The Best Disney Villain Songs Pt. 1

Dr. Facilier

The spooky season is upon us (though for some of us it lasts all year), and it’s time to immerse ourselves in all things creepy and macabre. Luckily, Disney abounds with haunting melodies and spine-tingling jingles from the silver screen to the Magic Kingdom.

To kick off our exploration of the October Country, we’re taking a look at some of the best Disney villain songs. As with any list of this nature, the selections are a bit arbitrary (in that it ultimately comes down to my own personal taste), but I’ve tried to use at least some logical criteria. In my selections, I chose songs performed by the villain, rather than those about a villain (such as the songs Cruella de Vil, and Gaston). I’ve also tried to choose songs that have shown enduring popularity and longevity, meaning that somewhat more obscure songs like We Won’t Be Happy ‘Til We Get It from Babes in Toyland or Mad Madam Mim from The Sword in the Stone didn’t quite make the cut (though Mim’s inclusion in this year’s Oogie Boogie Bash at Disneyland California Adventure may make me rethink this stance).  

So, without further ado…let’s dive into the best Disney villain songs of all time.

Friends on the Other Side – The Princess and the Frog

We start things off in the Crescent City and the song Friends on the Other Side from The Princess and the Frog. The song is sung by Dr. Facilier and voiced by the inimitable Keith David.

Written by Randy Newman, one film critic described the number as, “a playfully sinister chorus, funeral brass and stop-and-start melodies that play the character like some twisted version of “Sportin’ Life” in Porgy and Bess.” It’s a fun comparison, and curious listeners should compare it to the song It Ain’t Necessarily So, written by George Gershwin and inspired by performers like Cab Calloway. 

Listening to the song feels a bit like exploring a dark, New Orleans alley (which I mean in the best way possible). The authentic feel of the Big Easy owes much to the years that composer Randy Newman spent in the city, which he came to love dearly. As he explained to NPR, “I was born in Los Angeles, but I went to New Orleans when I was, like, a week old. My mother is from there, her family is still there. I lived with her a few years when I was a baby, and I’d go back in the summers.”

The number has drawn some comparisons to The Little Mermaid’s showstopper Poor Unfortunate Souls, and the similarities are likely not coincidental as both films were directed by the team of John Musker and Ron Clements.

Hellfire – The Hunchback of Notre Dame

In the long history of Disney villains, there is perhaps none so viscerally frightening as Judge Claude Frollo from The Hunchback of Notre Dame. This is, perhaps, because he is one of Disney’s most distinctly believable and human villains. While most are cartoonish or creatures from outlandish fantasy, Frollo feels all too real.

The character is a tribute to Victor Hugo’s particular genius. He had a knack for creating villains convinced of their own righteousness, as evidenced not just by Frollo, but by Inspector Javert in Les Miserables. 

Composed by Alan Menken with lyrics by Stephen Schwartz (who is best known for work on Broadway hits like Pippin, Godspell, and Wicked), and brought to life by Tony Jay, the song Hellfire is shocking by Disney standards. It deals with subjects like lust, longing, and guilt, coupled with the fear of damnation. 

Adding to the ambiance, the number begins with a chorus of voices singing the Confiteor, a Catholic penitential prayer described as, “a general confession of sins; it is used in the Roman Rite at the beginning of Mass and on various other occasions as a preparation for the reception of some grace.”

Oogie Boogie’s Song – The Nightmare Before Christmas

In Friends on the Other Side, we made brief mention of the legendary singer and band leader Cab Calloway, best known for songs like Minnie the Moocher and Saint James Infirmary. In the 1930s, Calloway appeared in three Betty Boop cartoons (Minnie-the-Moocher, Snow-White, and The Old Man of the Mountain). The films, like many Max Fleischer cartoons, have a surreal, Heironymous Bosch quality to them, enhanced by Calloway’s musical performance.

Tim Burton, the author of The Nightmare Before Christmas, states that the character of Oogie Boogie was inspired by Calloway’s Betty Boop performances. The influence is most obvious in composer and lyricist Danny Elfman’s Oogie Boogie’s Song, which is performed by Broadway legend Ken Page (who originated the role of Ken in Ain’t Misbehavin’ and Old Deuteronomy in Cats). In fact, when Santa Claus asks Oogie, “What are you going to do?” and he responds, “I’m gonna do the best I can,” the character is borrowing a direct quote from the cartoon short The Old Man of the Mountain.

Be Prepared – The Lion King

If one song could challenge Hellfire for the most sinister Disney song of all time, it would have to be Be Prepared from The Lion King. After all, the visuals accompanying it were literally inspired by the 1935 Nazi propaganda film Triumph of the Will. As noted in Entertainment Weekly, the song, “grew out of one sketch by story staffer Jorgen Klubien that pictured Scar as Hitler. The directors ran with the concept and worked up a ‘Triumph of the Will’-style mock-Nuremberg rally.” Even the lighting in the scene was inspired by Nazis, made to resemble the “Cathedral of Light” used at their rallies. Add this to the fact that the song is Scar plotting the assassination of his brother, in a plot inspired by Shakespeare’s Hamlet, and you have a truly bone-chilling number. 

The music and lyrics were penned by the team of Elton John and Tim Rice and primarily performed by Jeremy Irons (who also provided a past narration for Spaceship Earth). However, voice actor Jim Cummings also provided some of the vocals on the track. It seems he was asked to step in and sing the last verse of the song after Irons developed voice problems. 

Shiny – Moana

Alas, David Bowie was never a Disney villain. Nor did he appear in any Disney films (at least not directly…he performed in a Miramax film while it was still a Disney subsidiary and a Touchstone Pictures film). This is an immeasurable loss to all of us who adored his performance as The Goblin King in Jim Henson’s masterpiece Labyrinth, and who would have loved to see what he could do for the House of Mouse. 

We can take some small comfort in the fact that his spirit is infused in one Disney villain. The creators of Moana have made no secret of the fact that the one and only Ziggy Stardust inspired the character of Tamatoa. Or maybe it was the Thin White Duke. Or Aladdin Sane. Or one of the other myriad characters David Bowie brought to the stage. 

And in the absence of David Bowie, it only makes sense that actor and musician Jemaine Clement was asked to step in and perform Tamatoa’s song Shiny. Why? Well, as Clement’s old comedy folk music duo (and HBO sitcom) taught us, he does one heck of a Bowie impression

Add in the spectacular genius of Lin-Manuel Miranda’s music and lyrics and you have a recipe for a truly unforgettable song, which is as mesmerizing as it is menacing.

Join us next week as we dive into five more classic Disney villain songs!

The Disney Book: A Classical Celebration

Disney music gets dressed up for a night at the concert hall in superstar pianist Lang Lang’s new album The Disney Book. The deluxe version of the record, released on September 16, 2022, by the Deutsche Grammophone label in collaboration with Disney Music Group, features 28 tracks that span the breadth of music from the Disney canon. It is a joyous collection whose release coincides perfectly with the centenary celebration of the Walt Disney Company.

The album’s first single, Feed the Birds (originally composed by the Sherman Brothers for Mary Poppins) is a delicate and lovely interpretation of the song that Walt Disney declared his favorite. A music video for the song was released, which was shared on the official Disney blog on June 23, 2022. Disney described the filming process, stating, “Captured as dawn broke over the iconic Sleeping Beauty Castle at the Disneyland Park, the music video captures the magic of Lang Lang’s album and of Walt Disney’s legacy.”

Another highlight is Lang Lang’s collaboration with Academy Award-winning artist Jon Batiste on the song It’s All Right from Soul. The result is something akin to a piece that George Gershwin might have composed, combining the vibrant world of jazz with the sensibilities of classical. 

Speaking of the partnership, Lang Lang stated, “…we [got] my new great friend Jon Batiste to play New Orleans-style jazz on top of my classical and jazz style [in ‘It’s All Right.’] So we try to have this mix with classical jazz and New Orleans jazz.”

Some of the world’s great arrangers were enlisted to work on the album as well, with Sir Stephen Hough, Natalie Tenenbaum, and Randy Kerber all offering contributions. In an article by Deutsche Grammophone, Sir Stephen Hough stated, “I’ve been a huge admirer of Lang Lang for years and I was delighted to be asked to arrange some Disney songs for him. I loved the challenge of transforming these popular songs, beloved by generations of children and parents, into solo piano pieces, rooted in the classical tradition of the great transcribers of the past.”

Other artists contributing to the album include world-renowned singer Andrea Bocelli, Columbian singer/songwriter Sebastian Yatra, guitarist Miloš, Chinese erhu player Guo Gan, and the Royal Philharmonic Orchestra under the baton of conductor Robert Ziegler. 

Featuring a good balance between classic Disney songs and beloved modern hits, the album does a good job of carrying the listener through the history of Disney song. Including numbers like Who’s Afraid of the Big Bad Wolf, Whistle While You Work from Snow White, We Don’t Talk About Bruno from Encanto, Let It Go from Frozen, Baby Mine from Dumbo, and Remember Me from Pixar’s Coco. Though each will be instantly recognizable, they’ve been reworked and re-imagined to make them feel appropriately classical. It’s fascinating to identify these influences. For instance, a keen ear will likely note that Baby Mine clearly takes inspiration from the classical Impressionism of artists like Claude Debussy. 

The song When You Wish Upon a Star from Pinnochio feels like the album’s emotional core. Lang Lang is joined on the track by fellow virtuoso (and spouse) Gina Alice. In an interview with Yahoo! Entertainment, Lang Lang states that the song was recorded with their 20-month-old son in mind, saying, “We wanted to do this piece particularly for our son. So for the baby, we want to give him some smooth music to hug him, kiss him.” 

It seems that this is an album that Lang Lang was destined to record. Animation spurred his interest in classical music, after a viewing of a Tom and Jerry cartoon titled The Cat Concerto caught his imagination. In an interview with CNBC’s Tania Brier, he recalled how the characters,  “play the (Franz) Liszt Hungarian Rhapsody Number II and unfortunately I didn’t know who Liszt was at that time, but I certainly knew that Tom did a great job, and Jerry kind of cheated.”

His first encounter with Disney came in 1995 at the age of 13 when he visited Tokyo Disneyland. In the Yahoo! Entertainment article, he stated, “My first Disney memory is going to Tokyo when I was 13 years old, in 1995. After I won the competition in Japan. Because that time in China, they have no Disneyland. So that was my first time in Disneyland, which was in Tokyo. It was like the happiest day in my life. And it’s amazing that in 2015, when Disneyland opened in Shanghai, I played the opening. Because it was like, ‘I had to do this. This is so exciting.'”

Speaking with Deutsche Grammophone, he elaborated, “…it was the first time I had heard ‘It’s a Small World’ and the melody stayed with me all day – and long afterwards.”

In addition, Lang Lang credits the jazz heard in early Disney shorts and the impact of Elton John, Tim Rice, and Hans Zimmer’s music from The Lion King as spurring his passion for Disney music. 

The album also represents Lang Lang’s commitment to spreading music education to young listeners. When performing for school-age audiences, he found that the children consistently requested that he play Disney songs. He explains, “So this is another reason why we’re doing it. I think it’s something that’s good for us — for the classical music world, but also good for the kids. When they learn something purely instrumental, they want to hear something which connects to their life. We’d like to make sure that the kids will not be afraid of classical music.”

Walt Disney once said, “I would rather entertain and hope that people learned something than educate people and hope they were entertained.” His particular genius was his ability to marry the two, so that the audience was carried along toward education without even realizing it. Lang Lang’s album embodies Walt’s ideal, helping us better understand classical music by embracing songs that are part of our collective memory, that live in our hearts, memory, and imagination. 

Lavender’s Blue: From the Nursery to Disney

Folk singer and activist Pete Seeger once said of folk music that it, “helps reinforce your sense of history. An old song makes you think of times gone by.” In a way, music is magic. It can transport you to a different time and place with a few simple notes.  

As much as Walt Disney believed in progress, he also had a strong streak of nostalgia, a wistful romanticizing of the turn of the century world he grew up in. Nowhere is this more evident than in the 1949 feature So Dear to My Heart. Based on Sterling North’s novel Midnight and Jeremiah, the film is set in Indiana and tells the story of a young boy raising a black-wool lamb.

A midwestern boy himself, Walt was particularly attached to the movie, stating, “So Dear was especially close to me. Why that’s the life my brother and I grew up with as kids out in Missouri.”  He was so enamored of the film, that he built a gorgeous model of “Granny Kincaid’s cabin,” which he intended to use as part of a traveling exhibit called Disneylandia. Though the idea never came to fruition, it served as part of the early inspiration for Disneyland. That influence can also be found in visiting Disneyland’s Frontierland train station, which was patterned after the station in the film. 

While the movie was not a commercial success and has fallen into relative obscurity, it did earn an Academy Award nomination for “Best Song.” Credited to Eliot Daniel and Larry Morley, and performed by Burl Ives, the song, Lavender’s Blue (Dilly Dilly), was actually an adaptation of a centuries-old folk melody. It is performed twice in the movie and helps create the cozy, front porch feeling that flows throughout the film.

Tracing the origins of a folk song is never an easy task. They’re elusive by their very nature, passed from person to person, picking up and losing lyrics, incorporating bits and pieces of other melodies together. They’re a bit like the river in Disney’s Pocahontas. You never step in the same one twice. That’s especially true of Lavender’s Blue, which underwent a fairly substantial transformation from its earliest days.

The Story of a Song

Lavender’s Blue appears to date back to the 17th century and a song titled “Diddle, Diddle (or The Kind, Country Lovers).” However, even that only gives us an inkling of the song’s history, as notes from the published broadside instruct performers to sing the song to the tune of “Lavender’s Green,” implying the existence of an older melody that likely would have been well known to all performers at the time.

The lyrics in this early incarnation are a far cry from the sweet and tender love song performed by Ives in So Dear to My Heart. Instead, the lyrics are a bawdy celebration of the narrator’s desire for a young maiden who will get drunk with him and keep his bed warm.

The book “Popular Rhymes and Nursery Tales,” by John Russell Smith notes a version of the song titled “Twelfth Night,” explaining, “The following verses are said to be in some way or other connected with the amusements of this festival. They refer probably to the choosing the king and the queen on Twelfth-night:

Lavender’s blue, dilly dilly, lavender’s green,
When I am king, dilly dilly, you shall be queen:
Who told you so, dilly dilly, who told you so?
‘Twas mine own heart, dilly dilly, that told me so.
Call up your men, dilly dilly, set them to work,
Some with a rake, dilly dilly, some with a fork;
Some to make hay, dilly dilly, some to thresh corn,
Whilst you and I, dilly dilly, keep ourselves warm.
If you should die, dilly dilly, as it may hap,
You shall be buried, dilly dilly, under the tap;
Who told you so, dilly dilly, pray tell me why?
That you might drink, dilly dilly, when you are dry.”

The song was also published in the 1805 book “Songs For the Nursery,” which was penned by an anonymous author (theorized to be Eliza Fenwick). 

The Oxford Dictionary of Nursery Rhymes by Peter and Iona Opie notes that the song was, “remembered almost solely in the nursery until 1948-49 when a dance version…popularly swept America and Britain.” Though not stated expressly in the book, this time frame corresponds with the release of the Disney film. 

Songwriter and lyricist Eliot Daniel lent his talents to adapting the melody for Disney. Born in 1908, Daniel had a long career composing music for the movies, though he would become best known for writing the theme song for I Love Lucy. His work with Disney included contributions to Make Mine Music, Fun & Fancy Free, Melody Time, The Magical World of Disney, and Little Toot. 

The lyrics for Disney’s version of Lavender’s Blue were provided by the remarkable Larry Morey. His resume includes contributions to animated shorts like Ferdinand the Bull, The Grasshopper and the Ants, and The Wise Little Hen. However, he is best remembered for his work on films like Snow White and the Seven Dwarfs (including songs like “Heigh Ho,” “Someday My Prince Will Come,” and “I’m Wishing.”), The Reluctant Dragon, and Bambi.

His accomplishments are all the more remarkable given the difficulty of his early life. His Wikipedia biography notes that he was born with a skeletal abnormality and that, “His left arm was not fully formed and caused his mother to reject him at birth, saying “he would never amount to anything.” She abandoned him to the care of his father, George T. Morey, a traveling musical ventriloquist. When he was only six years old, his father left him in a boarding house in Los Angeles and went on the road performing throughout California.”

America’s Favorite Balladeer

Modern audiences are most likely to associate Ives with his depiction of Sam the Snowman in the 1964 holiday classic Rudolph the Red-Nosed Reindeer. However, he had a career that spanned multiple mediums, with appearances in movies, on Broadway, on record, and on the radio with his program The Wayfaring Stranger.

One of six children, Ives’ first public musical performance came at the age of 4 when he sang at a soldiers’ reunion. His broad knowledge of traditional song was learned at the knee of his mother, Cordelia White, and his grandmother, Kate White. He wrote of his early years, “The rich Illinois land doesn’t stretch down to Jasper and except for the bottom land you can’t raise anything but nubbins there. . . . From the time I was born until I was school age I remember we lived on four different farms. There were seven of us children, three girls and four boys, and we always did a good bit of singing in the family.”

Speaking of his grandmother, he wrote, “To me her ballads brought a world shining with excitement and color; they brought people — like Barbara Allen dying of love and a lone lover sitting on top of a snow-covered mountain. I had never seen a mountain on the prairies of Illinois. Pictures, romance, passion, bravery, gallantry, sorrow, joy — she sang a storybook of tales culled through centuries and tempered by time into beautiful poetry. Kate loved the ballads and loved to sing them for the boys and girls, and that was her religion.”

He learned the banjo as a teenager but did not intend to pursue a career in music, instead planning to become a football coach. Those plans dropped by the wayside when he dropped out of school. In his autobiography, also titled The Wayfaring Stranger, he notes that he was listening to a lecture on Beowolf when he realized that he no longer wanted to be in school. He stood up in the middle of the class and walked out, slamming the door so hard that the glass in the door window shattered.

From there, he set off on the road as an itinerant performer, even landing himself in jail while traveling through Utah. It seems that he was accused of vagrancy, and for performing the folk song “The Foggy, Foggy Dew,” which authorities deemed “bawdy.”  His wandering eventually led him back to higher education, as he studied at Julliard School before breaking into Broadway and Radio.

A biography on the Association for Cultural Equity (ACE) webpage notes, “From the 1940s through 1960, Burl Ives was considered America’s most authoritative interpreter of American folk songs. A mainstream figure (better known than Pete Seeger and Woody Guthrie), his penetrating, tenor voice with its unique timbre was recognized by millions.”

He would make “The Blue Tail Fly” and the gorgeous, haunting spiritual “The Wayfaring Stranger” his signature songs. 

In 1946, he made his film debut in the movie Smoky. Three years later, he appeared in Disney’s So Dear to My Heart. Controversy would soon follow Ives when, in 1950, he was identified in the pamphlet Red Channels and blacklisted as a Communist. Fearful of losing his livelihood, Ives would testify before the House of Unamerican Activities Committee two years later. Accounts vary as to the number of names Ives provided to the committee, with friends stating it was no more than 4, while, “the popular impression was that he had named many more. Sing Out! Magazine (in its 1995 obituary of Ives) wrote that he “named more than 110 people he knew to have left-wing or communist leanings. Many of these names were previously unknown to the committee.” Ed Cray’s biography of Woody Guthrie, Rambling Man, (2004) says that “according to newspaper accounts” he named “hundreds.”

The testimony led to years of acrimony between Ives and the folk community, including artists like Pete Seeger and others who continued to be blacklisted after Ives’ name was removed from the list. Despite the conflict within the folk community, Ives’ career continued to flourish, appearing as “Big Daddy” in the movie adaptation of Tennessee Williams’s Cat on a Hot Tin Roof and even winning an Academy Award for his role in the film Ensign Pulver. He would also work with Disney again in the 1963 film Summer Magic and later provided the voice for Sam Eagle in the America Sings show in Disneyland.

As a sort of coda to Ives’ story, Seeger and Ives were reunited and seemed to bury the hatchet some 41 years after the HUAC testimony. A story in the Meacham Journal notes, “Forty-one years later on May 17, 1993 — 28 years ago today — the bitterness ended.

The then ailing Ives, 84, and Pete Seeger, 74, were reunited in a benefit concert in New York City. They sang “Blue Tail Fly” together. Following Ives’ death in 1995, Seeger praised his tenor voice and the role it played in keeping so many important American songs alive.”

Raise the Ceiling a Few Feet Higher

Studying music is a curious thing. Pull at a single strand and you find that it’s connected to an almost infinite number of others. From one song, like Lavender’s Blue, we stretch our reach back over centuries. We follow that thread into the nursery and find mothers singing lullabies to their children. Pull a little harder and we find ourselves learning the history of entertainment in the 20th century, as well as looking at the pain, fear, and, darkness looming in our past in the form of things like the Red Scare. We find passion, betrayal, fear, and even, perhaps unlikeliest of all, reconciliation. 

It brings to mind another quote by Seeger, when he said, “And when one person taps out a beat, while another leads into the melody, or when three people discover a harmony they never knew existed, or a crowd joins in on a chorus as though to raise the ceiling a few feet higher, then they also know there is hope for the world.”

Disney and Jazz: A Celebration

 (A version of this article previously appeared on the Celebrations Magazine Blog)

The great Wynton Marsalis once said, “Jazz music is America’s past and its potential, summed up and sanctified and accessible to anybody who learns to listen to, feel, and understand it. The music can connect us to our earlier selves and to our better selves-to-come. It can remind us of where we fit on the time line of human achievement, an ultimate value of art.” 

In a way, the quote reminds me of Walt Disney’s speech on the opening of Disneyland. He said, “Disneyland is dedicated to the ideals, the dreams, and the hard facts that have created America…with hope that it will be a source of joy and inspiration to all the world.” While he was describing his theme park, he could have been discussing jazz, an art born of joy and suffering, struggle and passion, a marriage of ideals that recognize that we haven’t reached the promised land yet, but we can see it in the distance and will continue striving toward it. 

The world of Disney has been blessed by the sound of jazz, from it’s earliest cartoons to films like Pixar’s Soul. To celebrate the relationship, let’s take a look at a few of the best examples of times that Disney and Jazz intersected.

Soul exhibit in Epcot

Pixar’s Soul

In 2020, Disney and Pixar released the animated film Soul, directed by Peter Docter and starring Jamie Foxx. The movie, which would go on to win two Academy Awards for Best Animated Feature and Best Original Score, tells the story of jazz pianist Joe Gardner. 

While the story is a work of fiction, Gardner was inspired by a real-life music teacher from Queens named Dr. Peter Archer. 

The score was composed by Trent Reznor and Atticus Ross, with original jazz numbers contributed by Jon Batiste – a Grammy award-winning pianist and the bandleader on Stephen Colbert’s Late Show. 

To ensure accuracy the film team consulted with legendary musicians like Herbie Hancock and even studied Batiste’s hands while playing piano as a reference for animating the sequences of Gardner performing. 

Following the release of the film, an exhibit titled “The Soul of Jazz: An American Adventure” was opened in Epcot, providing Guests a view of jazz history, along with artifacts such as Louis Armstrong’s trumpet, Charlie Parker’s saxophone, and Gene Krupa’s drum sticks.

Disney Songs the Satchmo Way

Disney Songs the Satchmo Way

From 1960 to 1970, Disneyland held an event known as ‘Dixieland at Disneyland.’ It featured live music and a Mardi Gras parade. The great Louis Armstrong performed at the event, and also appeared in the 1962 World of Color Episode “Disneyland After Dark.” You can still find recordings of it online, and it’s a treat to see Armstrong performing aboard the Mark Twain riverboat alongside singer Monette Moore.

In 1968, Armstrong released the album “Disney Songs the Satchmo Way”. In a 2021 article by Indiana Public Media, it was noted that this album was personally commissioned by Walt Disney. The record included performances of songs like “When You Wish Upon a Star,” “Whistle While You Work,” and “The Bare Necessities.” 

Duke Ellington Plays Mary Poppins

Duke Ellington Plays Mary Poppins

In the history of jazz, there are few figures who can stand side by side with a performer like Louis Armstrong. The great Duke Ellington is among their number, a true titan who revolutionized music, and whose influence can still be felt nearly half a century after his passing. 

The composer of such standards as “Take the A Train” and “It Don’t Mean a Thing (If It Ain’t Got That Swing),” Ellington released “Duke Ellington Plays Mary Poppins” in 1964, featuring arrangements of the classic Sherman Brothers compositions. 

A review in the Jazz Times raves, “Any Ellington fan is justifiably excited by the maestro’s own writing, but it would be a crime to neglect his gift for making other composers’ work his own.”

Saludos Amigos

The Three Caballeros and Saludos Amigos

The “Soul of Jazz” exhibit in Epcot featured information on several key cities in the evolution of jazz, including New York City, New Orleans, and San Juan in Puerto Rico. In an article about the display, Disney Public Relations Manager Sarah Domenech wrote, “Another pivotal city in the development of jazz, New Orleans, was heavily influenced by its Latin neighbors to the south, including Mexico, Cuba, Brazil, and Puerto Rico. From this cross-cultural exchange emerged a colorful style of jazz music, with distinctly Latin rhythms. In the jazz world, this sound is lovingly known as ‘the Spanish Tinge.’ ”

Disney gave the world a joyous celebration of this musical tradition in their films The Three Caballeros and Saludos Amigos. The song “Baia” (originally titled Na Baixa do Sapatiero), a samba number, was performed in The Three Caballeros and “Aquerelo do Brasil” appeared in Saludos Amigos. The latter would become a smash hit, performed by musicians like Frank Sinatra, Bing Crosby, and Django Reinhardt. The Mexican bolero “Solamente Una Vez” also appeared in The Three Caballeros and would go on to become a success in English as “You Belong to My Heart,” performed by artists like Nat King Cole. 

Lady and the Tramp

He’s A Tramp

For over seven decades, Peggy Lee entertained audiences as a jazz vocalist and songwriter. She sang with Benny Goodman’s big band and had hits with songs like “Why Don’t You Do Right?” and “Fever.” Over the course of her career, she recorded over 1,000 songs and composed over 270.

For Disney fans, she is best known as the singer and co-writer of the song “He’s a Tramp,” the slinky jazz number performed by the dog Peg in 1955’s Lady and the Tramp. Lee also co-wrote the other originals songs featured in the movie, such as “Bella Notte.” 

Firehouse Five Plus Two

The Firehouse Five Plus Two

Dixieland jazz began in New Orleans at the beginning of the 20th century, blending ragtime and Sicilian influences into a toe-tapping explosion of musical joy.

The Firehouse Five Plus Two was a Dixieland band composed of Disney animators Ward Kimball, Harper Goff, Frank Thomas, and others. It seems that Kimball came up with the idea while chatting with other members of the animation department about their shared love of jazz. 

Over the years, they recorded numerous albums and appeared in Disney television specials like “One Hour in Wonderland.” Animated versions of the band can even be spotted in the 1953 Goofy cartoon How to Dance. 

Walt himself was a fan of the group and had them perform regularly at company events and at Disneyland.

The Princess and the Frog

The Princess and the Frog

Set in the birthplace and cradle of jazz, The Princess and the Frog is a gorgeous celebration of the Big Easy, music, good food, and the gumbo melting pot that is Louisiana culture. The film’s opening number, “Down In New Orleans,” was performed by legendary pianist and New Orleans native Dr. John. The character of Louis, a trumpet-playing alligator, sings about his love of musicians like Louis Armstrong and Sidney Bichet, dreaming of the day he can play in a band like the “big boys.” 

The movie also pays tribute to other musical forms, such as zydeco (in the song “Gonna Take You There”) and gospel (“Dig a Little Deeper”), which have influenced and been influenced by jazz music. 

There are numerous other examples of how Disney has helped celebrate the wonder that is jazz, from the hip, swinging music of The Aristocats, to the elegance of George Gershwin’s Rhapsody In Blue featured in Fantasia 2000. It can even be found in Disney’s earliest days, through animated shorts like 1929’s Mickey Mouse short The Jazz Fool. It’s a rich relationship that is a gift to fans of music, animation, and the Disney parks.