èAV

Cab Calloway Jazz Vocalist, Bandleader


A premier Black entertainer of the Harlem Renaissance, Cabell (“Cab”) Calloway’s impressive singing ability and showmanship won him steady gigs at the famous Cotton Club.

Calloway’s lasting influence on popular music stems from his minting and mastery of scat-jive vocals.

His signature style was to improvise nonsensical but incredibly inventive lyrics on the spot, often incorporating snippets of Harlem slang in his monologues and songs.

Some of Calloway’s most popular songs referenced the nitty-gritty of Harlem nightlife and its more fervent characters, such as “Minnie the Moocher” in his 1931 smash hit. In this innovative song, Calloway used a call-and-response technique to bat the phrase “Hi-de-ho” back and forth between the stage and audience.

A black-and-white photo of jazz vocalist and bandleader Cab Calloway. Cab is smiling while wearing a wide-brimmed hat.
The Music of
Cab Calloway


[click a title below to play]

  • “Harlem Holiday”
  • “Minnie the Moocher”

Calloway didn’t find acclaim in nightclubs alone. His talent also sparkled in theaters and on the silver screen. In 1929, when Calloway landed a role in Connie’s Hot Chocolates—a musical revue created by the team of Fats Waller and Andy Razaf—he found himself sharing the stage with a young trumpeter named Louis Armstrong. In 1937, he appeared in the revue Manhattan Merry-Go Round with the beloved dance group Whitey’s Lindy Hoppers.

Hi-De-Ho, Paramount Pictures, 1934. One of several musical numbers in the movie, “Dawn Time,” is staged in Cab’s apartment as part of an audition for a club owner. 

Audiences nationwide would soon witness Calloway’s talents when he toured in George Gershwin’s acclaimed musical Porgy and Bess, playing a fictional character named “Sportin’ Life,” who is thought to have been based on Cab Calloway himself.

A logo banner that says “Drop Me Off in Harlem” in white font on top of a transparent image of the Cotton Club. The Cotton Club image is obscured by a soft mixture of green, yellow, and pink.

I n t e r s e c t i o n s

A black-and-white photo of the exterior of Savoy Ballroom, including its marquee sign.

He played at Savoy Ballroom’s battle of the bands.

A black-and-white photo of the exterior of the Cotton Club, including its marquee sign.

Calloway and the Missourians played at the Cotton Club for 10 years.

A black-and-white photo of the inside of Connie’s Inn. There are several round tables, each with four chairs, surrounding a centralized empty dance floor.

He worked in the musical Hot Chocolates at Connie’s Inn.

A black-and-white photo of dancer Bill Robinson.

Calloway often played with Bill Robinson.

A black-and-white photo of jazz pianist, vocalist, and composer Fats Waller.

He sang music by Fats Waller in Hot Chocolates.

harlem-line.jpg


Video Bio

Video Bio

“Jumpin’ Jive” performed by Cab Calloway & Nicholas Brothers in 1943.

Related Resources

Media Billie Holiday + Strange Fruit

Billie Holiday had a hit record with the song “Strange Fruit” in the 1930s, bringing light to the horror of lynching in the American South.

  • Music
  • Jazz & Blues
  • African-American History
  • Women in the Arts

Media Jason Moran: In the Studio

Learn the basics of jazz music and how the art form works. Along with his band, Jason Moran shows you how jazz is more like skateboarding and football than you would think, as well as plays original and classic jazz standards.

  • Music
  • Jazz & Blues
  • Backstage

Media Swing! Swing! Swing!

This series, hosted by Connaitre Miller of Howard University, explores why Swing was the most popular dance music in America and how it is still alive today in dance halls, clubs and movies

  • Music
  • Jazz & Blues
  • Popular Music
Kennedy Center Education Digital Learning

Eric Friedman 
Director, Digital Learning

Kenny Neal 
Manager, Digital Education Resources

Tiffany A. Bryant 
Manager, Operations and Audience Engagement

JoDee Scissors 
Content Specialist, Digital Learning

Connect with us!

spacer-24px.png                email.png

Generous support for educational programs at the Kennedy Center is provided by the U.S. Department of Education.

Gifts and grants to educational programs at the Kennedy Center are provided by The Paul M. Angell Family Foundation; Bank of America; Capital One; The Morris and Gwendolyn Cafritz Foundation; Carnegie Corporation of New York; The Ednah Root Foundation; Harman Family Foundation; William R. Kenan, Jr. Charitable Trust; the Kimsey Endowment; The Kiplinger Foundation; Laird Norton Family Foundation; Lois and Richard England Family Foundation; Dr. Gary Mather and Ms. Christina Co Mather; The Markow Totevy Foundation; Dr. Gerald and Paula McNichols Foundation; The Morningstar Foundation; Myra and Leura Younker Endowment Fund; The Irene Pollin Audience Development and Community Engagement Initiatives;

Prince Charitable Trusts; Dr. Deborah Rose and Dr. Jan A. J. Stolwijk; Rosemary Kennedy Education Fund; The Embassy of the United Arab Emirates; The Victory Foundation; The Volgenau Foundation; Volkswagen Group of America; Jackie Washington; GRoW @ Annenberg and Gregory Annenberg Weingarten and Family; Wells Fargo; and generous contributors to the Abe Fortas Memorial Fund and by a major gift to the fund from the late Carolyn E. Agger, widow of Abe Fortas. Additional support is provided by the National Committee for the Performing Arts..

The content of these programs may have been developed under a grant from the U.S. Department of Education but does not necessarily represent the policy of the U.S. Department of Education. You should not assume endorsement by the federal government.