April in Paris, chestnuts in blossom
Holiday tables under the trees
April in Paris, this is a feeling
No one can ever reprise
Written by E.Y. “Yip” Harburg in 1932, the haiku-like lyrics of “April in Paris,” an elegant ode to the capital of France in springtime, feature rich imagery (e.g., “chestnuts in blossom” and “tables under the trees”). The music, written by Vernon Duke, is harmonically and melodically idiosyncratic with its sudden key changes. This timeless standard, penned for Duke’s Broadway musical revue, Walk a Little Faster, was composed last-minute on an old upright piano when a romantic scene in Paris was called for. The producer of the musical, which was created during the throes of the Great Depression, managed to get a second-hand Parisian set. (“Well, we really meant you to visit Paris in May, but the rhythm required two syllables,” Duke once cracked).
While Duke had lived in Paris in the 1920s, Harburg, the son of poor Russian immigrants living in New York’s Lower East Side, had never been, or even traveled abroad for that matter. After Duke tossed off the melody, Harburg went to a travel agency in New York, grabbed some brochures, and sat in a deli as he tried to imagine the sights and sounds of the City of Light. “I find that writing songs of places I haven’t been and people I haven’t seen are the most exciting because, after all, beauty is what you in your spirit and imagination invest in a place or a person,” Harburg said, according to the 1993 biography, Who Put the Rainbow in The Wizard of Oz? Harburg subverted love song clichés by beginning the song with a woman in Paris who, rather than having lost love, had never been in love. She then wishes she had a lover so she could recall a romantic moment in Paris.
“April in Paris” didn’t get much attention upon its inclusion in Walk a Little Faster, which was panned by critics. Not until chanteuse Marian Chase began performing “April in Paris” in nightclubs, and artists like Freddy Martin & His Orchestra cut hit records with it did it go on to become one of the most popular ballads of the 1930s. The tune enjoyed a resurgence in 1952 when the Sauter-Finegan Orchestra recording made the Cashbox Top 50. That same year, Doris Day sang it in the film, April in Paris, and had a hit record with it on Columbia.
The most celebrated recording is the swingin’ version from Count Basie included on his classic 1957 album April in Paris, which was among the first records on Norman Granz’s Verve label. Organist Wild Bill Davis came up with the arrangement, and the recording has a memorable “fake-out” ending where the song appears to end, then Basie yells, “One more time!” and later “One more once!” This showstopper was a staple of Basie’s live set for decades and was even featured (along with a cameo from Basie) in the 1974 comedy Blazing Saddles.
“April in Paris” remains of the most beloved entries in the Great American Songbook. Composer Alec Wilder was effusive in his praise: “There are no two ways about it: this is a perfect theater song. If that sounds too reverent, then I’ll reduce the praise to ‘perfectly wonderful,’ or else say that if it’s not perfect, show me why it isn’t.” What better month than April to look back on 10 great versions of this perfect standard?
Charlie Parker
Released: 1950
From the 10-inch LP Charlie Parker with Strings
Beginning in 1949, producer Norman Granz allowed legendary bebop saxophonist Charlie Parker to record standards with a full string section, a move that outraged jazz purists at the time. Parker’s “April in Paris” is included in the soundtrack of the 1988 biopic Bird, directed by Clint Eastwood.
Sarah Vaughan
Released: 1955
From the album Sarah Vaughn
The ever-versatile vocalist Sarah Vaughan, “The Divine One,” lives up to her moniker on this sublime recording, made even better by an evocative solo from trumpeter Clifford Brown.
Ella Fitzgerald & Louis Armstrong
Released: 1956
From the album Ella and Louis
Iconic duo Ella & Louis deliver a classic six-and-half-minute rendition on their Verve release backed by the Oscar Peterson Trio.
Count Basie
Released: 1957
From the album April in Paris
Recorded over three separate dates in 1955 and 1956, many years after Basie’s commercial peak, the April in Paris album proved to his fans that he could still swing. April is Paris is a high-water mark of orchestral jazz, and its title track is widely considered to be the definitive recording.
Thelonious Monk
Released: 1957
From the album Thelonious Himself
“April in Paris” was one of Thelonious Monk’s favorite standards. This version, from Monk’s second solo piano album (and fourth LP on Riverside), has the jazz great slowing the tempo and injecting his trademark stride style in the second chorus.
Frank Sinatra
Released: 1958
From the album Come Fly With Me
One of the highlights of Sinatra’s remarkable run of concept albums for Capitol, Come Fly with Me has a travelogue theme. Fortunately for listeners, Ol’ Blue Eyes stops in Paris to give his spin on the classic.
Dean Martin
Released: 1962
From the album French Style
Included on Dean Martin’s thematic album (and first for Sinatra’s then-new label Reprise) French Style, this version of “April in Paris” features lush strings arranged by Neal Hefti. “The King of Cool” is seen wearing a beret on the LP’s playful cover.
Luiz Bonfá
Released: 1991
From the album The Bonfá Magic
Brazilian guitarist Luiz Bonfá included this lovely, stripped-down take on his 50th studio album.
Kurt Elling
Released: 1997
From the album The Messenger
Wow, now this is a reinvention from jazz singer Kurt Elling. Musically, this bares little similarity to the original with its groovy bass line and wild piano solo. Elling throws in some scat singing for good measure.
Tierney Sutton
Released: 2013
From the album After Blue
Nine-time Grammy-nominated jazz vocalist Tierney Sutton seamlessly combines “April in Paris” with Joni Mitchell’s “Free Man in Paris.” A must-hear.
I never knew the charm of spring
Never met it face to face
I never knew my heart could sing
Never missed a warm embrace
Till April in Paris
Whom can I run to
What did you mean to
What have you done to
My heart
