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Hi-De-Ho: The Life of Cab Calloway
Clad in white tie and tails, dancing and scatting his way through the "Hi-de-ho" chorus of "Minnie the Moocher," Cab Calloway exuded a sly charm and sophistication that endeared him to legions of fans.
In Hi-de-ho , author Alyn Shipton offers the first full-length biography of Cab Calloway, whose vocal theatrics and flamboyant stage presence made him one of the highest-earning African American bandleaders. Shipton sheds new light on Calloway's life and career, explaining how he traversed racial and social boundaries to become one of the country's most beloved entertainers. Drawing on first-hand accounts from Calloway's family, friends, and fellow musicians, the book traces the roots of this music icon, from his childhood in Rochester, New York, to his life of hustling on the streets of Baltimore. Shipton highlights how Calloway's desire to earn money to support his infant daughter prompted his first break into show business, when he joined his sister Blanche in a traveling revue. Beginning in obscure Baltimore nightclubs and culminating in his replacement of Duke Ellington at New York's famed Cotton Club, Calloway honed his gifts of scat singing and call-and-response routines. His career as a bandleader was matched by his genius as a talent-spotter, evidenced by his hiring of such jazz luminaries as Ben Webster, Dizzy Gillespie, and Jonah Jones. As the swing era waned, Calloway reinvented himself as a musical theatre star, appearing as Sportin' Life in "Porgy and Bess" in the early 1950s; in later years, Calloway cemented his status as a living legend through cameos on "Sesame Street" and his show-stopping appearance in the wildly popular "The Blues Brothers" movie, bringing his trademark "hi-de-ho" refrain to a new generation of audiences.
More than any other source, Hi-de-ho stands as an entertaining, not-to-be-missed portrait of Cab Calloway--one that expertly frames his enduring significance as a pioneering artist and entertainer.
In Hi-de-ho , author Alyn Shipton offers the first full-length biography of Cab Calloway, whose vocal theatrics and flamboyant stage presence made him one of the highest-earning African American bandleaders. Shipton sheds new light on Calloway's life and career, explaining how he traversed racial and social boundaries to become one of the country's most beloved entertainers. Drawing on first-hand accounts from Calloway's family, friends, and fellow musicians, the book traces the roots of this music icon, from his childhood in Rochester, New York, to his life of hustling on the streets of Baltimore. Shipton highlights how Calloway's desire to earn money to support his infant daughter prompted his first break into show business, when he joined his sister Blanche in a traveling revue. Beginning in obscure Baltimore nightclubs and culminating in his replacement of Duke Ellington at New York's famed Cotton Club, Calloway honed his gifts of scat singing and call-and-response routines. His career as a bandleader was matched by his genius as a talent-spotter, evidenced by his hiring of such jazz luminaries as Ben Webster, Dizzy Gillespie, and Jonah Jones. As the swing era waned, Calloway reinvented himself as a musical theatre star, appearing as Sportin' Life in "Porgy and Bess" in the early 1950s; in later years, Calloway cemented his status as a living legend through cameos on "Sesame Street" and his show-stopping appearance in the wildly popular "The Blues Brothers" movie, bringing his trademark "hi-de-ho" refrain to a new generation of audiences.
More than any other source, Hi-de-ho stands as an entertaining, not-to-be-missed portrait of Cab Calloway--one that expertly frames his enduring significance as a pioneering artist and entertainer.
304 pages, Hardcover
First published September 1, 2007
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Displaying 1 - 7 of 7 reviews
October 8, 2011
I’ve always had a soft spot for Cab Calloway. From the time I was small my grandmother, who grew up in Harlem, would sing "Minnie the Moocher," his trademark song, to my sister and I, then regale us with stories of nights dancing at the Cotton Club to the music of Cab and his big band. She may have seen other artists perform there, but she only ever mentioned Cab Calloway by name. Apparently, he was a memorable and electrifying personality.
So, is it possible to catch such lightning in a bottle?
Alyn Shipton’s biography is lovingly detailed and extremely informative. The research that went into the material was obviously extensive and, even though personal details are relatively sparse, it appears he worked with the cooperation of Calloway’s family as well. However, this book is aimed more at fellow musicians (or musical scholars) than it is at the average reader. Shipton’s goal is obvious from the start, to persuade readers to re-evaluate Calloway’s musical legacy, to see him and his band as jazz innovators in their own right, not merely a populist crossover act that pandered to the lowest common denominator. And that’s all well and good, but he spills an inordinate amount of ink attempting to describe the contributions of the individual musicians on many of the band’s numerous recordings and, honestly, trying to capture the sound of a swing band in writing is a fool’s errand. In this, the only thing Shipton accomplished was to force me to seek out old clips of Calloway so I could see for myself what a magnetic performer he was. And he truly was.
Although I was initially attracted to the book because of Calloway’s connection to the Harlem Renaissance period, it surprised me that the last two sections, detailing his later years, were infinitely more engaging. The depiction of Cab’s early days in show business was rather dry - detailing the line-up changes and curriculum vitae of each and every band member, their tour schedules, song arrangements, sets and costumes, not to mention his various professional relationships with songwriters, managers, mobsters and club-owners. I’m ashamed to admit that, at times, I had to force myself not to skim these bits. After the decline in popularity of big band music, his career appears to be in a downward spiral before he re-invents himself as a Broadway musical star and ultimately endears himself to an entire new generation of music fans with his appearance in The Blues Brothers film. It’s during that relatively brief fallow period, when Calloway sinks into a deep depression, that the reader finally feels privy to some aspect of his inner life. Prior to that, although there were deaths, divorce, infidelity, racism and child rearing, Shipton describes these events very superficially, perhaps for fear of devolving into melodrama and diminishing the book’s more serious musical aims.
So ultimately, I came away with a greater knowledge of Cab Calloway’s professional background and his musical oeuvre, as well as a renewed appreciation for his contributions to music, but felt that I really didn’t get to know him any better as a man.
Recommended for serious fans of jazz and/or twentieth century African-American history.
So, is it possible to catch such lightning in a bottle?
Alyn Shipton’s biography is lovingly detailed and extremely informative. The research that went into the material was obviously extensive and, even though personal details are relatively sparse, it appears he worked with the cooperation of Calloway’s family as well. However, this book is aimed more at fellow musicians (or musical scholars) than it is at the average reader. Shipton’s goal is obvious from the start, to persuade readers to re-evaluate Calloway’s musical legacy, to see him and his band as jazz innovators in their own right, not merely a populist crossover act that pandered to the lowest common denominator. And that’s all well and good, but he spills an inordinate amount of ink attempting to describe the contributions of the individual musicians on many of the band’s numerous recordings and, honestly, trying to capture the sound of a swing band in writing is a fool’s errand. In this, the only thing Shipton accomplished was to force me to seek out old clips of Calloway so I could see for myself what a magnetic performer he was. And he truly was.
Although I was initially attracted to the book because of Calloway’s connection to the Harlem Renaissance period, it surprised me that the last two sections, detailing his later years, were infinitely more engaging. The depiction of Cab’s early days in show business was rather dry - detailing the line-up changes and curriculum vitae of each and every band member, their tour schedules, song arrangements, sets and costumes, not to mention his various professional relationships with songwriters, managers, mobsters and club-owners. I’m ashamed to admit that, at times, I had to force myself not to skim these bits. After the decline in popularity of big band music, his career appears to be in a downward spiral before he re-invents himself as a Broadway musical star and ultimately endears himself to an entire new generation of music fans with his appearance in The Blues Brothers film. It’s during that relatively brief fallow period, when Calloway sinks into a deep depression, that the reader finally feels privy to some aspect of his inner life. Prior to that, although there were deaths, divorce, infidelity, racism and child rearing, Shipton describes these events very superficially, perhaps for fear of devolving into melodrama and diminishing the book’s more serious musical aims.
So ultimately, I came away with a greater knowledge of Cab Calloway’s professional background and his musical oeuvre, as well as a renewed appreciation for his contributions to music, but felt that I really didn’t get to know him any better as a man.
Recommended for serious fans of jazz and/or twentieth century African-American history.
August 26, 2021
My mother had 78 rpm carnauba recordings of Cab Calloway and his Orchestra which I played when I was a boy. I knew the words to "Minnie the Moocher" and "Everybody Eats When They Come to My House." I could sing back to his call-and-response scat singing. All of this familiarity and I had no idea that Cab Calloway was black. The story of his life and career is one of a musician situated in a racist structure which limited and directed what he could and could not do. His music was identified as "black music" or "Negro music" although it was enjoyed by white people from a distance. To read his life is to take a short course in twentieth century African-American history. In addition to his big band work, he became a well-known and beloved figure. He appeared in motion pictures ("Stormy Weather") and Broadway plays ("Porgy and Bess"). He appeared in "The Blues Brothers" with Dan Ackroyd and John Belushi, as well as making three guest appearances on "The Muppet Show." Shipton tells Calloway's story, beginning to end, but leaves out an essential part. The Hi-De-Ho Man was buried from the Cathedral Church of St. John the Divine in New York City because he was an Episcopalian. I'm rather chuffed by that and rather miffed that Shipton left it out.
December 14, 2018
With dozens of hits from "Minnie The Moocher," "Are You Hep To The Jive?," "The Hi-De-Ho Man,"
Everybody Eats When They Come To My House," "Viper's Drag," "St. Louis Blues," to "Jumpin' Jive," "Are You All Reet?" "Nagasaki," "Who's Yehoodi?," "You Rascal You," "San Francisco Fan," and "Hey Now, Hey Now," everyone knows him as a singer and big band leader with a distinctive image and a long-running career. He was also a star of musical theater, a film actor (with shorts, features and hits like "Stormy Weather," a radio and TV personality. Then there was a revival of his career with his appearance in "The Blues Brothers" movie with Dan Ackroyd and John Belushi. Alyn Shipton covers it all in this first full length biography of a pioneer jazz artist. - BH.
Everybody Eats When They Come To My House," "Viper's Drag," "St. Louis Blues," to "Jumpin' Jive," "Are You All Reet?" "Nagasaki," "Who's Yehoodi?," "You Rascal You," "San Francisco Fan," and "Hey Now, Hey Now," everyone knows him as a singer and big band leader with a distinctive image and a long-running career. He was also a star of musical theater, a film actor (with shorts, features and hits like "Stormy Weather," a radio and TV personality. Then there was a revival of his career with his appearance in "The Blues Brothers" movie with Dan Ackroyd and John Belushi. Alyn Shipton covers it all in this first full length biography of a pioneer jazz artist. - BH.
June 10, 2024
An exceptional entertainer is given his due in this book.
Cab Calloway was one of the most successful band leaders-jazz men in the 1930s, but sometimes he gets lost in the wake of Armstrong and Ellington. With a one-of-a-kind style and sound, he was instrumental in getting his sound heard and made "Minnie the Moocher" famous.
This follows from the beginning through the Cotton Club to successful recordings to tours in the US and Europe.
His troubled personal life is covered too, with wives and relationships and children throughout his life.
As the big bands go away and the concert halls get smaller, Calloway works on his artistry and then has a successful Broadway run in "Porgy and Bess" and an all-Black production of "Hello Dolly." He finally reintroduces himself and Minnie in "The Blues Brothers" movie.
Worth it to find out more about a time and entertainer long lost.
Cab Calloway was one of the most successful band leaders-jazz men in the 1930s, but sometimes he gets lost in the wake of Armstrong and Ellington. With a one-of-a-kind style and sound, he was instrumental in getting his sound heard and made "Minnie the Moocher" famous.
This follows from the beginning through the Cotton Club to successful recordings to tours in the US and Europe.
His troubled personal life is covered too, with wives and relationships and children throughout his life.
As the big bands go away and the concert halls get smaller, Calloway works on his artistry and then has a successful Broadway run in "Porgy and Bess" and an all-Black production of "Hello Dolly." He finally reintroduces himself and Minnie in "The Blues Brothers" movie.
Worth it to find out more about a time and entertainer long lost.
October 8, 2011
I’ve always had a soft spot for Cab Calloway. From the time I was small my grandmother, who grew up in Harlem, would sing "Minnie the Moocher," his trademark song, to my sister and I, then regale us with stories of nights dancing at the Cotton Club to the music of Cab and his big band. She may have seen other artists perform there, but she only ever mentioned Cab Calloway by name. Apparently, he was a memorable and electrifying personality.
So, is it possible to catch such lightning in a bottle?
Alyn Shipton’s biography is lovingly detailed and extremely informative. The research that went into the material was obviously extensive and, even though personal details are relatively sparse, it appears he worked with the cooperation of Calloway’s family as well. However, this book is aimed more at fellow musicians (or musical scholars) than it is at the average reader. Shipton’s goal is obvious from the start, to persuade readers to re-evaluate Calloway’s musical legacy, to see him and his band as jazz innovators in their own right, not merely a populist crossover act that pandered to the lowest common denominator. And that’s all well and good, but he spills an inordinate amount of ink attempting to describe the contributions of the individual musicians on many of the band’s numerous recordings and, honestly, trying to capture the sound of a swing band in writing is a fool’s errand. In this, the only thing Shipton accomplished was to force me to seek out old clips of Calloway so I could see for myself what a magnetic performer he was. And he truly was.
Although I was initially attracted to the book because of Calloway’s connection to the Harlem Renaissance period, it surprised me that the last two sections, detailing his later years, were infinitely more engaging. The depiction of Cab’s early days in show business was rather dry - detailing the line-up changes and curriculum vitae of each and every band member, their tour schedules, song arrangements, sets and costumes, not to mention his various professional relationships with songwriters, managers, mobsters and club-owners. I’m ashamed to admit that, at times, I had to force myself not to skim these bits. After the decline in popularity of big band music, his career appears to be in a downward spiral before he re-invents himself as a Broadway musical star and ultimately endears himself to an entire new generation of music fans with his appearance in The Blues Brothers film. It’s during that relatively brief fallow period, when Calloway sinks into a deep depression, that the reader finally feels privy to some aspect of his inner life. Prior to that, although there were deaths, divorce, infidelity, racism and child rearing, Shipton describes these events very superficially, perhaps for fear of devolving into melodrama and diminishing the book’s more serious musical aims.
So ultimately, I came away with a greater knowledge of Cab Calloway’s professional background and his musical oeuvre, as well as a renewed appreciation for his contributions to music, but felt that I really didn’t get to know him any better as a man.
Recommended for serious fans of jazz and/or twentieth century African-American history.
So, is it possible to catch such lightning in a bottle?
Alyn Shipton’s biography is lovingly detailed and extremely informative. The research that went into the material was obviously extensive and, even though personal details are relatively sparse, it appears he worked with the cooperation of Calloway’s family as well. However, this book is aimed more at fellow musicians (or musical scholars) than it is at the average reader. Shipton’s goal is obvious from the start, to persuade readers to re-evaluate Calloway’s musical legacy, to see him and his band as jazz innovators in their own right, not merely a populist crossover act that pandered to the lowest common denominator. And that’s all well and good, but he spills an inordinate amount of ink attempting to describe the contributions of the individual musicians on many of the band’s numerous recordings and, honestly, trying to capture the sound of a swing band in writing is a fool’s errand. In this, the only thing Shipton accomplished was to force me to seek out old clips of Calloway so I could see for myself what a magnetic performer he was. And he truly was.
Although I was initially attracted to the book because of Calloway’s connection to the Harlem Renaissance period, it surprised me that the last two sections, detailing his later years, were infinitely more engaging. The depiction of Cab’s early days in show business was rather dry - detailing the line-up changes and curriculum vitae of each and every band member, their tour schedules, song arrangements, sets and costumes, not to mention his various professional relationships with songwriters, managers, mobsters and club-owners. I’m ashamed to admit that, at times, I had to force myself not to skim these bits. After the decline in popularity of big band music, his career appears to be in a downward spiral before he re-invents himself as a Broadway musical star and ultimately endears himself to an entire new generation of music fans with his appearance in The Blues Brothers film. It’s during that relatively brief fallow period, when Calloway sinks into a deep depression, that the reader finally feels privy to some aspect of his inner life. Prior to that, although there were deaths, divorce, infidelity, racism and child rearing, Shipton describes these events very superficially, perhaps for fear of devolving into melodrama and diminishing the book’s more serious musical aims.
So ultimately, I came away with a greater knowledge of Cab Calloway’s professional background and his musical oeuvre, as well as a renewed appreciation for his contributions to music, but felt that I really didn’t get to know him any better as a man.
Recommended for serious fans of jazz and/or twentieth century African-American history.
October 7, 2010
My conversation with Alyn Shipton is available for download in Pnodcast form at 11:15 am at www.markehayes.net.
May 9, 2011
Great book. I find myself wanting to call out for the occasional "Hi de hi de hi de ho!"
Displaying 1 - 7 of 7 reviews