Born 12 February 1923 in New York, Mel Powell began his musical life as a p… Read Full Bio ↴Born 12 February 1923 in New York, Mel Powell began his musical life as a prodigious jazz artist, working as pianist and arranger with the Benny Goodman Orchestra and later, the Glenn Miller Army Air Force Band. Soon, however, a strong compositional instinct prompted his matriculation at Yale University, where he studied with Paul Hindemith. Under Hindemith, and throughout the late 1940s and 1950s, Powell composed primarily in a neoclassic style producing such works as the Cantilena Concertante for English horn and orchestra, Divertimento for violin and harp, and Trio for piano, violin and cello.

In 1959, Powell's musical personality blossomed and the influence of Webern was manifested in a brevity of forms and transparency of textures. An innovative and consistently adventurous musical style embraced experimentation with extended string techniques and invented notations (as in the Filigree Setting for string quartet), musical blocks of chords, pitch sequences, rhythms, and colors (represented in Modules: An Intermezzo for chamber orchestra), and tape and electronics (such as in the song cycle Strand Settings: Darker). Duplicates: A Concerto for Two Pianos and Orchestra was awarded the Pulitzer Prize in 1990 and illustrates Powell's meticulous craftsmanship and singular skill at assembling richly expressive yet intricately complex musical structures.

Powell was one of the instrumental founders of the California Institute of the Arts. He served as dean of the music school from 1969 to 1978, and, at the time of his death on 24 April 1998, he held the Roy E. Disney endowed chair in music composition. Powell received awards and commissions from Sigma Alpha Iota, the Guggenheim Foundation, the American Academy of Arts and Letters, and the NEA. Among his final works were: the Piano Trio '94; the Sonatina (for solo flute) and the Sextet, premiered in 1996 by the California EAR Unit; the song cycle, Levertov Breviary, premiered in 1997 by soprano Judith Bettina and pianist James Goldsworthy for Harvard University's Fromm Foundation; and Seven Miniatures -- Women Poets of China, a work for harp and voice premiered at New York's Merkin Concert Hall in October 1998 by Susan Allen and Anne-Lise Berntsen.

I Got Rhythm
Mel Powell Lyrics

Jump to: Overall Meaning ↴ Line by Line Meaning ↴

Though folks with good intentions
Tell me to save my tears
Well I'm so mad about him
I can't live without him

Never treats me sweet and gentle
The way he should
I've got it bad

And that ain't good

My poor heart is so sentimental
Not made of wood
I've got it so bad
And that ain't good

But when the fish are jumpin'
And Friday rolls around
My man an' I, we gin some
We pray some, and sin some

He don't love me like I love him
The way he should
I've got it bad
And that ain't good

Yes I've got it bad
And that ain't good

Overall Meaning

In Mel Powell's song "I Got Rhythm," the lyrics speak to the intense and conflicted emotions of being in love with someone who does not reciprocate the same level of affection. The singer acknowledges that well-meaning people advise her to save her tears and move on, but she is deeply infatuated with this person and cannot imagine her life without them. Despite the lack of sweetness and gentleness in their treatment of her, she admits to having strong feelings for her love interest. The phrase "I've got it bad, and that ain't good" reveals the internal struggle she faces. Her heart is described as sentimental, emphasizing its vulnerability and sensitivity. The repetition of "I've got it so bad, and that ain't good" further emphasizes the intensity of her emotions.

However, the song also showcases moments of joy and connection when the fish are jumping and on Fridays. It implies that even though the relationship may be fraught with difficulties, there are still moments of happiness shared between the singer and her love interest. They engage in activities together, both spiritual (praying) and sinful (sinning). Despite these shared experiences, she still longs for him to love her in return, lamenting that he does not love her the way she loves him.

Overall, the song explores the complexities of unrequited love, capturing the conflicting emotions of longing, frustration, and the fleeting moments of happiness that can still be found in such a situation.

Line by Line Meaning

Though folks with good intentions
Despite the well-meaning advice from others

Tell me to save my tears
Urging me to hold back my emotions

Well I'm so mad about him
But I am deeply infatuated with him

I can't live without him
Feeling as if I cannot survive without him

Never treats me sweet and gentle
He never shows me the kindness and tenderness he should

The way he should
In the manner that is expected or deserved

I've got it bad
I am deeply affected by this situation

And that ain't good
And it is not beneficial or positive

My poor heart is so sentimental
My heart is filled with deep emotions

Not made of wood
It is not cold or unfeeling

I've got it so bad
I am profoundly affected by this situation

But when the fish are jumpin'
However, when things are going well

And Friday rolls around
And the end of the week arrives

My man an' I, we gin some
My partner and I enjoy some alcoholic drinks

We pray some, and sin some
We engage in religious rituals and indulge in wrongdoing

He don't love me like I love him
He does not return my love with the same intensity

The way he should
In the manner that is expected or deserved

I've got it bad
I am deeply affected by this situation

And that ain't good
And it is not beneficial or positive

Yes I've got it bad
Indeed, I am deeply affected by this situation

And that ain't good
And it is not beneficial or positive

Lyrics © BMG Rights Management, Universal Music Publishing Group, Sony/ATV Music Publishing LLC, Warner Chappell Music, Inc.
Written by: Duke Ellington, Paul Francis Webster

Lyrics Licensed & Provided by LyricFind

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