Louis Jordan’s A Man’s Best Friend Is A Bed (1953)

My daughters’ piano teacher, Chris, is a gifted pianist who plays in a band called Louis Louis Louis. They specialise in jazz, swing, big band, boogie-woogie and jump blues, focusing (as their name suggests) on the three great Louis’s: Jordan, Armstrong and Prima. Sadly, the time constraint of the piano lesson window (along with the girls’ mortification at any conversation initiated by me going beyond normal pleasantries) precludes me from proclaiming to Chris: “I love Louis Jordan!”. Yet it’s true: I discovered the marvellous up-tempo jump blues and rich vocal tones of Louis Jordan and his Tympany Five many years ago, specifically from this compilation album here called Out Of Print:


Jordan had started his career in the big-band swing era of the 1930s, being a member of the influential Savoy Ballroom orchestra, led by drummer Chick Webb, in New York’s Harlem district. He specialised in the alto sax, but also played tenor sax, baritone sax, piano and clarinet. He was also a great songwriter, a consummately good singer, and had a wonderfully comic and ebullient personality that soon made him stand out from the crowd. This was the same period that a young Ella Fitzgerald was coming to prominence and she and Jordan often sang duets on stage.

Jordan would soon have his own band, pared down to a sextet, and a residency at the Elks Rendezvous club, down the street from the Savoy on Lenox Avenue. Their style was a dynamic, up-tempo, dance-oriented hybrid of earlier genres which became known as “jump blues” and was an instant hit with the audiences. His band, the Tympany Five, started recording music with Decca records in December 1938, and throughout the 1940s they released dozens of hit songs, including Saturday Night Fish Fry, the comic classic There Ain’t Nobody Here But Us Chickens, and the multi-million seller, Choo Choo Ch’Boogie.

From July 1946 to May 1947, Jordan had five consecutive number 1 songs, and held the top slot for 44 consecutive weeks, an amazing testament to his popularity at the time. It’s true to say that history has given him a raw deal, since his name is not as widely known as it should be, given the above stats (outside sophisticated circles such as our own, of course!).

I’ve selected a song (from many candidates) that is typical of Jordan’s wit and charm: 1953’s A Man’s Best Friend Is A Bed. As well as being a jumping tune, the song extols the comforts of the bed, and on cold mornings like today, who can’t relate to that?

Listen to Louis: 

I want a great big comfortable bed, so I can really spread out, and all that
Take it from me Ed, A man’s best friend is a bed

I want a big fat pillow that’s softer than a billowy cloud, for my head
Take it from me Nat, the best head piece ain’t a hat

Yes, a friend will ditch you, a horse will pitch you
A car will give you lots of grief
A dog will bite you, your wife will fight you
But if you want some genuine relief

Just get a great big comfortable bed, where you can really spread out, and all that
Take it from me Ted, a man’s best friend is a bed

When you’re in trouble, worries double
And everybody’s talking back
Just take your shoes off, you’ll shake the blues off
If you would just let go and hit the sack

In a nice cool comfortable bed where you can really spread out, and all that
Take it from me Ted, a man’s best friend is a bed

Ask any soldier, marine or sailor
Or anyone who’s been without, what do they miss most,
What thought is foremost? No Sir, you’re wrong
!

It’s just a great big comfortable bed, where you can really spread out, and all that
Take it from me Ted, a man’s best friend is a bed

Yeah, if you dig me Jack, you’ll hit the sack
This ain’t no junk boy, hit that bunk
Take it from me Ted, a man’s best friend is a bed

Louis Jordan

Gustave Caillebotte’s The Floor Scrapers (1875)

Many leading artists in mid-19th century France liked to test their artistic skills by depicting farm workers and peasants at toil in the countryside – Courbet’s The Stone Breakers (1850) and Millet’s The Gleaners (1857), for example.

As the century wore on, some artists began to explore the concept of men and women at work in urban settings – Manet’s The Road-Menders in the Rue de Berne (1878) springs to mind, as does Women Ironing (1884) by Degas. Of this genre, a personal favourite of mine comes from Gustave Caillebotte and is called The Floor Scrapers (Les Raboteurs de Parquet).

It depicts three topless men working on hands and knees, scraping away at a parquet floor in a Parisian apartment (thought to be Caillebotte’s own studio). The composition is documentary-style, focusing on the actions and techniques of the floor-scrapers. Daylight enters the room from a window on the far wall and glosses the smooth floorboards with a white sheen. There are several floor-scraping tools as well as an opened bottle of (presumably cheap) wine. The diagonal alignment of the floorboards is offset by the rectangular panels on the far wall and by the curlicue motif of the iron grill on the window and the wood shavings that litter the floor. It is a masterpiece of realist painting.

His piece was perfectly in keeping with academic traditions, in terms of its perspective and the modelling and positioning of the nude torsos of the workers. However, despite this, the painting was rejected at the 1875 Salon because of its ‘vulgar’ realism. There’s no accounting for taste. So Caillebotte threw his lot in with the Impressionists and exhibited it at the Impressionist Exhibition of 1876.

These days, The Floor Scrapers is held in the Musée d’Orsay, although when I visited, a few years ago, I was disappointed to find it was not on display – you can’t win ‘em all (and I’ll just have to visit again when next in Paris)!

T S Eliot’s Macavity The Mystery Cat (1939)

Thomas Stearns (T S) Eliot (1888-1965) was a giant literary figure: one of the major poets of the 20th century, as well as essayist, publisher, playwright, and literary critic. He was born in St Louis, Missouri into a prominent Boston Brahmin family, but moved to England at the age of 25 and settled and married here, becoming a British subject in 1927.

Within a year of arriving in Britain, Eliot had published his first major poem, The Love Song of J. Alfred Prufrock (1915), which came to be regarded as a masterpiece of the Modernist movement, and he followed that up with some of the best-known poems in the English language, including The Waste Land (1922), The Hollow Men (1925), Ash Wednesday (1930), and Four Quartets (1943).

Eliot also had his whimsical side, however, and in 1939 published Old Possum’s Book of Practical Cats. This was a series of light poems about cats and their traits which he’d written throughout the thirties in letters to his godchildren (“Old Possum” was fellow poet Ezra Pound’s nickname for him). The best-known poem from that collection, Macavity the Mystery Cat, is the one that arrested my attention the moment I read it (or heard it recited) when I was a lad (it may well have been the only poem from the Book of Practical Cats that I read or heard recited, given that it was the “stand out” that primary school teachers regularly latched onto).

Eliot was a big fan of Arthur Conan Doyle’s Sherlock Holmes stories and the character of Macavity is a literary allusion to Moriarty, the arch-villain and mastermind of those stories (Holmes dubs Moriarty the “Napoleon of crime”, which is how Macavity is described in the last line of the poem). I loved that repeating final line: “Macavity’s not there!”. It conjures up the trope of the master jewel thief or gentleman spy, always one step ahead of the Law, always outwitting his pursuers. You can imagine the nonchalance.

But of course in reality it’s a cat, so it’s the spilled milk, the feathers on the lawn, the crash of a dustbin lid, the scratch on the sofa…and of course he’s never there. The little devil’s scarpered!

Here’s a recording of the man himself reciting the poem:

Macavity’s a Mystery Cat: he’s called the Hidden Paw—
For he’s the master criminal who can defy the Law.
He’s the bafflement of Scotland Yard, the Flying Squad’s despair:
For when they reach the scene of crime—Macavity’s not there!

Macavity, Macavity, there’s no one like Macavity,
He’s broken every human law, he breaks the law of gravity.
His powers of levitation would make a fakir stare,
And when you reach the scene of crime—Macavity’s not there!
You may seek him in the basement, you may look up in the air—
But I tell you once and once again, Macavity’s not there!

Macavity’s a ginger cat, he’s very tall and thin;
You would know him if you saw him, for his eyes are sunken in.
His brow is deeply lined with thought, his head is highly domed;
His coat is dusty from neglect, his whiskers are uncombed.
He sways his head from side to side, with movements like a snake;
And when you think he’s half asleep, he’s always wide awake.

Macavity, Macavity, there’s no one like Macavity,
For he’s a fiend in feline shape, a monster of depravity.
You may meet him in a by-street, you may see him in the square—
But when a crime’s discovered, then Macavity’s not there!

He’s outwardly respectable. (They say he cheats at cards.)
And his footprints are not found in any file of Scotland Yard’s
And when the larder’s looted, or the jewel-case is rifled,
Or when the milk is missing, or another Peke’s been stifled,
Or the greenhouse glass is broken, and the trellis past repair
Ay, there’s the wonder of the thing! Macavity’s not there!

And when the Foreign Office find a Treaty’s gone astray,
Or the Admiralty lose some plans and drawings by the way,
There may be a scrap of paper in the hall or on the stair—
But it’s useless to investigate—Macavity’s not there!
And when the loss has been disclosed, the Secret Service say:
It must have been Macavity!’—but he’s a mile away.
You’ll be sure to find him resting, or a-licking of his thumb;
Or engaged in doing complicated long division sums.

Macavity, Macavity, there’s no one like Macavity,
There never was a Cat of such deceitfulness and suavity.
He always has an alibi, and one or two to spare:
At whatever time the deed took place: MACAVITY WASN’T THERE !
And they say that all the Cats whose wicked deeds are widely known
(I might mention Mungojerrie, I might mention Griddlebone)
Are nothing more than agents for the Cat who all the time
Just controls their operations: the Napoleon of Crime!

2nd June 1951: American-English poet and playwright, TS Eliot (1888 – 1965). He wrote amongst many other things, ‘The Waste Land ‘ and the plays, ‘The Cocktail Party’ and ‘Murder in the Cathedral’. Original Publication: Picture Post – 5314 – Are Poets Really Necessary? – pub. 1951 (Photo by George Douglas/Picture Post/Getty Images)