Artist: Eva Puck & Sammy White in the musical The Girl FriendComposer: Richard Rogers and Larry Hart Copyright: 1926GoChords.com
We'll have a blue room, a new room for two room, where
Not like a ball room, a small room, a hall room, where
every day's a hol i---day, be---cause you 're married to me...............................
I can smoke my pipe a--way, with
your sweet head upon my knee...........................
We will thrive on, keep alive on just nothing but kis---------------ses
with Mr and Mrs..................... on little blue chairs............................................
You sew your trouseau, and R o b i n s o n C r u s o e is
not so far from worldly cares as our Blue Room far away up- stairs............................
HISTORY:
After its introduction in the Broadway Musical - The Girl Friend in 1926 it did not take too long to be taken up by the big swing bands of the 30s and 40s. The Dorsey Bros first then Benny Gooman put down up tempo big band versions of the song by the end of the 30s and then the great Jazz piano player of the 40's Eddie Duchin included it in a 1942 medley with Am I Blue in a Columbia release and the song got a "second wind". In 1948 Perry Como, first in the film "Words and Music" and later backed by a big studio orchetra and full choir, made it the famous Jazz standard it has become. In the 50s it was put down by Miles Davis (1951) Thad Jones (1956) Billy Smith (1957) and Hank Jones (1958). Its most recent reading (1999) was by Jazz pianist Bill Charlap who is regarded as the modern equivalent of Bill Evans.
This song has a rather nice musical progression through the major and minor 7s usually finishing with a minor 7 to end the phrase. It's the timing of the beats which are tricky. Note that in some bars the first chord is strummed for 3 beats, then in the next bar it is strummed for 2 and then the next chord comes in before the singing note is sung. Keep an eye peeled for this little syncopation.
HISTORY:
After its introduction in the Broadway Musical - The Girl Friend in 1926 it did not take too long to be taken up by the big swing bands of the 30s and 40s. The Dorsey Bros first then Benny Gooman put down up tempo big band versions of the song by the end of the 30s and then the great Jazz piano player of the 40's Eddie Duchin included it in a 1942 medley with Am I Blue in a Columbia release and the song got a "second wind". In 1948 Perry Como, first in the film "Words and Music" and later backed by a big studio orchetra and full choir, made it the famous Jazz standard it has become. In the 50s it was put down by Miles Davis (1951) Thad Jones (1956) Billy Smith (1957) and Hank Jones (1958). Its most recent reading (1999) was by Jazz pianist Bill Charlap who is regarded as the modern equivalent of Bill Evans.
This song has a rather nice musical progression through the major and minor 7s usually finishing with a minor 7 to end the phrase. It's the timing of the beats which are tricky. Note that in some bars the first chord is strummed for 3 beats, then in the next bar it is strummed for 2 and then the next chord comes in before the singing note is sung. Keep an eye peeled for this little syncopation.