One of the most fascinating aspects of the war years – that is, the years when Soundies were in active production and distribution – was the large number of sweet bands that jettisoned what was called “Mickey Mouse music” and to take up a more swinging approach. These bands eliminated novelty effects, hired new arrangers and soloists, and started to swing (or try harder to swing) within a crowded field of great jazz bands. Ted FioRito, Jan Garber, George Olsen, Ozzie Nelson, Gus Arnheim, Alvino Rey, and many others introduced a harder drive into their music. In my opinion, it was often an improvement in what they had been previously playing.
One of the bands worthy of note in this regard is Gray Gordon and his Orchestra. Throughout the 1930s, each song was introduced by the monotonous 4/4 rhythm played on temple blocks. “Gray Gordon and his Tic-Toc Rhythm” became identifiable. The “tic-tocs” said it all. But by 1940 this style was beginning to change. Gordon began featuring more up-tempo arrangements and hired some fine soloists, including Ray Mace on piano, Babe Fresk on tenor sax, and a very underrated reedman, Hal Tennyson, who soloed on both clarinet and alto sax.
“Scrub Me Mama With A Boogie Beat” was written by top tunesmith Don Raye. It was one of three similar songs written by Raye, all hits. With the other two, “Boogie Woogie Bugle Boy of Company B” and “Beat Me Daddy, Eight to the Bar,” lyricist Raye worked with composer Hughie Prince.
While nobody would confuse Gordon’s music with that of Benny Goodman or Count Basie, the performance here is still miles away from such earlier recordings as “Blue in the Black of Night” or “Hang Your Heart On a Hickory Limb.” Pianist Ray Mace is heavily featured, and he certainly has the boogie “style” down pat. I am not sure of the trombone soloist, but I think it would be either Bob Negron or Bob Fishel. The vocalist, Meredith Blake, had previously sung with Jack Teagarden and Jack Jenny, and she would later sing with Mitchell Ayres and Shep Fields. Dancer Cliff Ferre was probably asked to improvise a dance routine on the spot, but make no mistake: Ferre was a respected performer who appeared on the variety stage, Broadway, film, and television.
Is this a great Soundie? Probably not, although it certainly is entertaining enough. But it is important to remember that this film was made in February 1941, early in the Soundies production cycle. The weekly release of April 13, 1941, included a handful of pop songs, three of which were “Latin-related.” There were also two novelty pieces. This up-tempo short by Gray Gordon would have helped balance the reel, perhaps even bringing some dancers out to the floor in the tavern recreation hall in which the Soundie was being played.