We’re living through difficult times. This morning’s angry post confirms that some distraction is called for. Nobody was more distracting than the great American songwriter Cole Porter. One could call him the cat’s pajamas even though there are dogs or horses on his jammies in the featured image.

Cole Porter has been the subject of two biopics. The first, Night and Day, starred Cary Grant as Porter. It’s an elaborate work of fiction that depicts the songsmith as a red-blooded all-American straight dude. The second, 2004’s De-Lovely, starred Kevin Kline as the songwriter. In contrast to the 1946 movie, it’s obsessed with gay sex. It’s more accurate but it’s tiresome for those of us more interested in Porter’s music than his penis.

In the interest of focusing on his music and distracting your attention from the horrors of Trump 2.0, I give you The Cole Porter Dozen.

The list is arranged in chronological order and features some of my favorite versions of Porter’s tuneful tunes. The songs were written between 1928-1951. Unlike some of his peers, most of Porter’s songs were written for musicals. He was a big deal on Broadway.

On with the show this is it.

We begin with two of my musical heroes, Louis Armstrong and Oscar Peterson. This risqué song comes from the 1928 musical Paris. Mais oui.

Have I told you lately how much I love Oscar Peterson? I’m fond of King Zulu 1949 as well. Red beans and ricely yours, Adrastos.

Our second selection involves a minor mystery. I’ve never understood why Rod Stewart became the rock star identified with the great American songbook including the music of Cole Porter. Bryan Ferry’s voice and persona are more suited to Porter’s elegant and downright insouciant music.

Here’s Ferry doing that voodoo that he do so well with a song from 1929’s Fifty Million Frenchmen. Sounds crowded to me.

Night and Day was the centerpiece of the 1932 musical The Gay Divorce. It was one of Frank Sinatra’s signature songs often serving as either a concert opener or closer. He recorded it many times. This 1957 version with Nelson Riddle is Frank’s definitive interpretation.

We continue with two songs from the 1934 musical Anything Goes. The first is a list song recorded by Ella Fitzgerald  for her first songbook album, which was all-Porter all the time.

A song from the same show by Sinatra, baby.

Our next selection was written for the 1935 musical Jubilee. Here’s Nat King Cole’s jubilant version of Just One Of Those Things.

One thing I have in common with Cole Porter is a love of puns. This song from the 1936 show Red, Hot and Blue is as punny as all get out.

It’s movie music time. In The Still Of The Night was written for the 1937 film Rosalie. It starred two of my least favorite players of Hollywood’s golden age, Jeanette McDonald and Nelson Eddy.

This version by my 13th Ward homeys The Neville Brothers was recorded for the 1990 Cole Porter tribute album, Red, Hot + Blue.

Here’s an off-beat interpretation of a song from the 1938 musical You Never Know. Nobody did offbeat, better than Keely Smith, whose post-Prima work is seriously underrated.

We close with three songs from my favorite Porter musical, Kiss Me Kate.

There’s something alternately jaunty and sardonic about Blossom Dearie’s take on this 1948 Porter tune.

Mel Tormé. Say no more.

Rounding out the Cole Porter Dozen is a song that was cut from the theatrical production but restored to the 1953 film adaptation of Kiss Me Kate. It doesn’t get better than the Divine Diana Krall.

What would an Adrastos dozen be without lagniappe?

Don’t Fence Me In is minor Porter written as the theme song for an unreleased 1934 movie. It was recorded for 1990 AIDS benefit album Red, Hot + Blue by David Byrne.

The next serving of lagniappe is our last word. It goes to Oscar Peterson with a trio of Cole Porter tunes:

Have I told you lately how much I love Oscar Peterson?