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.
Rug Cutter's Swing
Fletcher Henderson and His Orchestra Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Swing out in the groove
I've got to be a rug cutter
So my jive will improve
I was so un-trucky
Now I'm super-ducky
Gonna cut back a figure
I've got to be a rug cutter
Swing out in the groove
I've got to be a rug cutter
So my jive will improve
I've got to be
I've got to be
Rug cuttin' me
Rug cuttin' me
Swing out in the groove
The lyrics to Fletcher Henderson and His Orchestra's song "Rug Cutter's Swing" are all about the joy and freedom of dancing. The words describe the singer's desire to be a "rug cutter," or an expert dancer who can really swing out to the music. According to the lyrics, being a rug cutter means improving one's "jive" and cutting back a "figure" (which in this case likely means moving in a stylish and dynamic way). The singer describes feeling un-trucky prior to learning how to dance, but now feels "super-ducky" thanks to their newfound skills.
Overall, the lyrics to "Rug Cutter's Swing" celebrate the power of music and dance to transform one's mood and lift one's spirits. They encourage listeners to let loose and move their bodies to the beat, and suggest that doing so can help one to feel more confident and alive. The repetition of the phrase "I've got to be a rug cutter" drives this message home, emphasizing the importance of embracing the joy of movement and letting oneself get lost in the music.
Line by Line Meaning
I've got to be a rug cutter
I must become skilled in dancing the swing dance style which involves intricate footwork.
Swing out in the groove
Dance energetically and expressively, following the rhythm of the music.
I've got to be a rug cutter
I need to learn and perfect the art of swing dancing in order to improve my overall coolness factor.
So my jive will improve
By becoming a skilled rug cutter, I will elevate my level of coolness and swag.
I was so un-trucky
I used to be awkward and uncoordinated, but now I am much smoother and more graceful.
Now I'm super-ducky
My dancing skills have improved so much that I now feel confident and awesome.
Gonna cut back a figure
I will create and execute some stylish dance moves that will impress everyone around me.
So, Gate, I'll dig ya
My awesome dance moves will win over anyone who watches me, including my friend Gate.
I've got to be a rug cutter
Once again emphasizing my need to become proficient in swing dancing.
Swing out in the groove
Reiterating the importance of dancing energetically and with style in order to fully enjoy the music.
I've got to be a rug cutter
Repeating that becoming an expert at swing dancing is a personal imperative.
So my jive will improve
Reinforcing the belief that by mastering swing dancing, my overall coolness and swag will be enhanced.
I've got to be
I absolutely must.
I've got to be
I must become.
Rug cuttin' me
An expression of my commitment to mastering the art of swing dancing.
Rug cuttin' me
Once again emphasizing my dedication to becoming an excellent swing dancer.
Lyrics © EMI Music Publishing, Warner/Chappell Music, Inc., Sony/ATV Music Publishing LLC
Written by: DUKE ELLINGTON
Lyrics Licensed & Provided by LyricFind
Bill Bowen
What a refreshing recording!.....my fave is Glenn Miller's 1940 version.
SELMER B.Action
This one is by far better than G.Miller !!!
Spameron75
Here from Sim Gretina
azulina [OLD ACCOUNT]
Who else?
Annabelle H
Me, too!
Eliah Kjerland
Here from Fletcher Henderson but thanks for pointing it out i sometimes hear Sim Gretina too
And when i first heard this song it actually sounded odly fammiliar
zathary
lets hope sim's song can popularize this one more aye?
phredl
I have to agree with Bill the Miller is better. No knock on this recording. I have both so it's nice to compare.
SELMER B.Action
Absolutely disagree ! Miller's version is more commercial than this jazz masterpiece and the soloists Bailey, Hawkins here are geniuses...