"In 1959, 'Indiana' was included in the films The Gene Krupa Story and The Five Pennies (a Red Nichols biography). Nichols appeared in the former and dubbed for Danny Kaye in the latter."
- JW
Fast cars and jazz are not readily associated in many minds; however, "Indiana" is a favorite of fans of both. The majority of those who recognize the song would identify it as "Back Habitation Again in Indiana," a highlight of the Indianapolis 500 pre-race ceremonies, courtesy of the distinctive phonation of Jim Nabors. Jazz fans, on the other hand, are more likely to say it is "Indiana," a favorite of jazz musicians and the ground for numerous compositions, including Lennie Tristano's "No Figs" and Miles Davis' "Donna Lee." The official title is only "Indiana." "Back Abode Once more in Indiana" is the first line of the refrain.
The story of "Indiana" begins with Paul Dresser (1858-1906). Born Johann Paul Dreiser Jr., he was the older brother of the well-known novelist, Theodore Dreiser, whose works include An American Tragedy (1925), the ground for the motion picture A Place in the Sun (1951).
By the age of thirty-7 Dresser had tired of a jack-of-all-trades career on the minstrel circuit and decided instead to concentrate on composing pop songs, a sideline in which he had already experienced some success. In 1897 Dresser wrote his biggest hit, "On the Banks of the Wabash, Far Away," a meg-selling vocal that is often compared to Stephen Foster'south "Onetime Folks at Home." Unfortunately his success in composing and publishing would be curt lived, and at the age of 47 Dresser died penniless.
Paul Dresser'south music would become his legacy, and in 1913 the Indiana State Legislature adopted "On the Banks of the Wabash, Far Abroad" as the state song. Four years later Jack Hanley and Ballard MacDonald wrote "Indiana," a song similar musically and lyrically to the Dresser limerick. While Hanley and MacDonald had secured permission to use a couple of bars from the publisher of the state vocal, Clayton W. Henderson, professor of music at Saint Mary's College, South Curve, Indiana, and author of On the Banks of the Wabash: The Life and Music of Paul Dresser, suggests that the song "Indiana" borrows shamelessly from Dresser'southward lyrics and music. He proposes, "Past using note values of long, followed past short durations throughout his song--precisely those note lengths that pervade Dresser's songs--Hanley simulated the entire musical mood of 'Wabash.'"
Over xx years later, brother Theodore Dreiser considered a lawsuit charging the songwriters with plagiarism but was dissuaded by the publishers and maybe by the fact that he would be suing Ballard MacDonald, a composer already familiar with copyright infringement. In 1910 MacDonald was the plaintiff in a arrange against Fred Helf, the publisher of the sail music for "The Barbershop Chord," a hit song MacDonald had begun and others had finished. When Helf omitted MacDonald's name, MacDonald sued him for $37,500, driving Helf out of business.
"Indiana" was a most instant hit in 1917, first with a Conway'southward Band recording which rose to number viii on the pop charts and then with the Original Dixieland Jazz Band, again rising to number eight. In 1929 Cherry Nichols and His Five Pennies' recording climbed the charts to number nineteen. All three hits were instrumentals.
Jim Nabors (1930-) who portrayed Gomer Pyle in the The Andy Griffith Prove (1963-1964) and Gomer Pyle, USMC (1964-1970) began his almanac rendition of "Indiana" at the Indy 500 in 1972. The tradition began in 1946 with tenor James Melton. In between 1946 and 1972 the vocalists included Frank Parish, Morton Downey Sr., Dinah Shore, Dennis Morgan, Mel Torme, Brian Sullivan, Vic Damone, Ed Ames, and Peter DePaolo. Substituting for Nabors in some years were Peter Marshall, Dr. Richard Smith, Phil Harris, Louis Sudler, and a recording of Nabor'due south voice due to a rain delay.
This section suggests definitive or otherwise significant recordings that will help jazz students go acquainted with "Indiana (Back Home Again in Indiana)." These recordings have been selected from the Jazz History and CD Recommendations sections.
Given how early "Indiana" emerged every bit a jazz standard, it is interesting how many of its definitive recordings come from later periods in jazz. Lester Young's swing-era performance with Count Basie on piano from 1944 (Consummate Savoy Recordings) went a long way towards showing the potential the song had for modernistic applications. Those mod applications, meanwhile, were brought to fruition by bebop musicians, most notably pianist Bud Powell, who produced a noteworthy trio rendition in 1947 (Bud's Bubble: 1944/1947).
Noah Baerman - Jazz Pianist and Educator
Music and Lyrics Assay
Musical analysis of "Indiana (Dorsum Dwelling Again in Indiana)"
Original Key
F Major
Grade
A1-B-A2-C
Tonality
Major throughout
Movement
About 65% arpeggiated, 35% step-wise, fairly balanced between upwards and downwardly motion. Totally, it's somewhat similar traveling through rolling hill country.
Comments (assumed background)
The "A" sections follow the circle of fifths progression beginning with I-VI7-II, stretching out each chord to a full measure (unlike "I Could Write a Volume" or "Sugariness Lorraine," where there is a chord change every two beats). In improver, passing chords are used, going from the initial I down to the VI7 (in the original central, F-E7-Eb7-D7), merely their utilize is purely decorative (Charlie Parker ignores them birthday in his "Donna Lee" variation). The recommendation here is non to worry about striking every single chord–focus on the "big pic," i.east., the vocalization leading.
The "B" section is a contrasting, but fairly mutual, progression, starting on IV, followed past 4 before resolving to I (think "Aloha Oe," "I'll Encounter You In My Dreams," or "Isn't It a Lovely Day?"). After this, it again descends to VI7 for another circle of fifths (the aforementioned as the get-go, but used quite differently, then be aware).
Going from "A2' into "C," there is a deceptive resolution from V7 to vi, which then goes to a four before returning to the opening "I" of the "C" section–very tasteful, but tricky for the novice. "C" contains a circle of fifths as well, this fourth dimension going up to III7and resolving to vi. This, in plow, resolves straight to I past way of a "common-tone macerated chord," a handy harmonic device that can resolve to near anything (in this case, D pocket-size becomes D˚7–which contains the same notes as F˚7).
K. J. McElrath - Musicologist for JazzStandards.com
The Original Dixieland Jazz Band recorded "Indiana" for Columbia Records on January 30, 1917, days later their first successful New York advent. A calendar month later Victor Records quickly released "Livery Stable Blues" and "Dixieland Jass One Step" (arguably the outset jazz recording), selling thousands of copies to the dismay of Columbia executives who quickly released "Indiana."
"Indiana" continued thereafter to play a large function in jazz history. A jam session favorite, recordings were fabricated in the twenties (Red Nichols, Eddie Condon) and thirties (big bands of Benny Goodman and Harry James and pocket-sized groups led by Roy Eldridge, Lester Young and Coleman Hawkins) and into the forties, fifties and sixties (Chet Bakery, Clifford Brown and Stan Getz).
Chris Tyle - Jazz Musician and Historian
Additional data for "Indiana (Back Dwelling Again in Indiana)" may exist found in:
Thomas Due south. Hischak The Tin Pan Alley Vocal Encyclopedia Greenwood Printing Hardcover: 552 pages
(1 paragraph including the following types of information: motion picture productions, history and performers.)
"Indiana (Dorsum Home Once more in Indiana)" was included in these films:
Roberta (1935, The Wabash Indianians)
With a Song in My Heart (1952, Susan Hayward dubbed by Jane Froman)
The Gene Krupa Story (1959, Red Nichols)
The V Pennies (1959, with lyrics past Sylvia Fine)
Hoosiers (1986)
Sweet and Lowdown (1999, Cerise Nichols)
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Recommendations for This Tune
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Art Tatum The Complete Capitol Recordings Blueish Note Records
Tatum is heard here in a trio with guitarist Everett Barksdale and bassist Slam Stewart. The trio format forces him to relax a bit, but the results are still stunning.
Lester Young Consummate Savoy Recordings Savoy Jazz 17122 Original recording 1944
Young is accompanied here by a rhythm section of Count Basie band members, including guitarist Freddie Green and the Count himself on piano. The results are exceptionally swinging and energetic, with Young in top form.
Lionel Hampton and Oscar Peterson Just One of Those Things 1999 Polygram 547437 Original recording 1954
Hampton and Peterson both display their chapters to swing with simultaneous ease and energy on this fun functioning.
Rosemary Clooney Even so on the Road 1994 Concur 4590
Clooney offers us a strikingly tender vocal rendition of "Indiana" that is gentle without existence excessively sappy.
The Hi-Lo'due south Cherries and Other Delights 1993 compilation, Hindsight Records #603
This vocally acrobatic quartet was respected in the jazz globe and wildly pop in the '50s and '60s. They have a lot of fun with "Indiana,"' opening in direct barbershop style and throwing in a little soft shoe before taking it outside.
Thomas Due south. Hischak
Art Tatum 
Lester Young
Lionel Hampton and Oscar Peterson
Rosemary Clooney
The Hi-Lo'due south
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