Calloway was a master of energetic scat singing and led one of the United States' most popular big bands, Cab Calloway and his Orchestra, from the start of the 1930s through to the late 1940s. Calloway's band featured performers including trumpeters Dizzy Gillespie and Doc Cheatham, saxophonists Ben Webster and Chu Berry, New Orleans guitar ace Danny Barker and bassist Milt Hinton. Calloway continued to perform until his death in 1994 at the age of 86.
Calloway was born to a middle-class family in Rochester, New York, and lived there until 1918. He later lived in Baltimore, Maryland. His father, Cabell Calloway II, was a lawyer, and his mother, Martha Eulalia Reed, was a teacher and church organist. His parents recognised their son's musical talent, and he began private voice lessons in 1922. He continued to study music and voice throughout his formal schooling. Despite his parents' and vocal teachers' disapproval of jazz, Calloway began frequenting and eventually performing in many of Baltimore's jazz clubs, where he was mentored by drummer Chick Webb and pianist Johnny Jones.
After graduating from high school, Calloway joined his older sister, Blanche, in a touring production of the popular black musical revue Plantation Days (Blanche Calloway herself went on to become an accomplished bandleader before her brother did, and he often credited his inspiration to enter show business to her). Calloway attended Lincoln University, Pennsylvania , and left in 1930 without graduating.
When the tour ended in Chicago in the autumn, Cab decided to remain in Chicago with his sister, who had an established career as a jazz singer in that city. His parents had hopes of their son becoming a lawyer like his father, so Calloway enrolled in Crane College. His main interest, however, was in singing and entertaining, and he spent most of his nights at the Dreamland Cafe, the Sunset Cafe, and the Club Berlin, performing as a drummer, singer, and emcee. At the Sunset Cafe he met and performed with Louis Armstrong who taught him to sing in the scat style.
The Cotton Club was the premier jazz venue in the country, and Cab Calloway and his Orchestra (he had taken over a brilliant but failing band called "The Missourians" in 1930) were hired as a replacement for the Duke Ellington Orchestra while they were touring. Calloway quickly proved so popular that his band became the co-house band with Ellington's, and he and his group began touring nationwide when not playing at the Cotton Club. Their popularity was greatly enhanced by the twice-weekly live national radio broadcasts on NBC at the Cotton Club. Calloway also appeared on Walter Winchell's radio program and with Bing Crosby in his show at the Paramount Theatre. As a result of these appearances, Calloway, together with Ellington, broke the major broadcast network colour barrier.
Unlike many other bands of comparable commercial success, Calloway's gave ample soloing space to its lead members, and, through the varied arrangements of Walter 'Foots' Thomas, provided much more in the way of musical interest.
In 1931, he recorded his most famous song, "Minnie the Moocher". That song, together with "St James Infirmary Blues" and "The Old Man of the Mountain", were performed for the Betty Boop animated shorts Minnie the Moocher, Snow White, and The Old Man of the Mountain respectively. Through rotoscoping, Cab not only gave his voice to these cartoons but his dance steps as well. Cab took advantage of this and timed his concerts in some communities with the release of the films in order to make the most of the attention. As a result of the success of "Minnie the Moocher" he became identified with its chorus, gaining the nickname "The Hi De Ho Man". He also performed in a series of short films for Paramount in the 1930s (Calloway and Ellington were featured on film more than any other Jazz Orchestra of the era). In 1943 he appeared in the high-profile 20th Century Fox musical film, Stormy Weather.
In his later career, Calloway became a popular personality, appearing in a number of films and stage productions that utilised both his acting and singing talents. In 1952, he played the prominent role of Sportin' Life in a production of the Gershwin opera Porgy and Bess. Another notable role was Yeller in The Cincinnati Kid (1965). In 1967 Calloway co-starred as Horace Vandergelder in an all-black revival of Hello, Dolly! (even though the original production was still running) starring Pearl Bailey. This was a major success, and led to a cast recording released by RCA. In 1973-1974 he was featured in an unsuccessful Broadway revival of The Pajama Game.
Calloway attracted renewed interest in 1980 when he appeared as a supporting character in the film The Blues Brothers, performing "Minnie the Moocher", and again when he sang "The Jumpin' Jive" with the Two-Headed Monster on Sesame Street. This was also the year in which the cult film Forbidden Zone was released, which included rearrangements and parodies of Cab Calloway songs written by Danny Elfman, a Calloway fan.
On 18th November 1994 Calloway died, having suffered a major stroke six months earlier. In 1998, The Cab Calloway Orchestra (directed by Cab's grandson C. "CB" Calloway Brooks) was formed to honour Cab Calloway's legacy nationally and internationally.
The Jumpin' Jive
Cab Calloway Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
De-boodle-de-ack, de-boodle-de-ackasaki (hep hep)
Oh, rang-tang, te-dah-dah (hep-hep)
Gonna tell you 'bout the jumpin' jive (hep hep)
Jim, jam, jump, the jumpin' jive (hep hep)
Cats gonna beat out this mellow jive (hep hep)
Beat it out on the mellow side
Oh, boy (whatcha gonna say there, gate?)
Palomar, shalomar, Swanee shore
Let me dig that jive once more
Boy (lay it right on down to the gator)
Oh, boy (gotta lay it flat as a gator)
Now, can't you hear those hep cats call? (Yeah!)
Come on, boys, let's have a ball
(The jim, jam, jump is the jumpin' jive)
Makes you dig your jive on the mellow side
Hep hep
Hep hep
(The jim, jam, jump is the solid jive)
Makes you nine foot tall when you're four foot five
Hep hep
Hep hep
Now, don't you be that ickeroo
Get hep, come on, follow through
Then you get your steady foo
You make the joint jump like the gators do
(The jim, jam, jump on the jumpin' jive)
Makes you like your eggs on the Jersey side
Hep hep
Hep hep
The jim, jam, jumpin' jive
Makes you hep hep on the mellow side
Hep hep
Hep hep
Hep hep
Hep hep
The jim, jam, jump on the jumpin' jive (da, da-da, da-da-da)
Will make you dig your jive on the mellow side (da, da-da, da-da-da)
Hep hep
Hep hep
The jim, jam, jump, the solid jive (da, da-da, da-da-da)
Makes you nine foot tall when you're four foot five (da, da-da, da-da-da)
Hep hep
Hep hep
Don't you be that ickeroo
Get hep, come on and follow through
Then you get your steady foo
You make the joint jump like the gators do
The jim, jam, jump on the jumpin' jive (da, da-da, da-da-da)
Makes you like your eggs on the Jersey side (da, da-da, da-da-da)
Hep hep
Hep hep
The jim, jam, jumpin' jive
Makes you hep hep, on the mellow side
(Hep hep) skiboodilyboodily-diddlydiddly, doodlydoodly, going-going-going, dadada)
(Hep hep) now, I've told you 'bout the jumpin' jive (hep hep)
The jim, jam, jump, the jumpin' jive (hep hep)
I know you dug this mellow jive (hep hep)
Bom, ga-diggit on the mellow side!
"Jumpin' Jive" is a lively, upbeat song that encourages listeners to get down and dance to the swing, rhythm and blues sounds. The song has a call-and-response structure, with Cab Calloway leading the vocals and the band and chorus responding. The chorus hep hep is used to encouragethe dancers, and the rest of the lyrics serve to describe the various instruments, rhythms, and dance styles that make up the Jumpin' Jive.
The song has a quick pace and uses a number of onomatopoeia, such as rang-tang, and de-boodle to create a sense of the energy of the beat. The mention of various locations, such as Palomar, Shalomar, and Swanee shore, evoke a time when social dancing was an important form of entertainment across the nation. Additionally, it mentions the Jersey side which was a colloquia for people from New Jersey.
Overall, the song Jumpin' Jive sets the mood of the popular dance movement of those times by creating a lively atmosphere, emphasizing the rhythm of the instruments, and encouraging listeners to join in the fun.
Line by Line Meaning
Hep hep
A playful expression used as a call and response throughout the song, indicating excitement and enthusiasm.
De-boodle-de-ack, de-boodle-de-ackasaki (hep hep)
Nonsensical phrases meant to be catchy and fun, encouraging listeners to join in with the playful spirit of the song.
Oh, rang-tang, te-dah-dah (hep-hep)
Another set of nonsense words, used in the same way as the previous line.
Gonna tell you 'bout the jumpin' jive (hep hep)
Introducing the central theme of the song, the 'jumpin' jive', which is a lively and energetic style of dance music.
Jim, jam, jump, the jumpin' jive (hep hep)
A series of fun and catchy words used to describe the excitement and physicality of the 'jumpin' jive' dance style.
Cats gonna beat out this mellow jive (hep hep)
An expression of confidence and enthusiasm, asserting that the performers are skilled enough to deliver a great performance of this more relaxed 'mellow jive' style.
Beat it out on the mellow side
Encouraging the musicians to play with a more relaxed and laid-back energy, creating a looser and more casual style of music.
Boy (whatcha gonna say there, gate?)
Using the word 'boy' to address a male friend, and asking them a playful question about what they're going to say next.
Oh, boy (whatcha gonna say there, gate?)
As above, but with emphasis and anticipation of an exciting response.
Palomar, shalomar, Swanee shore
Listing a series of fun and exotic-sounding places, adding to the playful and carefree spirit of the song.
Let me dig that jive once more
Asking the musicians to play the 'jive' again, prolonging the enjoyable experience and keeping up the energy of the performance.
Boy (lay it right on down to the gator)
As above, but asking for a specific type of performance that highlights the musicians' skill and creativity.
Oh, boy (gotta lay it flat as a gator)
As above, but acknowledging that this will require extra focus and precision.
Now, can't you hear those hep cats call? (Yeah!)
Asking the audience to join in with the fun and energy of the performance, and affirming that they are indeed enjoying themselves.
Come on, boys, let's have a ball
Encouraging everyone involved to let loose, celebrate, and have fun, creating an inclusive and joyful atmosphere.
(The jim, jam, jump is the jumpin' jive)
Reiterating the central theme of the song, and hyping up the energy and intensity of the dance style.
Makes you dig your jive on the mellow side
Describing the feeling of dancing along to the 'jive', and encouraging listeners to enjoy the relaxed and carefree energy of the 'mellow' style.
The jim, jam, jump is the solid jive
Using a different set of catchy phrases to again describe and emphasize the energy and physicality of the dance style.
Makes you nine foot tall when you're four foot five
Describing the way that dancing the 'jive' can make you feel powerful and important, regardless of your size or stature.
Now, don't you be that ickeroo
A lighthearted warning against being overly self-conscious or reserved, instead encouraging listeners to join in with the enthusiasm and fun of the song.
Get hep, come on, follow through
Using slang and playful language to encourage listeners to let themselves go, join in, and dance to the 'jive' with energy and enthusiasm.
Then you get your steady foo
Referring to finding your 'groove' while dancing the 'jive', and encouraging listeners to adopt a consistent and confident style that feels good to them.
You make the joint jump like the gators do
Describing the way that dancers can collectively create a lively and energetic atmosphere, akin to the way alligators might stir up energy in their natural environment.
Makes you like your eggs on the Jersey side
Using a playful metaphor to describe the way that dancing the 'jive' can make you feel lively and invigorated, like a breakfast of eggs in a famous restaurant in New Jersey.
The jim, jam, jumpin' jive
Revisiting the central theme of the song, and using playful language to describe the energy and enthusiasm involved in this dance style.
Makes you hep hep on the mellow side
Describing the way that dancing the 'jive' can make you feel cool and relaxed, while still being lively and energetic.
Bom, ga-diggit on the mellow side!
An exclamatory call to action, encouraging listeners to continue enjoying the 'mellow' style of music and the playful spirit of the song.
skiboodilyboodily-diddlydiddly, doodlydoodly, going-going-going, dadada)
A final bit of playful nonsense language, meant to hype up the energy and enthusiasm of the song's conclusion.
Now, I've told you 'bout the jumpin' jive (hep hep)
Closing the song with a reminder of its central theme, and encouraging listeners to continue enjoying and dancing to this lively and engaging dance style.
The jim, jam, jump, the jumpin' jive (hep hep)
An emphatic reiteration of the song's main message, creating a sense of closure and finality.
I know you dug this mellow jive (hep hep)
Expressing confidence that the audience enjoyed the performance and the relaxed yet lively energy of the song.
Bom, ga-diggit on the mellow side!
An exciting and joyful final call to action, encouraging listeners to continue dancing and enjoying the fun and energetic 'mellow' style of music that the song has created.
Lyrics © BMG Rights Management, Warner Chappell Music, Inc.
Written by: Cab Calloway, Frank Froeba, Jack Palmer
Lyrics Licensed & Provided by LyricFind
@heard5134
That's my father in law on the drums, the late J. C. Heard. RIP Papa
@AndLynGie
Came for Calloway, stayed for the Nicholas Brothers. Holy COW were they good!
@MoiraRussell
I was sitting here going "Damn, these guys have escaped gravity" and then they DO THE SPLITS ALL THE WAY DOWN THE STAIRS and my mouth dropped open.
@Killertomato84
this is one of the most physically impressive displays I've ever seen, from any era of dance. what I wouldn't give to have seen that in person
@uhatethetruth
And it's been 80 years and the imitators still can't touch him
@deeway1963
My Grandfather, Joseph Castello, was a tailor and use to make suits for the Nicholas Brother's and other great's from this era. Wonderful that there are people out there that keep these legends alive on Youtube for all to enjoy! Best quality I've seen. Nobody like these two legends!
@manuginobilisbaldspot424
72 years later and I haven't seen a dance number top this. Incredible...not that I've been around for 72 years!
@JamesVibe
This is why i love youtube....finding incredible performances from years past that I wouldn't ordinary get to see
@DodderingOldMan
70 years later and this is just as impossibly cool and classy as it must have been back then. Truly timeless.
@tipupa
These guys fitness levels was beyond Olympian.