February, a month often characterized by its brevity and lingering winter chill, carries with it the well-known sentiment of Valentine’s Day. Yet, the song most associated with this day of romance, “My Funny Valentine,” holds a more complex history and has evolved into a cornerstone of jazz repertoire, often misunderstood despite its enduring popularity. Originally written in 1937 by the legendary songwriting duo Richard Rodgers and Lorenz Hart for the musical comedy Babes In Arms, the song has been recorded over 1,600 times by more than 600 artists and is indelibly linked to iconic performers such as Frank Sinatra, Gerry Mulligan, Chet Baker, and Miles Davis.
The Genius of Rodgers and Hart
Richard Rodgers possessed an unparalleled gift for crafting simple, memorable melodies, often enriched with intricate chord progressions. Lorenz Hart, his lyricist, was a master of wit, charm, and ironic humor, whose words possessed a poetic depth and rhythmic sophistication. Together, they formed an incomparable team, whose synergy arguably surpassed even Rodgers’ later, highly successful collaborations with Oscar Hammerstein.
Beyond a Simple Love Song
While “My Funny Valentine” is intrinsically linked to Valentine’s Day due to its title and a late lyric, its original context within Babes In Arms was more literal. The song is sung by a female character to the male lead, Valentine “Val” La Mar. Rather than a typical ode to a lover’s virtues, the lyrics humorously acknowledge flaws and imperfections, with the declaration of love persisting despite them. Lines like “Your looks are laughable, unphotographable. Yet you’re my favorite work of art” and “Don’t change a hair for me, not if you care for me” reveal Hart’s signature ironic touch. Many have noted that these lyrics, born from Hart’s own struggles with self-esteem and personal demons, could be interpreted as a deeply personal, albeit unconventional, love song to himself.
Musical Complexity and Evolution
The emotional nuances of the lyrics are mirrored in the song’s musical structure. It opens with a somber melody in C minor, featuring a descending bass line, a departure from Rodgers’ typical inclination towards major keys. While the melody shifts, hinting at the relative E-flat major, it eventually returns to C minor. The bridge offers a brighter mood in E-flat major before the song’s conclusion. The final section features a striking climax on the sustained E-flat note against a C minor chord, which resolves to an E-flat major, underscoring the sentiment that “Each day is Valentine’s Day.”
The song’s layered complexity in both lyrics and music contributed to its eventual status as a jazz standard, though it took time to achieve widespread recognition. Initially overlooked and even omitted from the 1939 film adaptation of Babes In Arms, “My Funny Valentine” saw a resurgence in the early 1950s, with audiences seemingly more receptive to its poignant themes.
Jazz Interpretations and Immortality
Frank Sinatra’s 1950s recording for Capitol Records played a significant role in popularizing the song, capturing its vulnerability and tenderness. However, it was the jazz interpretations that truly cemented its immortal status. Gerry Mulligan’s 1953 recording with his pianoless quartet, featuring Chet Baker, was a pivotal moment. This rendition, lauded for its restrained, lyrical arrangement and the exquisite interplay between Mulligan and Baker, was later inducted into the National Recording Registry of the Library of Congress for its cultural significance.
Chet Baker’s own vocal version in 1954 launched him into jazz stardom, captivating audiences with his sensitive delivery. Miles Davis, a towering figure in jazz, approached the song with a more improvisational style, recorded in 1956 with John Coltrane. His daring interpretation, highlighted by Red Garland’s lyrical piano, further enhanced both Davis’s reputation and the song’s appeal.
Other notable jazz recordings include Ben Webster’s emotive rendition from 1954 and Ruby Braff and Ellis Larkins’ creative duo treatment from 1955, which notably featured the song’s stirring, almost madrigal-like verse often omitted by instrumentalists. The Bill Evans and Jim Hall collaboration on their 1962 album Undercurrent offered a remarkably fast-paced and aggressive interpretation, a stark contrast to the song’s typical ballad tempo.
Vocal performances also stand out, with Sarah Vaughan’s spirited 1973 rendition on Live In Japan and Lee Wiley’s warm, original 1954 recording accompanied by Ruby Braff, among the most celebrated.
“My Funny Valentine” remains a testament to the enduring power of masterful songwriting, offering a rich canvas for musical interpretation and continued exploration. Its journey from a musical theater piece to a jazz standard highlights its profound emotional resonance and artistic versatility.
Jazz Notes: Quick Picks for February
- Feb 1, 8 PM: Jazz Performance and Education Centre presents “Generations: Stars and Rising Stars” featuring Lorne Lofsky and David Cruz on guitar, with Artie Roth on bass at the Aga Khan Museum.
- Feb 12, 8 PM: The Royal Conservatory of Music’s TD Jazz Concert Series features “Oscar Peterson’s AFRICA” with Benny Green on piano, Christian McBride on bass, Lewis Nash on drums, an All-Star Big Band, and conducted by John Clayton at Koerner Hall.
- Feb 23, 4:30 PM: Christ Church Deer Park hosts Jazz Vespers with the Allison Au Quartet at 1570 Yonge St. This is a freewill offering and a religious service.
- Feb 27, 12:30 PM: York University Department of Music’s Jazz at Midday features jazz artist-in-residence Dave Douglas at the Tribute Communities Recital Hall, Accolade East Building. This event is free.
Toronto bassist Steve Wallace contributes to a blog at Wallace-bass.com, covering topics such as jazz, baseball, life, movies, and food.