Although Count Basie came from New Jersey, he came to prominence as the pianist of Bennie Moten’s Kansas City band. And so, when he took over that band, and for many years after, he was not considered in the league of eastern bands, like Ellington’s or Fletcher Henerson’s, because the swing of the American midwest was not considered either original, like the stultified stuff then coming from New Orleans, or new enough, like the music then played by the musical diaspora in Chicago, or sophisticated enough, like the bands in New York.
None of this seemed to rile Basie, or his new champion John Hammond, the A&R savior of Columbia records, who brought Basie’s band to New York City.
But Basie proved more resilient than an ordinary regional novelty. Basie proved as sophisticated as the New Yorkers. He commissioned arrangements and took aim at the smartest Tin Pan Alley favorites. And so with a chart written by Jimmy Mundy, Basie recorded Cole Porter’s “My Heart Belongs to Daddy” with Helen Humes (and a beguiling muted solo by Buck Clayton), not for Columbia, but for Decca on January 5, 1939:
Note the witty bass comments before and during the vocals. Unfortunately, the ending was poorly conceived and abrupt. Perhaps that could be explained by the technological limitations of recordings of the time. Whatever the explanation, in the next decade (and more) that problem would be fixed.