Last week, the blog post about “She’s the Daughter of a Planter From Havana” resonated well with readers, highlighting a lesser-known gem. Building on that spirit of musical rediscovery, let’s delve into another captivating tune from the same recording session: “Cuban Pete Song.” This piece originally appeared on the blog in 2007 and deserves a fresh look, especially for those familiar only with the more popularized versions.
Recorded on July 7, 1937, “Cuban Pete Song” showcases Louis Armstrong and His Orchestra in full swing. Penned by Jose Norman (Joseph Norman), this track, clocking in at 3 minutes and 9 seconds, was captured in New York City. The impressive lineup of musicians for this session included:
- Trumpets: Louis Armstrong, Shelton Hemphill, Henry “Red” Allen, Louis Bacon
- Trombones: George Matthews, George Washington, J.C. Higginbotham
- Saxophones: Pete Clarke (alto), Charlie Holmes (alto, clarinet), Albert Nicholas (clarinet, tenor), Bingie Madison (clarinet, tenor)
- Rhythm Section: Luis Russell (piano), Lee Blair (guitar), Pops Foster (bass), Paul Barbarin (drums)
“Cuban Pete Song” was initially released on Decca 1353, with “She’s the Daughter of a Planter From Havana” on the flip side. While not always easily found on mainstream compilations, it is notably included in Mosaic’s comprehensive boxed set of Louis Armstrong’s Decca recordings from 1935-1946 – a treasure trove for any serious jazz enthusiast. Though availability on iTunes might be limited to budget compilations, seeking out dedicated collections is worthwhile to appreciate this era of Armstrong’s work.
It’s almost unavoidable to mention the name Ricky Ricardo when discussing “Cuban Pete Song.” The iconic television persona, portrayed by the legendary Cuban bandleader Desi Arnaz, made “Cuban Pete” a household name. While this blog is written by a Ricky (Riccardi, not Ricardo), and while there’s no Cuban bandleading involved, the affection for music, particularly Armstrong’s rendition of “Cuban Pete Song,” is undeniable. This isn’t about singing a Desi Arnaz imitation, but about celebrating Armstrong’s often-overlooked take on this rhumba.
Armstrong’s “Cuban Pete Song” is a standout from his Decca big band recordings of the 1930s, a period that deserves far more recognition in the United States. Labels like the Swedish Ambassador offer a valuable service by presenting a complete picture of this fruitful phase in Armstrong’s discography, and their releases are highly recommended for those exploring this era.
The selection of “Cuban Pete Song” might seem unusual within Armstrong’s vast repertoire. However, Decca was known for presenting him with diverse material. Just months prior to this recording, Armstrong had explored Hawaiian melodies with Andy Iona and His Islanders. Interestingly, the same recording session that produced “Cuban Pete Song” also yielded “She’s the Daughter Of A Planter From Havana,” another Latin-tinged piece featuring Armstrong’s brilliant muted trumpet. While “She’s the Daughter Of A Planter From Havana” showcased a more traditional rhumba style, “Cuban Pete Song” immediately launches into a swing rhythm from the very first note. Listen to the audio and hear for yourself:
[Unfortunately, I cannot embed audio here, but imagine the swinging sounds of 1937.]
One notable aspect of the arrangement is that Armstrong’s trumpet doesn’t enter until almost a minute into the track. Initially, the band plays the melody in a straightforward manner, reminiscent of many commercial bands of the time. However, the propulsive rhythm section sets this performance apart. Crucially, Louis Armstrong was fronting Luis Russell’s orchestra throughout much of the 1930s. Russell’s ensemble had already established itself with incredibly dynamic recordings in the late 1920s and early 1930s. The rhythm section comprised of Russell on piano, Lee Blair on guitar, Pops Foster on bass, and Paul Barbarin on drums, played a pivotal role in evolving the somewhat rigid two-beat rhythms of the 1920s into the smoother, four-to-the-bar swing feel that defined the 1930s and beyond. Pops Foster’s booming bass tone is particularly evident and adds significant drive to “Cuban Pete Song.”
Around the one-minute mark, Armstrong enters, muted, and transforms the track. While staying relatively close to the melody, he masterfully employs rhythmic displacement, accenting phrases ahead of the beat. This subtle yet powerful technique injects an infectious swing into what might otherwise be a somewhat conventional tune. The bridge section is particularly noteworthy, featuring a classic Armstrong phrase at 1:16 – a lick that reappears in his later performances, such as the electrifying 1960 “Avalon” solo with the Dukes of Dixieland. In the final eight bars, Armstrong begins to improvise, leaving the listener wanting more of his spontaneous brilliance.
Instead of extended improvisation, we are treated to an uncharacteristically raspy vocal performance. While Armstrong’s voice in the 1930s had evolved into a charming tenor with a touch of gravel, his rendition of “Cuban Pete Song” lyrics is delivered with a more pronounced bark. However, he still manages to effectively sing the “chick chick-a-booms” with melodic precision. Following an eight-bar band interlude and a drum break by Barbarin, Armstrong modulates to a higher key for a final burst of trumpet playing. Again, he largely adheres to the melody, but with added embellishments, including a fantastic slow-motion descending phrase around 2:50, showcasing his incredible control of time and phrasing. Another break leads to a further modulation, and Armstrong reaches the upper register of his horn, culminating in a triumphant high D.
“Cuban Pete Song,” like many of Armstrong’s Decca recordings, may not be as historically groundbreaking as “West End Blues.” However, every recording doesn’t need to rewrite musical history to be valuable. This track swings intensely. Armstrong provides a masterclass in transforming a commonplace melody into swinging jazz. He delivers an enjoyable, if gruff, vocal, and ultimately leaves listeners in awe of his trumpet virtuosity. What more could you ask for from such a legendary artist? If you remain unconvinced of the merits of Armstrong’s post-1928 recordings, you are overlooking a wealth of exceptional music. And if your only exposure to “Cuban Pete Song” is through Desi Arnaz, Ricky Ricardo, or even Jim Carrey’s manic rendition in “The Mask,” take the time to explore Armstrong’s version. Discover how the “king of the rhumba beat” could also swing with unparalleled energy and finesse.
