Fletcher Hamilton Henderson, Jr. (December 18, 1897 – December 28, 1952) wa… Read Full Bio ↴Fletcher Hamilton Henderson, Jr. (December 18, 1897 – December 28, 1952) was an American pianist, bandleader, arranger and composer, important in the development of big band jazz and swing music. His was one of the most prolific black orchestras and his influence was vast. He was often known as "Smack" Henderson.Fletcher Henderson was born in Cuthbert, Georgia. He attended Atlanta University in Atlanta, Georgia and graduated in 1920, where he was a member of Alpha Phi Alpha, the first intercollegiate Greek-letter organization established for African Americans. After graduation, he moved to New York City to attend Columbia University for a master's degree in chemistry. However, he found his job prospects in chemistry to be very restricted due to his race, and turned to music for a living.
In 1922 he formed his own band, which was resident first at the Club Alabam then at the Roseland, and quickly became known as the best African-American band in New York. For a time his ideas of arrangement were heavily influenced by those of Paul Whiteman, but when Louis Armstrong joined his orchestra in 1924 Henderson realized there could be a much richer potential for jazz band orchestration. Henderson's band also boasted the formidable arranging talents of Don Redman (from 1922 to 1927).
It's significant to note during the 1920's and very early 1930's, Henderson actually wrote few, if any, arrangements; most of his recordings were arranged by Don Redman (c. 1923-1927) or Benny Carter (after 1927-c. 1931). As an arranger, Henderson came into his own in the mid-1930s.
His band circa 1925 included Howard Scott, Coleman Hawkins (who started with Henderson in 1923 playing the low tuba parts on bass saxophone and quickly moved to tenor and a leading solo role), Louis Armstrong, Charlie Dixon, Kaiser Marshall, Buster Bailey, Elmer Chambers, Charlie Green, Ralph Escudero and Don Redman.
In 1925, along with fellow composer Henry Troy, he wrote "Gin House Blues", recorded by Bessie Smith and Nina Simone amongst others. He also wrote the very popular jazz composition "Soft Winds" among others.
Henderson recorded extensively in the 1920s for numerous labels, including:
Vocalion,
Paramount,
Columbia,
Olympic,
Ajax,
Pathe,
Edison,
Emerson,
Brunswick,
Plaza Records (Banner, Oriole, and the other Plaza labels).
He was recording director for the fledgling Black Swan label from 1921-1923. From 1925-1930, he primarily recorded for Columbia and Brunswick/Vocalion under his own name and a series of acoustic recordings under the name The Dixie Stompers for Columbia's Harmony and associated dime store labels (Diva and Velvet Tone). During the 1930s, he recorded for Columbia, Crown (as "Connie's Inn Orchestra"), ARC (Melotone, Perfect, Oriole, etc.), Victor, Vocalion and Decca.
At one time or another, in addition to Armstrong, lead trumpeters included Henry "Red" Allen, Joe Smith, Rex Stewart, Tommy Ladnier, Doc Cheatham and Roy Eldridge on trumpet. Lead saxophonists included Coleman Hawkins, Buster Bailey, Benny Carter and Chu Berry. Sun Ra also worked as an arranger during the 1940s during Henderson's engagement at the Club DeLisa in Chicago. Sun Ra himself said that on first hearing Henderson's orchestra as a teenager he assumed that they must be angels because no human could produce such beautiful music.
Beginning in the early 1930s, Fletcher's piano-playing younger brother, Horace Henderson contributed to the arrangements of the band. At different times in Horace's career he was Billie Holiday's and Lena Horne's Pianist. Later he led a band of his own that also received critical acclaim.
Although Fletcher's band was very popular, he had little success managing the band. But much of his lack of recognition outside of Harlem had to do more with the times in which he lived. Although he was the real "King of Swing", America was not ready for him to take his place on the throne. After about 1931, he was well regarded as an arranger - and his arrangements became influential. In addition to his own band he arranged for several other bands, including those of Teddy Hill, Isham Jones, and most famously, Benny Goodman. Henderson's wife, Leora, said that a major turning point in his life was an auto accident which occurred in 1928. Henderson's shoulder was injured and he apparently sustained a concussion. Leora claimed that Fletcher was never the same, and that after this point he lost his ambition and became careless. According to Leora, the accident was a major cause of Henderson's diminishing success. She claims that John Hammond and Benny Goodman arranged to buy Henderson's arrangements as a way to support Henderson, and points out that Goodman always gave Henderson credit for the arrangements and said that the Henderson band played them better than the Goodman band. In addition, Goodman and Hammond arranged broadcasts and recordings to benefit Henderson when he was ill.
Although Henderson's music was loved by the masses, his band began to fold with the 1929 stock market crash. The loss of financial stability resulted in the selling of many arrangements from his songbooks to the later-to-be-acclaimed "King of Swing" Benny Goodman.
In 1934, Goodman's Orchestra was selected as a house band for the "Let's Dance" radio program. Since he needed new charts every week for the show, his friend John Hammond suggested that he purchase some Jazz charts from Henderson. Many of Goodman's hits from the swing era were arranged by Henderson for his own band in the late 20s and early 30s.
In 1939 Henderson disbanded his own band and joined Goodman's, first as both pianist and arranger and then working full-time as the staff arranger. He reformed bands of his own several times in the 1940s, toured with Ethel Waters again in 1948 - 1949. Henderson suffered a stroke in 1950 resulting in partial paralysis that ended his days as a pianist. He died in New York City in 1952.
In 1922 he formed his own band, which was resident first at the Club Alabam then at the Roseland, and quickly became known as the best African-American band in New York. For a time his ideas of arrangement were heavily influenced by those of Paul Whiteman, but when Louis Armstrong joined his orchestra in 1924 Henderson realized there could be a much richer potential for jazz band orchestration. Henderson's band also boasted the formidable arranging talents of Don Redman (from 1922 to 1927).
It's significant to note during the 1920's and very early 1930's, Henderson actually wrote few, if any, arrangements; most of his recordings were arranged by Don Redman (c. 1923-1927) or Benny Carter (after 1927-c. 1931). As an arranger, Henderson came into his own in the mid-1930s.
His band circa 1925 included Howard Scott, Coleman Hawkins (who started with Henderson in 1923 playing the low tuba parts on bass saxophone and quickly moved to tenor and a leading solo role), Louis Armstrong, Charlie Dixon, Kaiser Marshall, Buster Bailey, Elmer Chambers, Charlie Green, Ralph Escudero and Don Redman.
In 1925, along with fellow composer Henry Troy, he wrote "Gin House Blues", recorded by Bessie Smith and Nina Simone amongst others. He also wrote the very popular jazz composition "Soft Winds" among others.
Henderson recorded extensively in the 1920s for numerous labels, including:
Vocalion,
Paramount,
Columbia,
Olympic,
Ajax,
Pathe,
Edison,
Emerson,
Brunswick,
Plaza Records (Banner, Oriole, and the other Plaza labels).
He was recording director for the fledgling Black Swan label from 1921-1923. From 1925-1930, he primarily recorded for Columbia and Brunswick/Vocalion under his own name and a series of acoustic recordings under the name The Dixie Stompers for Columbia's Harmony and associated dime store labels (Diva and Velvet Tone). During the 1930s, he recorded for Columbia, Crown (as "Connie's Inn Orchestra"), ARC (Melotone, Perfect, Oriole, etc.), Victor, Vocalion and Decca.
At one time or another, in addition to Armstrong, lead trumpeters included Henry "Red" Allen, Joe Smith, Rex Stewart, Tommy Ladnier, Doc Cheatham and Roy Eldridge on trumpet. Lead saxophonists included Coleman Hawkins, Buster Bailey, Benny Carter and Chu Berry. Sun Ra also worked as an arranger during the 1940s during Henderson's engagement at the Club DeLisa in Chicago. Sun Ra himself said that on first hearing Henderson's orchestra as a teenager he assumed that they must be angels because no human could produce such beautiful music.
Beginning in the early 1930s, Fletcher's piano-playing younger brother, Horace Henderson contributed to the arrangements of the band. At different times in Horace's career he was Billie Holiday's and Lena Horne's Pianist. Later he led a band of his own that also received critical acclaim.
Although Fletcher's band was very popular, he had little success managing the band. But much of his lack of recognition outside of Harlem had to do more with the times in which he lived. Although he was the real "King of Swing", America was not ready for him to take his place on the throne. After about 1931, he was well regarded as an arranger - and his arrangements became influential. In addition to his own band he arranged for several other bands, including those of Teddy Hill, Isham Jones, and most famously, Benny Goodman. Henderson's wife, Leora, said that a major turning point in his life was an auto accident which occurred in 1928. Henderson's shoulder was injured and he apparently sustained a concussion. Leora claimed that Fletcher was never the same, and that after this point he lost his ambition and became careless. According to Leora, the accident was a major cause of Henderson's diminishing success. She claims that John Hammond and Benny Goodman arranged to buy Henderson's arrangements as a way to support Henderson, and points out that Goodman always gave Henderson credit for the arrangements and said that the Henderson band played them better than the Goodman band. In addition, Goodman and Hammond arranged broadcasts and recordings to benefit Henderson when he was ill.
Although Henderson's music was loved by the masses, his band began to fold with the 1929 stock market crash. The loss of financial stability resulted in the selling of many arrangements from his songbooks to the later-to-be-acclaimed "King of Swing" Benny Goodman.
In 1934, Goodman's Orchestra was selected as a house band for the "Let's Dance" radio program. Since he needed new charts every week for the show, his friend John Hammond suggested that he purchase some Jazz charts from Henderson. Many of Goodman's hits from the swing era were arranged by Henderson for his own band in the late 20s and early 30s.
In 1939 Henderson disbanded his own band and joined Goodman's, first as both pianist and arranger and then working full-time as the staff arranger. He reformed bands of his own several times in the 1940s, toured with Ethel Waters again in 1948 - 1949. Henderson suffered a stroke in 1950 resulting in partial paralysis that ended his days as a pianist. He died in New York City in 1952.
Come On
Fletcher Henderson and His Orchestra Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
How come you do me like you do do do?
How come you do me like you do?
Why do you try to make me feel so blue?
I've done nothing to you.
Do me right or else just let me be.
'Cause I can beat you doing what you're doing to me.
How come you do me like you do do do?
How come you do me like you do?
How come you do me like you do?
Why do you try to make me feel so blue?
I've done nothing to you.
Do me right or else just let me be.
'Cause I can beat you doing what you're doing to me.
How come you do me like you do do do?
How come you do me like you do?
These lyrics, as sung by Fletcher Henderson, express a sense of frustration and confusion towards a loved one who is treating the singer poorly or unfairly. The repetition of the phrase "how come you do me like you do" emphasizes the singer's disbelief and frustration at the mistreatment. The use of the word "do" also suggests that the actions causing this distress are ongoing and consistent.
The line "why do you try to make me feel so blue" shows the singer's vulnerability and hurt feelings. They do not understand why their loved one would purposely cause them pain. The final lines of the chorus, "do me right or else just let me be / 'cause I can beat you doing what you're doing to me," shows that the singer is willing to stand up for themselves if needed. They will not continue to tolerate mistreatment and are ready to move on from the relationship if necessary.
Line by Line Meaning
How come you do me like you do do do?
Why do you keep treating me badly, repeatedly and without any remorse?
How come you do me like you do?
Why do you continue to mistreat me in this way?
Why do you try to make me feel so blue?
What is the reason for you trying to make me sad and depressed?
I've done nothing to you.
I have not done anything to deserve this treatment from you.
Do me right or else just let me be.
Either treat me appropriately or leave me alone.
'Cause I can beat you doing what you're doing to me.
I am confident that I can do to you what you are currently doing to me.
How come you do me like you do do do?
Why do you keep mistreating me repeatedly and without any remorse?
How come you do me like you do?
Why do you continue to mistreat me in this way?
Lyrics © Sony/ATV Music Publishing LLC, Warner Chappell Music, Inc.
Written by: Gene Austin, Roy Bergere
Lyrics Licensed & Provided by LyricFind
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lotusbandicoot
I've been listening to this one for a while not even knowing Rex Stewart played on it... he's one of my favorite jazz trumpeters so that's cool to finally know
...not to mention Benny Carter being the lead vocalist during the vocal section
tricky dick
Arranged by Benny Carter.