Recorded on this day in 1926 at the studios of Okeh Records in Chicago, the group having performed their rendition of the Boyd Atkins arrangement at the Vendome Theatre (see also), the song is credited with solidifying the career of Louis Armstrong and His Hot Five.
The single is also credited with popularising scat singing—though there were precedents with ragtime entertainers Gene Greene and Al Jolson with a few choruses and bars from the latter in faux-Chinese (see also) drawing from traditions of lilting, yodelling and yoiking—with the possible apocryphal anecdote that when Armstrong was in the studio, his sheet music had fallen off the stand and had to improvise, filling the time with nonsense lyrics, surprised by the producers’ decision to keep it in. The record company subsequently capitalised on its popularity by advertising a choreographed dance to the song. The phrase comes from a 1923 newspaper comic strip by cartoonist Billy DeBeck, Barney Google and Snuffy Smith, and refers to a feeling of apprehension and anxiety—popular slang in the 1920s also inspiring the name for the number ten duotrigintillon, “sweet mama,” “horsefeathers” and leaving a legacy through catch-phrases “time’s a-wasting” “great balls o’ fire.”