The group I’ve started singing with, The Lost Serenaders (name taken from a New Yorker cartoon by Maslin that shows four guys in white tuxedos singing in a jungle setting), looks for songs to rearrange in three-part harmony. We do some obvious “golden era” standards–“Bye Bye, Blackbird,” “It’s Only a Paper Moon,” “Moonlight in Vermont”–but also some that fall outside that category–“I’ll Be Your Baby Tonight,” “Why Do Fools Fall in Love?,” “Volare.”
Ella Fitzgerald
We have just started digging into the Cole Porter treasure chest, and it’s great to be listening to the Ella Songbook versions again and imagining what Gabrielle & Debbie & I can do to them. A list of reaffirmed favorites:
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“What is This Thing Called Love?” The best version of this song is the classic instrumental by Sidney Bechet. I’d worked out an up-tempo harmony version a few years back, to which we may add a little scatting. (I’ve never scatted in public. It seems so bold and reckless.)
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“Too Darn Hot” There’s a great Ella version of this one. It certainly lends itself to harmony, so it’s going on the list.
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“Miss Otis Regrets” The Serenaders are doing a version of this morbidly funny song written on a dare. Mostly solo, with some flurries of harmony.
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“Why Can’t You Behave?” Another wonderful musical question. Playful lyrics. Gorgeous melody. I worked this one out in four parts for The Gentleman’s Club years ago.
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“Ev’ry Time We Say Good-bye” This song has my favorite Cole Porter melody. I like Jimmy Scott’s drawn-out vocal.
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“Love for Sale” So naughty. “Appetizing young love for sale.” Ooh-la-la.
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“I Concentrate on You” Great song in any style, but I particularly like the Brazilian versions that Sinatra and others did.
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“I Love Paris” One of the great minor/major melody lines. Ella’s version is a classic.
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“It’s All Right with Me” Pretty much the same goes for this one that goes for “I Love Paris.”
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“So in Love” The third song on this short list from Kiss Me, Kate–and there could be others.
There are so many other Cole Porter standards, but I have to mention the best movie version of any Cole Porter song: Cleavon Little’s version of “I Get a Kick out of You,” backed by ol’ cowpokes in Blazing Saddles.
Running/Breathing 
