This is a great catch. Thanks, Bill. Since they were mainly riff-based,
many famous swing tunes have lesser known pre-cursors.
Though I couldn't identify them now, I've heard recordings of territory
bands from the mid 20's a playing a version of One O'Clock Jump not yet
called that. Several of Benny Moten's most famous tunes were recorded by
other groups before Moten.
In fact, the five note riff that is the opening lick of Juke and of Leap
Frog was used constantly by players throughout the 30's and even earlier in
their solos. It's a connective figure.
Duke Ellington took some of the most characteristic licks his sidemen used
and turned them into famous compositions, such as Concerto for Cootie,
which came from a Cootie Williams lick, or really a lick he liked to play
alot but which was certainly not invented by him.
One can hardly imagine a better study for a musician than to listen closely
to Leap Frog, now that we know about it, and compare just how vastly
different the lick it shares with Juke feels in its handling. I think one
of my main problems with the music of players who do not invent any licks
of their own is that it's rare for them to get any new feeling out of those
old licks.
If anyone reading this feels stuck in the rut their style, identify some of
your most characteristic licks and figure out where in the 12 bar cycle you
usually drop them in. Then stop dropping them in in those places and drop
'em in in new places, and see if they don't give off a different feel and
open up your possibilities.