Leon Chu Berry had developed a saxophone riff that became the prototype of the “Christopher Columbus”.
Then Horace apparently submitted a version crediting himself and Berry as co-composers.
Then Joe Davis, who was publisher in Chicago, published the arrangement under the names of Leon Berry as sole composer.
So Horace Henderson received no official credit.
Unfortunately Fletcher Henderson had often caused some problem with his works.
Fletcher Henderson himself remains a shadowy figure in those days.
His attitude was also cold to his brother.
Walter C.Allen wrote about their money matter, “Fletcher got $100, but poor Horace got NOTHING.”
Nevertheless several bands and record companies recognized the potential of “Christopher Columbus”.
Within a five-month span of 1936, thirteen bands recorded the piece on ten different labels, including one each in Paris and London.
Five of those recordings ranked among the best-selling records of 1936
(by Henderson, Andy Kirk, Benny Goodman, Teddy Wilson, and Louis “King” Garcia).
In those days Fletcher Henderson had earned $2,000 for one night.
Horace Henderson played a key role in putting the arrangement on paper.
Currently the name of Horace Henderson seems to have been forgotten.
I guess Horace Henderson has been underestimated in Jazz History.
“Christopher Columbus”の原型はChu Berryのサックスリフでした。
その後、Horace HendersonはChu Berryを共同の作編曲者として出版社に申請しました。しかし出版社はHorace Hendersonを作編曲者として認めなかった。
Here is Andy Kirk and his band Play “Christopher Columbus”.
Here is Henry Red Allen and Kid Ory play “Christopher Columbus”.
Here is Teddy Wilson plays “Christopher Columbus”.
Here is The Ink Spots sing “Christopher Columbus”.
Here is Fletcher Henderson play “Christopher Columbus” (1938)