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Ray Henderson
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Key Information

Ray Henderson (born Raymond Brost; December 1, 1896 – December 31, 1970) was an American songwriter.[1]

Early life

[edit]

Born in Buffalo, New York, Henderson moved to New York City and became a popular composer in Tin Pan Alley.[1] He was one-third of a successful songwriting and music publishing team with Lew Brown and Buddy De Sylva from 1925 through 1930, responsible for several editions of the revue called George White's Scandals and such book musicals as Good News, Hold Everything!, and Follow Thru.[1] After De Sylva's departure, Henderson continued to write with Brown through 1933.[2]

Then, he worked with other partners. In 1934, he composed the musical Say When with lyricist Ted Koehler.[1]

Career

[edit]
Henderson (right) with Buddy DeSylva and Lew Brown

Henderson's biggest hit songs included "Annabelle" (1923), "Alabamy Bound" (1924), "Bye Bye Blackbird", "Has Anybody Seen My Girl?" (a/k/a "Five Foot Two, Eyes of Blue"), "I'm Sitting on Top of the World", "Don't Bring Lulu" (all 1925), "The Birth of the Blues", "It All Depends on You" (both 1926), "The Varsity Drag", "The Best Things in Life Are Free" (both 1927), "You're the Cream in My Coffee", "Button Up Your Overcoat", "Sonny Boy" (all 1928), "You Are My Lucky Star", "I'm a Dreamer, Aren't We All", "(Keep Your) Sunny Side Up" (all 1929), "The Thrill Is Gone", "Life Is Just a Bowl of Cherries" (both 1931), and "Animal Crackers in My Soup" (1935).[1][3]

Henderson also worked as an accompanist to song and dance acts in Vaudeville. His last Broadway show was a resuscitation of the Ziegfeld Follies, one of several put on after Ziegfeld's death.[2] Henderson's, in 1943, had the longest run of any Follies at 553 performances. He effectively retired from composing in the late 1940s, and worked on an opera which was never completed.[1]

Death

[edit]

Henderson died of a heart attack[2] in Greenwich, Connecticut on December 31, 1970, at the age of 74.[4]

[edit]

Good News has been adapted for film twice; in 1930 and in 1947.

The 1956 film The Best Things in Life Are Free was a dramatization of the songwriting team of Henderson, Brown and De Sylva; Henderson was played by Dan Dailey. The film included many of the trio's songs.[2]

In 2000, a revue of Henderson's music called It's the Cherries opened in New York City as the inaugural show of the American Composer Series.

References

[edit]
[edit]
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Ray Henderson

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Ray Henderson (December 1, 1896 – December 31, 1970) was an American composer and songwriter renowned for his contributions to , Broadway musicals, and early Hollywood films during the and . Born Raymond Brost in , to a musical family, he studied piano and composition at the Chicago Conservatory before moving to , where he immersed himself in the vibrant songwriting scene. Henderson's melodies, often characterized by their catchy rhythms and enduring appeal, became staples of , influencing standards and show tunes alike. Henderson's career peaked with his partnership in the prolific songwriting trio of DeSylva, Brown, and Henderson, formed in 1925 with lyricists Buddy DeSylva and Lew Brown, which produced hits for nine Broadway shows between 1925 and 1930. Notable successes included the musicals Good News (1927), featuring "The Varsity Drag," and Hold Everything (1928), as well as songs like "Bye Bye Blackbird," "I'm Sitting on Top of the World," and "Life Is Just a Bowl of Cherries." He also contributed to five editions of George White's Scandals and composed for films such as The Singing Fool (1928), introducing Al Jolson's iconic "Sonny Boy," and the musical Flying High (1930). After the trio effectively disbanded following DeSylva's departure in 1930, Henderson continued collaborating with Lew Brown through 1933 and others, yielding additional standards. Henderson worked in Hollywood with studios like Fox, scoring musicals and revues such as the Ziegfeld Follies of 1943, before retiring in the 1940s due to health issues. His legacy endures through his induction into the Songwriters Hall of Fame in 1970, just months before his death from a heart attack in Greenwich, Connecticut, and the 1956 biographical film The Best Things in Life Are Free, which dramatized the trio's story. Henderson's work remains a cornerstone of the Great American Songbook, celebrated for capturing the exuberance of the Jazz Age.

Early life and education

Family and childhood

Ray Henderson was born Raymond Brost on December 1, 1896, in , to a family with strong musical ties. His father, William Brost, worked as a , while his mother, Margaret Baker, was a teacher who played a pivotal role in nurturing his early interest in music. Growing up in a middle-class household in Buffalo, Henderson benefited from an environment that supported artistic development, though opportunities for professional advancement would later prompt a move elsewhere. His mother encouraged his musical pursuits by providing piano lessons starting before he turned five, and both parents, being musicians themselves, fostered a home filled with musical activities that helped cultivate his innate talent. By age eight, he was actively participating in family musical endeavors and had begun honing his skills without extensive formal training beyond these early influences. Henderson's childhood also involved significant engagement with the local , where he sang in the choir and played the organ, further immersing him in music from a young age. These experiences in church and at home laid the groundwork for his self-taught proficiency on and organ, sparking a passion that would define his career.

Formal training and early influences

After completing his early musical exposure in Buffalo, Henderson pursued formal studies in and composition at the Conservatory in the early , where he honed a melodic style that became characteristic of his later work. This training provided a solid foundation in classical techniques, emphasizing harmony and structure amid the growing popularity of and early influences in the Midwest. Henderson continued his education at the , receiving formal training in advanced composition. There, he supplemented his university coursework with private instruction that refined his compositional skills and exposed him to European orchestral traditions. Around 1918, Henderson relocated to to capitalize on opportunities in the thriving district, the epicenter of publishing during the era. The move was driven by the district's vibrant scene of songwriters, performers, and publishers, which promised professional advancement beyond regional circuits.

Career

Beginnings in vaudeville and music publishing

Ray Henderson entered the entertainment industry around 1918 upon moving to , where he initially worked as a pianist and accompanist for acts on touring circuits. These performances honed his skills amid the fast-paced demands of live shows, often requiring quick adaptations to dancers and singers in small theaters across the . The era's scene, disrupted by enlistments and travel restrictions, limited touring opportunities but provided Henderson with essential exposure to popular tastes and stage dynamics. By 1918, Henderson transitioned into music publishing on Tin Pan Alley's competitive landscape, starting as a and staff pianist at firms like Leo Feist, Inc. There, he demonstrated new compositions for performers, networking with emerging lyricists while navigating the cutthroat environment of rival publishers vying for hits. His role involved playing demos for and artists, fostering connections that would later fuel his songwriting career, though the post-war boom intensified pressure to produce immediate successes amid economic recovery. Henderson's debut as a published came in 1920 with "Humming," a song featuring lyrics by Louis Breau, which gained traction after interpolation into the Broadway revue Tip Top. Building on this, his 1924 composition "Alabamy Bound"—with lyrics by Buddy DeSylva and Bud Green—marked an early breakthrough, capturing the era's upbeat influences and becoming a staple that showcased his melodic flair.

Formation of DeSylva, Brown, and Henderson

In 1925, Ray Henderson, already experienced in music publishing from his earlier collaborations, met lyricists Buddy DeSylva and through the bustling networks of New York City's scene. This encounter led to the formation of the songwriting trio DeSylva, Brown, and Henderson, a partnership that would dominate Broadway and for the next five years. The three established their own publishing firm, DeSylva, Brown and Henderson, Inc., that same year to control and promote their output, marking a strategic move in an era when songwriters sought greater autonomy from larger publishers. The trio's operational dynamic was highly efficient, with Henderson serving as the primary , crafting melodies that captured the era's energy, while DeSylva and shared lyric-writing duties and DeSylva increasingly handled production aspects. Their focus centered on upbeat, jazz-influenced pop songs featuring syncopated rhythms drawn from and traditions, designed to appeal to dance halls, stages, and emerging radio audiences. This collaborative style produced immediate hits, including the 1926 standard "The Birth of the Blues," introduced in George White's Scandals, and "It All Depends on You," interpolated into Al Jolson's Big Boy tour, which helped solidify their reputation as Tin Pan Alley's top team. By 1929, the trio sold their publishing firm and relocated to Hollywood under contract with Studios, signaling a shift toward film work. The partnership dissolved in 1930 when DeSylva transitioned fully to producing, driven by his growing interest in theatrical and cinematic production amid evolving Broadway trends that favored more integrated musicals over revue-style shows. This amicable split ended one of the decade's most prolific teams, though Henderson and continued collaborating briefly afterward.

Broadway musicals and revues

Ray Henderson, in collaboration with Buddy G. DeSylva and , made significant contributions to Broadway during the late 1920s through a series of innovative musical comedies that integrated plot-driven narratives with their song scores. Their breakthrough came with Good News (1927), a campus romp set at fictional Tait College amid the excitement of a pivotal football game, which ran for 557 performances and exemplified the era's youthful, sport-infused energy. This show advanced the musical comedy form by weaving Henderson's upbeat melodies—blending ragtime rhythms and emerging jazz influences—seamlessly into the storyline, where songs like the celebratory "Varsity Drag" propelled character development and comedic tension around romance and athletic rivalries. The trio followed with Hold Everything! (1928), a 409-performance hit centered on the gritty world of professional boxing, where Henderson's syncopated scores captured the pulse of prizefighting underdogs and their entourages, further tightening the bond between narrative action and musical numbers. Building on this momentum, Follow Thru (1929) shifted to the glamorous realm of women's at a , enjoying 401 performances while employing Henderson's lively jazz-inflected tunes to heighten romantic entanglements and social satire, solidifying their reputation for thematic cohesion in entertainment. Henderson also excelled in the revue format, contributing scores to multiple editions of George White's Scandals from 1925 to 1931, including the 1926 installment that introduced the enduring standard "The Birth of the Blues," a reflective piece on musical origins that ran for 432 performances. These revues showcased Henderson's versatility in crafting standalone hits amid spectacular dance sequences, contrasting yet complementing the plot-integrated style of their book musicals. After the trio's dissolution in 1930, Henderson adapted to evolving Broadway trends with Flying High (1930), a 355-performance aviation-themed comedy co-credited with DeSylva and Brown, and later the Ziegfeld Follies of 1943, a lavish 553-performance revue where his music supported wartime escapism through narrative vignettes and ensemble numbers. Throughout, Henderson's compositions defined the exuberant sound of 1920s-1930s musical theater, merging ragtime syncopation, jazz harmonies, and character-driven lyrics to mirror the era's cultural dynamism.

Hollywood contributions and later projects

In the late 1920s, Ray Henderson joined B.G. DeSylva and in transitioning from Broadway to Hollywood, signing a lucrative contract with Studios in 1929 to capitalize on the advent of sound films. Their early contributions included scoring the Fox musical Sunny Side Up (1929), which featured Henderson's compositions such as "If I Had a Talking Picture of You" and showcased newcomer and . The trio also provided music for (1930), a musical comedy produced by DeSylva, where Henderson's score supported the film's futuristic sets and satirical plot about a man revived in the year 1980. Henderson's work extended to other studios, including films like The Singing Fool (1928), where his songs "It All Depends on You" and "Sonny Boy" (co-written with DeSylva and Brown) became massive hits, propelling to stardom and exemplifying the emotional ballads that defined early talkies. For Paramount, he contributed to adaptations such as Follow Thru (1930), a golf-themed musical starring and , which directly adapted their 1927 Broadway show and highlighted Henderson's upbeat, rhythmic style suited to the screen. These projects marked a shift from revues to cinematic storytelling, though the trio's partnership dissolved by 1930 amid Hollywood's competitive landscape. Following the breakup, Henderson collaborated with lyricist Ted Koehler on the short-lived Broadway musical Say When (1934), which yielded songs like "My Song," but found greater success in films with Koehler and on "" for Shirley Temple's Curly Top (1935) at Fox, a whimsical number that became one of Temple's signature tunes and underscored Henderson's versatility in juvenile appeal. His later projects included sporadic contributions to revues, culminating in the score for of 1943, a lavish production with lyrics by that ran for 553 performances and revived the format with Henderson's melodic flair for ensemble numbers. By the late 1940s, Henderson withdrew from active composing due to declining health, particularly heart issues, and evolving industry demands that favored newer styles like swing and over his roots. He focused on personal pursuits in , until his death in 1970, marking the end of a career that bridged , Broadway, and early Hollywood.

Personal life and death

Marriage and family

Ray Henderson married Florence Hoffman on October 19, 1918. The couple remained together until Henderson's death in 1970, sharing a life that was largely shielded from public attention. They had three children: a son, Howard B. Henderson (born July 4, 1922), and two daughters, Jane (who later married K. Robson) and Dorothy (who later married Harold T. Johnson and was born circa 1926). Public details about the children's lives remain limited, reflecting the family's preference for privacy amid Henderson's rising fame in the entertainment industry. The Hendersons initially lived in , where Henderson's career was centered, before relocating to , in later years to provide greater stability. At the time of his passing, Howard resided in , Jane in Oxford, Maryland, and Dorothy in . He was also survived by eight grandchildren.

Illness and death

On December 31, 1970, Henderson suffered a fatal heart attack at his home in , where he had resided for many years; he was 74 years old. His death was widely reported in the press on January 1 and 2, 1971, highlighting his contributions to . Funeral arrangements were handled privately by the family, with no public details released regarding services or interment. Henderson was survived by his wife, the former Florence Hoffman, a son, Howard B. Henderson of Greenwich, and two daughters, Mrs. Robert K. Robson of , , and Mrs. Harold T. Johnson Jr. of . His passing prompted immediate tributes from the music community, underscoring his enduring influence.

Legacy

Notable works

Ray Henderson composed over 200 songs during his career, many of which became enduring standards in the , with more than 20 achieving significant commercial success as hits in the and . Among his signature songs are "That Old Gang of Mine" (1923, lyrics by Mort Dixon and ), a nostalgic reflection on youthful camaraderie that captured the era's sentimentality, and "Five Foot Two, Eyes of Blue" (1925, lyrics by Sam M. Lewis and Joe Young), a playful, upbeat tune that exemplified the lighthearted romance of culture. Similarly, "I'm Sitting on Top of the World" (1925, also with Lewis and Young) conveyed triumphant optimism, resonating with the post-World War I economic boom, while "The Best Things in Life Are Free" (1927, lyrics by Buddy G. DeSylva and ) celebrated simple joys amid rising prosperity. In his Broadway contributions, Henderson's songs were innovatively integrated into narratives to enhance dramatic and cultural moments, such as "Varsity Drag" (1927, with DeSylva and Brown) from the musical Good News, where the fox-trot number sparked a nationwide and underscored the show's collegiate theme of ambition and fun. This seamless blending of melody with plot advanced the style, incorporating jazz-inflected rhythms that mirrored the improvisational energy of speakeasies and nightlife. Thematically, Henderson's works emphasized escapist, upbeat tunes that reflected the exuberance of the , often featuring syncopated rhythms and witty lyrics to provide relief from the decade's social upheavals, while subtly weaving in elements like swinging brass lines and blue notes that influenced later arrangements. His prolific output not only dominated and sales but also established benchmarks for melodic accessibility, ensuring many compositions—like "" (1926, lyrics by Dixon)—remained staples for decades.

Awards and honors

Ray Henderson was inducted into the Songwriters Hall of Fame in 1970 as part of its inaugural class, recognizing his lifetime contributions to American popular music through timeless compositions such as "Bye Bye Blackbird" and "Life Is Just a Bowl of Cherries." This honor came shortly before his death on December 31, 1970, affirming his status as a pivotal figure in the Great American Songbook. He was also posthumously inducted into the Buffalo Music Hall of Fame in 2001, honoring his Buffalo, New York, origins and early musical development. As an active member of the American Society of Composers, Authors and Publishers (ASCAP) since joining in 1923, Henderson served as a director from 1942 to 1951, reflecting his influence on the organization's governance during the peak of his career in the and . While specific ASCAP awards for individual hit songs from that era are not prominently documented, his membership facilitated recognition for the widespread performance and publication of works like "Alabamy Bound" and "That Old Gang of Mine," which earned substantial royalties and cultural acclaim. The song "," performed by in the 2009 film Public Enemies, received a for the 2010 Online Film & Television Association (OFTA) in the Best Music, Adapted Song category. His compositions from the and periods, though not tied to formal awards in that era, have been acknowledged in historical contexts for their role in popularizing American song standards through live performances and sales. In contemporary recognition, Henderson's songs are frequently included in compilations of the , underscoring their enduring appeal and influence on jazz and standards. Due to the timing of his most active years in the and early , he did not receive major accolades like for music, which were established later, or for Broadway contributions. Additionally, his estate has benefited from ongoing royalties generated by streaming platforms, as evidenced by legal actions in 2020 to protect copyrights for his catalog against unauthorized digital reproductions by services like and Amazon. Ray Henderson's life and songwriting partnership with Buddy DeSylva and were dramatized in the 1956 biographical musical film The Best Things in Life Are Free, directed by for 20th Century Fox. In the film, portrayed Henderson as the more reserved member of the trio, contrasting with as DeSylva and as Brown, while the storyline highlighted their Broadway successes and eventual split. Several of Henderson's works have been adapted for the screen, notably the musical Good News, which received versions in 1930 and 1947. The 1930 production, directed by Edgar MacGregor and Nick Grinde, starred Mary Lawlor and Stanley Smith and retained much of the original 1927 Broadway score by Henderson, DeSylva, and . The more successful 1947 remake, produced by and directed by , featured , , and , incorporating updated choreography while preserving key songs like "Varsity Drag." Henderson's compositions have appeared in tributes and revues celebrating his catalog. In 2000, the off-Broadway revue It's the Cherries: Ray Henderson Songbook premiered as part of the American Composer Series, featuring an ensemble performing standards such as "Life Is Just a Bowl of Cherries" and "Bye Bye Blackbird" in a cabaret-style format at venues like Don't Tell Mama in New York City. Modern interpretations of Henderson's songs include jazz covers by contemporary artists. Canadian vocalist Diana Krall recorded "Bye Bye Blackbird" in 2009, blending it with orchestral arrangements for a noir-inflected style that evoked 1920s speakeasies. Henderson's music has been revived in recent media, including the 2009 film Public Enemies directed by , where Krall's version of "Bye Bye Blackbird" underscored scenes of 1930s nightlife. The musical Good News also saw a Broadway revival in 1974 at the , running for 16 performances with a revised book by Jack Rose and music unchanged from Henderson's originals, followed by national tours that introduced the score to new audiences.

References

  1. https://www.songhall.org/profiles/ray-henderson
  2. https://www.jazzstandards.com/biographies/biography_294.htm
  3. https://www.nytimes.com/1971/01/02/archives/ray-henderson-the-songwriter-is-dead-at-74-partner-in-trio-with.html
  4. https://www.allmusic.com/artist/ray-henderson-mn0000402089
  5. https://prabook.com/web/ray.henderson/1936816
  6. https://www.encyclopedia.com/arts/dictionaries-thesauruses-pictures-and-press-releases/henderson-ray-actually-raymond-brost
  7. http://dorothyfields.org/c_henderson.htm
  8. https://digitalcommons.law.scu.edu/cgi/viewcontent.cgi?article=3132&context=historical
  9. https://travsd.wordpress.com/2018/11/11/100-years-ago-today-wwi-begins-and-its-impact-on-vaudeville/
  10. https://www.preserveoldbroadway.org/henderson-brown-desylva/
  11. https://www.ibdb.com/broadway-production/good-news-10358
  12. https://www.concordtheatricals.com/p/7403/good-news
  13. https://www.cambridge.org/core/books/cambridge-companion-to-the-musical/melody-and-the-words-linger-on-american-musical-comedies-of-the-1920s-and-1930s/AACB5A5066B5CAD13A48EECB7C30FC0F
  14. https://www.ibdb.com/broadway-production/hold-everything-10743
  15. https://www.ibdb.com/broadway-production/follow-thru-10824
  16. https://www.ibdb.com/broadway-production/george-whites-scandals-1926-10092
  17. https://www.ibdb.com/broadway-production/flying-high-11065
  18. https://www.ibdb.com/broadway-production/ziegfeld-follies-of-1943-1286
  19. https://academic.oup.com/book/1729/chapter/141344777
  20. https://www.imdb.com/title/tt0021016/
  21. https://www.nndb.com/people/512/000205894/
  22. https://www.imdb.com/name/nm0376575/
  23. https://huntauctions.com/live/imageviewer.cfm?auction_num=46&lot_num=89&lot_qual=
  24. https://www.legacy.com/us/obituaries/timesunion/name/dorothy-johnson-obituary?id=20388502
  25. https://genius.com/artists/Ray-henderson/songs
  26. https://secondhandsongs.com/work/163532
  27. https://secondhandsongs.com/work/129296
  28. https://secondhandsongs.com/work/1939
  29. https://secondhandsongs.com/artist/3616/all
  30. https://www.imdb.com/title/tt1152836/awards/
  31. https://www.britannica.com/topic/The-Great-American-Songbook
  32. https://www.imdb.com/title/tt0049002/
  33. https://www.rottentomatoes.com/m/the_best_things_in_life_are_free
  34. https://cometoverhollywood.com/2023/01/09/musical-monday-the-best-things-in-life-are-free-1956/
  35. https://www.tcm.com/tcmdb/title/14616/good-news
  36. https://www.imdb.com/title/tt0020929/
  37. https://catalog.afi.com/Catalog/moviedetails/9455
  38. https://www.nytimes.com/2000/07/21/arts/cabaret-guide.html
  39. https://secondhandsongs.com/performance/1042219
  40. https://www.imdb.com/title/tt1152836/soundtrack/
  41. https://www.ibdb.com/broadway-production/good-news-3712
  42. https://playbill.com/production/good-news-st-james-theatre-vault-0000004195
  43. https://www.nytimes.com/1974/12/24/archives/goodnews-for-lovers-of-the-obvious.html
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