by Bing Crosby and Ned Washington. The first recording by Crosby became an immediate hit, reaching number five on the pop singles chart. Saxophonist Chu Berry made an influential jazz recording with Cab Calloway in 1940. The song's name is often shortened to "Ghost of a Chance". "It Don't Mean a Thing (If It Ain't Got That Swing)" is a jazz song that singer Ivie Anderson introduced with the Duke Ellington Band. The lyrics for the Ellington composition were written by Irving Mills. The same year, a rendition by the Mills Brothers rose to the charts. The song's title introduced the term "swing" into common usage and gave name to the swing era. "New Orleans" is a song by Hoagy Carmichael. First recorded by Bennie Moten's Kansas City Orchestra and the Casa Loma Orchestra as an up-tempo number, the song only achieved success after Carmichael recorded a slower version with vocalist Ella Logan. The song was based on the chord progressions of "You Took Advantage of Me" and "Wrap Your Troubles in Dreams". "Night and Day" was written by Cole Porter for the musical Gay Divorce. It was introduced on stage by Fred Astaire, who also sang it in the 1934 film The Gay Divorcee, based on the musical. The song remained popular throughout the swing era and charted five times in the 1930s and 1940s. It became Frank Sinatra's first hit under his own name in 1942. "Willow Weep for Me" is a song with music and lyrics by Ann Ronell. It was first recorded by Ted Fio Rito and His Orchestra and, two weeks later, by Paul Whiteman and His Orchestra. Art Tatum recorded the piece six times; his 1949 performance on Piano Starts Here is often considered the definitive instrumental version of the song. Count Basie's "Taxi War Dance" was based on the song's harmony. Ronell dedicated the song to George Gershwin. 1933 "Don't Blame Me" was introduced in the musical revue Clowns in Clover and included in the 1933 film Dinner at Eight. The film is often mistakenly given as the song's origin. The first hit recordings were by Guy Lombardo and Ethel Waters in 1933. Nat King Cole recorded it several times as an instrumental, and had a hit with a 1944 vocal version. Charlie Parker made an influential ballad rendition in 1947. The song was composed by Jimmy McHugh with lyrics by Dorothy Fields.