Duke: The Columbia Years
1927-1962
2004 Sony 92684
Form A-A–B–A
Original recording 1935

About 45% is minor; first “A” wanders to
Tonality the relative major key, while “B” is entirely
major
Primarily scale-wise, initially ascending from
the third degree of the minor key, gradually
Movement working its way back down through a
combination of steps and skips in both
directions.
With all the great recordings of this tune, it
would be easy to forget about Ellington’s
haunting original version. It is well worth
seeking out and provides a fascinating
contrast with the more frequently cited
quartet version with John Coltrane from
1962.

Comments (assumed background)

Sonny Rollins/Modern Jazz
Quartet
The beginning minor gives the song a “brooding,” Sonny Rollins with the Modern
introspective feeling, but the eventual change to minor Jazz Quartet
Original Jazz Classics 11
seems to bring some resolution. It has been pointed out
Original recording 1953
that the first seven notes are identical to Gershwin’s
“Someone To Watch Over Me.” However, the harmonic Rollins’ brilliantly lyrical approach to ballads
context is so radically different as to make it almost is in full bloom on this elegant collaboration
unrecognizable. with the recently-formed Modern Jazz
Quartet.
Harmonically, the piece is brilliant and unique. A descending
bass line subtly leads the ear from i to iv. A V7 returns us to
i, but then, changes the V to a minor v chord, making it a
pivot iii chord of the relative major in a circle of fifths that
leads the ear to the new tonic (in the original key: A7 – Dm
– Am7 – D7 – Gm7 – C7 – F). This whole modulation is Duke Ellington and John
done with such finesse, the listener is hardly aware of it Coltrane
until the sudden shift back to i for the second “A”. Duke Ellington and John
Coltrane
Music
The harmonic progression of “B,” by contrast, is a fairly
standard I – vi – ii – V7 (“Blue Moon,” “Heart And Soul,”
etc.), but since the song has modulated into a distant key, it This Coltrane performance of “In a
still sounds fresh. Part of this is also because many notes of Sentimental Mood” can be found on a
the melody are on coloristic chord extentions–the major handful of compilations. It very well could
(raised) seventh, the ninth, and the eleventh, for the most be the definitive rendition of the song as the
part. Other important melody notes are chord extentions, saxophonist is joined by Duke Ellington,
the most notable being the first long sustained note of “A”. himself, at the piano.
The initial seven-notescale run lands on the 11th (G in D
minor). This could only work in a minor key and essentially
makes the opening chord Dm11. The next predominant
note is the 9th (A in G minor).

Nancy Wilson
K. J. McElrath - Musicologist for JazzStandards.com But Beautiful
Blue Note Records
Original recording 1969
Check out K. J. McElrath’s book of Jazz Standards Guide
Tone Lines at his web site (www.bardicle.com).

Wilson sings this tune hauntingly, backed by

a quartet featuring the piano of Hank Jones.
Musicians' Comments

Are you a published Vocalist or Instrumentalist?

Add a comment and we'll credit you with a link to your site. (more...) Lucky Thompson
Lucky Strikes
1991 Original Jazz Classics 194
Soundtrack information Original recording 1964

“In a Sentimental Mood” was included in these films:

This is a lovely performance that displays
The Natural (1984, instrumental) tenor giant Thompson’s underrated skill at
He Said, She Said (1991) applying the bebop language to the soprano
A League of Their Own (1992, Billy Joel) saxophone.
The Mambo Kings (1992, Duke Ellington and His
Orchestra)
The Hudsucker Proxy (1994, Duke Ellington and His
Orchestra) Earl Hines
Plays Duke Ellington, Vol. 2
The Mirror Has Two Faces (1996, Marvin Hamlisch, 1997 New World 80532
instrumental) Original recording 1972
Love Jones (1997, John Coltrane and Duke Ellington)
Angel Eyes (2001, Dennis Smith)

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Jazz Standards Songs and Instrumentals (In a Sentimental Mood) 5/20/15, 9:54 AM

And on Broadway: Hines approaches the tune with a swinging

bounce while applying the harmonic
Sophisticated Ladies (1981, Phyllis Hyman) richness typical of his latter-day Ellington
Black and Blue: The Life and Lyrics of Andy Razaf interpretations.
(1989, Bunny Briggs, Jerome Richardson)

Reading and Research

Clark Terry
Duke With a Difference
Additional information for "In a Sentimental Mood" may be Riverside/OJC 229
found in: Original recording 1957

Alec Wilder
Terry was an important Ellington
American Popular Song: The Great Innovators,
1900-1950 collaborator in the 1950s, and this joyful
Oxford University Press; Reprint edition performance features him flanked by some
Hardcover: 576 pages of his cohorts from the Ellington orchestra.
(2 paragraphs including the following types of
information: music analysis.)

World Saxophone Quartet

Plays Duke Ellington
Nonesuch
Thomas S. Hischak Original recording 1986
The Tin Pan Alley Song Encyclopedia
Greenwood Press
Hardcover: 552 pages
This performance is modern and
(1 paragraph including the following types of information: harmonically edgy, but it sings nonetheless,
Broadway productions, history and performers.)
expressing the lyricism implicit in the song.

James Lincoln Collier

Duke Ellington - Noah Baerman
Oxford University Press, USA
Hardcover: 352 pages

(2 paragraphs including the following types of information: Leon Parker

anecdotal and music analysis.) Belief
1996, Sony 67457

Free Chord Changes for this Tune
You won’t hear another rendition like this.
Parker employs only conga drum and hand
claps, bolstered by flute, alto sax,
trombone, bass, steel pan, marimba, and
berimbau!

- Sandra Burlingame

Sarah Vaughan
Ballads
2002 Blue Note 37561

This compilation of recordings from the

early sixties presents Vaughan at her most
mature as a vocalist. Her elegance and
innate sense of romance are perfectly suited
for the song.

Mark Whitfield
The Marksman
1990, Warner Bros 26321

In his debut as a leader, guitarist Whitfield

displayed all-around talent. His gentle
reading of “In a Sentimental Mood” speaks
to his respect and understanding for the
“classics.”

- Ben Maycock

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Jazz Standards Songs and Instrumentals (In a Sentimental Mood) 5/20/15, 9:54 AM

Written by the Same Composer(s)...

This section shows the jazz standards written by the same

writing team.

Duke Ellington, Manny Kurtz and Irving

Mills
Year Rank Title
1935 19 “In a Sentimental Mood”

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