Louis Armstrong: America's Jazzman

If there was one personality to play music as a joyful and universal language in the last century it was Louis Armstrong. He once wrote that "what we play is jazz." He indeed helped make a wonderful world during his near six decades in jazz and popular music. He was a phenomenal jazz trumpeter, performer, writer, stage personality and all around good will ambassador who was born on this day in New Orleans in 1901. He was nicknamed, "Satchmo," short for "satchelmouth," as a child because of his prominent mouth. The moniker stayed with him as he blazed a trail of unforgettable music throughout his life. Although he passed away in 1971 his imprint remains large in popular music and jazz in particular.

Louis Armstrong                                  Adi Holzer, 2002

Here is a short video by storyteller, Mick Carlon, relating Armstrong's impact on the 20th century in a TEDx program for students.

Readers can learn more about Armstrong life and impact at the Louis Armstrong House Museum site.

And here are two pieces of the master at his trade performing Now You Has Jazz at the 1960 Newport Jazz Festival, and his signature song, What A Wonderful World:

And here is Armstrong in 1956 with one of his most beloved collaborators, Ella Fitzgerald, and the Oscar Peterson Quartet in a masterful performance of April In Paris.  To this day the album, Ella and Louis, consistently appears in lists of the top ten jazz albums of all time. 

After just a few minutes of this talent on display, I'm sure readers will agree that Armstrong indeed helped make a wonderful world for his audience. May his smile, his sound, and his goodness stay with us for a long, long time.

Lena Horne: An American Legend

In the years around the turn of the century I was a member of the planning and design team for the newly established Tuskegee Airmen National Historic Site in Alabama. Fundraising was a big part of our mission and we asked a large core group of airmen who they would like to see as a national spokesman for the effort. To a man, the response was, "Lena Horne!" who made a number of visits to their two Tuskegee airfields during World War II. They adored her. She was beautiful, had a sultry voice, the perfect figure for a World War II pinup, and a highly successful musical career on stage and screen. She was also strong-willed and, at times, defiant, both characteristics that served her well in the American civil rights movement following the war. No wonder she appealed to them.

Horne publicity photo from 1964, NBC Bell Telephone Hour

Who was this international star and favorite pinup? Lena Horne was born on this day in Brooklyn in 1917. Those familiar with the singer will always remember her remarkable talent as a legendary performer with a sparkling personality and a beautiful smile, In her almost seventy years in entertainment she worked the big band and cabaret circuits, movies, Broadway, and television. She became politically active in the fight for civil rights following World War II, a decision that placed her on the federal entertainment blacklist for over a decade. Readers can learn more details about Horne's life and career in a New York Times obituary published following her death in May 2010.

Horne at Tuskegee Institute banquet, Tuskegee, Alabama, during World War II

Due to her age and disabilities, Horne was unable to take on the role the Tuskegee Airmen so enthusiastically desired but fundraising commenced in a different direction and eventually contributed to construction and interpretation at the park. Her image and the stories of her visits are embedded in those exhibits.

I remember Horne well from her frequent television performances and recordings beginning in the 1950's. She's always been a personal favorite among pop and jazz singers and the stories of her association with the Tuskegee Airmen tells me she was one very special lady.

Here she is performing her signature song, Stormy Weather, from the 1943 film of the same name.

And here is a fine synopsis of the life and times of Horne prepared for a segment of the PBS News Hour in 2010.

Sources

Photos and Illustrations:
public domain photograph, NBC Television, Wikipedia.org
banquet photo, Noel Parrish Collection, Manuscript Division, Library of Congress, Washington

He Was The King Of Swing From Coast To Coast

In 1935 Benny Goodman and his band had a regular late-night gig on Saturdays on NBC's radio program, Let's Dance. Broadcast from New York, most of the local teens and twenty-somethings who enjoyed his music were fast asleep. On the other hand, it was perfect timing for young audiences on the West Coast. A labor strike brought the program to a sudden and unexpected end and put Goodman and his band out of work. Together they decided on a coast to coast tour. In the interior states, the tour was a disaster because people didn't care for "upbeat" jazz arranged for orchestra. The band was looking forward to the Palomar Ballroom in Los Angeles as the last stop and an end to the pain. When they arrived, thousands of young fans who had heard them on the radio were waiting to hear them in person. What was to be a welcome end to a disastrous tour turned into the beginning of the swing era.

In the shadow of Bebop: Benny Goodman, 1946

Eighteen months later , the now famous Goodman Orchestra was invited to present a jazz review on January 16, 1938 in Carnegie Hall, a venue historically reserved for "high brow" music. Several members of the Duke Ellington and Count Basie orchestras and others joined on stage to perform a concert ranging from traditional to unconventional. No jazz bandleader had ever performed there. The concert was a sensation, reaffirming Goodman as the "King of Swing," and jazz as serious American music. In the eyes of many music critics and historians, this concert remains the single most important event in popular music history in the United States. Superlatives aside, the concert was a study in swing music history and jazz improvisation.

After several curtain calls at the end of the concert, Goodman announced to the screaming fans that an encore would follow. Sing, Sing, Sing was the last song in that set. It already was a popular piece for the band but this performance lifted it to holy status in the swing jazz genre. Featured players: Gene Kruppa on drums, Babe Russin on saxophone, Harry James on trumpet, Goodman on clarinet, and Jess Stacy in a masterpiece of improvisation on piano.

Today we celebrate the birthday of the clarinetist and bandleader, Benny Goodman (1909 - 1986). You can read more about him at his Wikipedia entry here. Mention "Palomar Ballroom" and "Carnegie Hall" in the same breath and any popular music historian will follow with "Benny Goodman." His performances at the two venues took place more than 80 years ago. Today we remember both concerts as course changing landmarks in the history of swing and jazz.

Publicity style photo of Benny Goodman around 1960

Sources

Photos and Illustrations:
1946 photo, Library of Congress, William Gottlieb Collection
1960 photo,public domain, publicity style candid photo of Benny Goodman

Text:
bennygoodman.com
Benny Goodman entry, wikipedia.org

Artie Shaw: He Searched For The Perfect Sound

 

The music world has several significant birthdays to remember this week. One of them (May 23, 1910) belongs to  Arthur Arshawsky, the clarinetist, composer, band leader, and author better known as Artie Shaw. To say that Shaw was complex and difficult would be an understatement. He was married eight times, greatly disliked fame, and resented the conflict between creativity and the music industry so much that he virtually abandoned music in the early 1950s. Perhaps his life illustrated a never ending search for perfection by a man who could have approached it in any number of fields. When he died in December 2004 at the age of 94, he was recognized as one of the century's finest jazz clarinetists and a principal force in the development of the fusion of jazz and classical music that would become known as "Third Stream Music." Technically, I think he was at the top. This 1936 recording of him performing his composition, Interlude in B Flat, provides the evidence:

And here is Shaw with strings and woodwinds performing Alberto Dominguez's composition, Frenesi. It charted at #1 in 1940 and would remain one of Shaw's greatest hits.

He completed an autobiography in 1952 and two years later gave up a full-time commitment to the industry and turned to a vast range of interests from advanced mathematics to literature. He went on two write several novels and short stories as well as an unfinished historical fiction trilogy on the jazz era. For a more thorough examination of even more facets in the life of this restless musical genius, visit this link at Swing Music Net for his obituary and this entry for his Wikipedia biography.

Duke Ellington: He Created A Sound That Influenced World Culture

 

Smooth, high brow, faultless, sophisticated, American. All of these words describe the music that came out of the world of Edward Kennedy "Duke" Ellington as a composer, performer, and conductor. For fifty years he defined jazz in his own way with his superbly talented jazz orchestra, surviving the onslaught of bebop, rhythm and blues, and rock and roll. His discography includes over seventy hit records out of hundreds of releases spanning seven decades. Here is perhaps his most celebrated song, credited primarily to Ellington's extraordinarily talented composer and arranger, Billy Strayhorn.

Ellington was born on this day in Washington, D. C., in 1899. He formed a band while in his teens and played the circuit in and around the nation's capital before moving to New York in 1923. There, his creative fervor and gentlemanly demeanor made him an influential force in the Harlem Renaissance. He was a star much appreciated in Europe as well as the United States by the mid '30s. His collaboration with the brilliant composer and arranger, Billy Strayhorn, later in that decade and again in the '60s enhanced his fame and helped him bridge gaps between jazz and other musical genres.

We end with a historic moment in jazz history: Duke Ellington and his orchestra at the 1956 Newport Jazz Festival. Jazz was changing from a dance band to smaller ensemble format and at the same time competing with the rise of rock and roll. Ellington decided to link two compositions with a free-wheeling sax solo. Many jazz historians agree that this was a landmark performance that not only gave the band concept renewed life but also gave jazz a new and expanded direction in sound and listener experience.

The conclusion is obvious: Ellington was an amazing force in both American and world music. Ellington passed away over forty years ago and with his passing the nation lost both a legendary technician at the piano and its strongest advocate for the American musical invention called jazz. Readers can learn more about this extraordinary entertainer by visit his Wikipedia page, by far the most comprehensive source of Ellington information and references on the Internet. I also recommend Terry Teachout's fine biography, Duke, published in 2015.

She's Still The First Lady Of Song

The incomparable jazz singer, Ella Fitzgerald, was born on this day in Newport News, Virginia, 108 years ago. When she was 17, Ella Jane Fitzgerald wanted to dance at an amateur night at the Apollo in Harlem, but was intimidated by other dancers and decided to sing instead. It was the beginning of a career that took her magnificent voice through the big bands, to jazz, bop, and the Great American Songbook. With a voice ranging from smoky to bright she put her signature on every note and sharp diction on every word. For people who like to immerse themselves in lyrics, Ella was unbeatable. And when she forgot those lyrics or let the spontaneity flow, the scat singing was priceless.

The First Lady of Song in 1960     Erling Mandelmann

Only once did I see her perform and that was in an overcrowded and hot venue in Washington. After a few songs, the crowd didn't mind the environment. She had us wrapped in music for over two hours and left us wanting more after several encores. Everyone had a great time that evening, especially Ella. Looking back on that concert, I realize how significant it was. She had turned 50 and completed recording her famous Songbook series a few years earlier. And though her peak years were coming to an end, what she had left exceeded the best of what most 20th century singers ever offered. She went on to perform another quarter of a century dazzling audiences everywhere. Ella passed away twenty-eight years ago, but she's still entertaining fans through a huge discography and video record. In all, it is an immense if not iconic legacy.

Fitzgerald and President Reagan at the White House in October 1981

Throughout her very public life, Ella Fitzgerald remained a private if not shy person. Were she receiving a birthday cake today, I can envision a broad, approving smile and nervous glances from squinting eyes behind those big bottle bottom glasses. She'd respond with a heart-felt "Thank you, thank you," and move into the comfort and safety of song.

Here she is in 1964 performing two Johnny Mercer jazz standards for the last of her now legendary Songbook albums - eight in all - produced by Norman Grantz and released over an eight year period. The series has never been out of print and remains a hot seller over fifty years after its release.

In almost sixty years, few jazz vocalists - there are many fine ones performing today - can approach the significance and near-perfection of Fitzgerald's interpretation of the Great American Songbook. To me, nothing since has quite matched it and I doubt anything in the future will without some extraordinary changes within the music industry and jazz itself.

Though she left us in 1996, Ella simply "is." I can only imagine the look on the faces of the heavenly hosts when she waltzed through those pearly gates scat singing all the way. So here's a happy birthday wish going up to the First Lady of Song. Simply incomparable and yes, sometimes too marvelous for words.




Sources

Photos and Illustrations:
Mandelmann photo, commons.wikimedia.org
White House, Item C4495-9A, President Reagan with Ella Fitzgerald after her performance for King Juan Carlos I of Spain in the east room, 10/13/81; Ronald Reagan Presidential Library and Museum, Simi Valley, California.

Ever So Divine: The Persistence Of The Sounds Of Sarah Vaughan

The American jazz singer, Sarah Vaughan, known as "Sassy" and "The Divine One," performed for almost fifty years. She was not only a singer but also a magician who could wring a full spectrum of rmotion from a song with her warmth and three-octave range. Indeed she was a symphony of sound. The introductory paragraph of her Wikipedia entry quotes the music critic, Scott Yanow, as saying she had "one of the most wondrous voices of the 20th century." When coupled with the greatest of songwriters from 1930 on I think she could be matched only by Ella Fitzgerald for her vocal magic in popular music and jazz. Thirty-two years after her passing fans still wait for a singer who can approach her amazing voice. I must say that Jane Monheit has done a fine job of blending the Vaughan recipe with her own spices to bring us much of the magic we remember so well. Here is Sassy performing the signature song from late in her career, Send In The Clowns:

That is performance in song. It was recorded twenty years before Auto-Tune and other pitch correction and vocal tuning software could turn tone deaf studio metrosexuals and assorted hotties of any sex into so-called stars. We've come down a long way in what passes for both talent and popular music over the past generation. Of course, there are exceptions but for the most part real singing has become subordinate to other aspects of presentation, performance, and spectacle. And once more I ask the question, "Where is jazz, a genre birthed in the United States?" It is alive in many small markets across the country but it remains a small portfolio in the financial departments of our corporate music industry.

So as the Jane Monheits, Diana Kralls, Jazzmeia Horns, Samara Joys, and others keep jazz alive let us honor the memory of one of its greatest interpreters, Sarah Vaughan, who was born on March 27, 1924, in Newark, New Jersey. For another taste of her magic, here she is near the close of her career performing Misty.

A three octave vocal range, no Auto-Tune, singular perfection.

Vaughan passed away 35 year ago but her music and its legacy remain very much with us.

Sources


Photos and Illustrations:
opening photo, William P. Gottlieb Collection, Library of Congress, Washington, D.C.

Stephane Grappelli: Le Son De E'legeance

Stephane Grappelli, the unsurpassed master of the jazz violin, entertained audiences almost to the very day he died in 1997 at the age of 89. There was happiness and optimism in virtually every note of his music, even when those notes brought nostalgia and its touch of sadness to mind. No question he loved what he did and it flowed straight to his listeners. I doubt his songs ever came to an end without a sea of smiles in the audience.

Here is Grappelli in late 1995 performing with Bucky Pizzarelli on guitar, John Burr on bass, and guest guitarist, John Pizzarelli, at the famed Blue Note Jazz Club in New York.

Grappelli was born on January 26, 1908, in Paris, grew up poor and made a marginal living as a self-taught street violinist and silent film accompanist on the piano. In 1934 he met a gypsy guitarist named Django Reinhard - we commemorated his birthday a few days ago - and with him formed the Quintette du Hot Club de France, an ensemble that would make history in the world of jazz and popular music.

Grappelli made his American debut in 1960, long after the Hot Club dissolved, and enjoyed a second career playing to admiring fans around the world for the next 35 years. I find it interesting that Grappelli was almost forgotten in the U.S. until he began touring in the 1970s when he was well into his 60s. One would think that a jazz virtuoso would be well known in the country that birthed the genre. How thankful we should be that he was "rediscovered" here and lived to entertain us for so many years.

Here is one example of that entertainment, a stunning performance of Nuages, a jazz standard composed by Django Reinhardt. The recording features Grappelli with Oscar Peterson on piano, Joe Pass on guitar, and Niels-Henning Orsted Pedersen on bass.

 Simply stunning.

To conclude, here is the Quintette du Hot Club de France in their classic performance of Minor Swing, composed by Reinhardt and Grappell in the mid-1930's:

Yes, it's another jazz standard, the sound of elegance, and still going strong after eighty years.

The Night Jazz Arrived

In 1935 Benny Goodman and his band had a regular late-night gig on Saturdays on NBC's radio program, Let's Dance. Broadcast from New York, most of the local teens and twenty-somethings who enjoyed his music were fast asleep. On the other hand, it was perfect timing for young audiences on the West Coast. A labor strike brought the program to an unexpected end and put Goodman and his band out of work. Together they decided on a coast to coast tour. In the interior states, the tour was a disaster because people didn't care for "upbeat" jazz arranged for orchestra. The band was looking forward to the Palomar Ballroom in Los Angeles as the last stop and an end to the pain. When they arrived thousands of young fans who had heard them on the radio were waiting to hear them in person. What was to be a welcome end to a disastrous tour turned into the beginning of the Swing era.

In the shadow of Bebop, Benny Goodman, 1946

Eighteen months later, the now famous Goodman Orchestra was invited to present a jazz review on January 16, 1938 in New York in Carnegie Hall, a venue historically reserved for "high brow" music. Several members of the Duke Ellington and Count Basie orchestras and others joined on stage to perform a concert ranging from traditional to unconventional. No jazz bandleader had ever performed there. The concert was a sensation, reaffirming Goodman as the "King of Swing," and jazz as serious American music. In the eyes of many music critics and historians, this concert remains the single most important event in popular music history in the United States. Superlatives aside, the concert was a study in swing music history and jazz improvisation.

Publicity style photo of Benny Goodman, ca. 1960

After several curtain calls at the end of the concert, Goodman announced to the screaming fans that an encore would follow. Sing, Sing, Sing was the last song in that set. It already was a popular piece for the band, but this performance lifted it to holy status in the swing jazz genre. Featured players: Gene Kruppa on drums, Babe Russin on saxophone, Harry James on trumpet, Goodman on clarinet, and Jess Stacy in a masterpiece of improvisation on piano.

After January 16, 1938, jazz soon became mainstream American music. Recordings of the concert have remained in print as best sellers since 1950 when Goodman found long-forgotten acetate tape masters given to him the night of the concert. In 1998 aluminum studio masters were discovered and released as a set of compact discs that became one of the best selling live jazz recordings ever.

Sources


Photos and Illustrations:
1946, Library of Congress, William Gottlieb Collection
ca. 1970, public domain, publicity style candid photo of Benny Goodman

Text:
bennygoodman.com
Benny Goodman entry, wikipedia.org

A Genius Behind The Music

For jazz, pop and Great American Songbook enthusiasts today marks another important birthday, that of Billy Strayhorn in 1915. He was the genius songwriter and arranger behind many of Duke Ellington's hits including, Take the A Train, Chelsea Bridge, My Little Brown Book, Day Dream, Something to Live For, and Lotus Blossom. I have written about Strayhorn in a few posts over the years but never devoted one to him until I found Scott Johnson's Power Line tribute, Lush Life, from 2013. Do check it out and make a note of his mention of Terry Teachout's biography of Duke Ellington, a study that explores the Ellington-Strayhorn musical partnership at length.

Here's an added treat for some context: the Ellington-Fitzgerald version of Lush Life that Johnson references is again available on You Tube.

That song has a remarkable number of fine interpretations. He makes mention of my favorite version. And thanks to You Tube, readers can listen to the Johnny Hartman-John Coltrane offering and make their own decision.

To me, it's the best. Given Strayhorn's remarkable tapestry of words and music, Hartman is superb here. No equal. Add Coltrane and we have even greater music history in that it is the only recording he made with a vocalist.


Unfortunately, Strayhorn never emerged from Ellington's shadow to enjoy the limelight. His full contribution to the world of music emerged only after his death in 1967, the publication of Ellington's autobiography in 1973, and further research on their collaboration.

Remembering Johnny Mercer, The Sentimental Gentleman From Savannah, Georgia

Mercer statue, Ellis Square, Savannah, Georgia

November 18, marks the 115th anniversary of the birth of John Herndon Mercer (1909-1976). For fans of the Great American Songbook, this is a significant event. Mercer won four Academy Awards for Best Original Song and had another twelve nominations. Indeed he was quite a music master.

Born into wealth in Savannah, Mercer often recounted how his Aunt Hattie hummed to him in his crib and "he hummed right back at her." It was the beginning of a musical career that would produce more than 1500 published songs, a few thousand more unpublished songs and song fragments, scores of poems and prose pieces, an unfinished autobiography, and a major chapter in the history of American music in the twentieth century.

In Mercer's Savannah a rich Southern culture blended with that of a diverse and exciting port city. He spent his childhood fascinated by train and ship whistles, and the sounds and rhythms drifting from the black churches around town. He was thrilled by the chance to slip away from his mother's watchful eye and visit the black business district on West Broad Street - now MLK Boulevard - where he listened to race records. The family's summer home on the Vernon River, about ten miles south of town, immersed him in the natural world of Georgia's tidal creeks and salt marshes. By his teen years, he loved hearing the dance and jazz bands every summer at the famous Tybrisa Pavilion on nearby Tybee Island. He also began writing songs and skits for his student productions at Woodberry Forest School in Virginia.

When the family business failed in the late '20s, any hope of returning to Woodberry or attending college dimmed. He grew bored at home and shipped off to New York to become a Broadway performer. The demand for singers was weak but he began tinkering with lyric writing when he wasn't singing or working odd jobs. Here is his first published song lyric:

Lyrics are meant to be heard but it's not always easy to appreciate them without the poetry on the page, especially when written by such a word genius:


Out of Breath (1930)

lyrics by Johnny Mercer
music by Everette Miller


Mine's a hopeless case,
But there's one saving grace,
Anyone would feel as I do;
Out of breath and scared to death of you.
Love was first divined,
Then explored and defined,
Still the old sensation is new;
Out of breath and scared to death of you.
It takes all the strength that I can call to my command,
To hold your hand.
I would speak at length
About the love that should be made,
But I'm afraid.
Hercules and such
Never bothered me much,
All you have to do is say "Boo!"
Out of breath and scared to death of you.

Yes, it's pretty simple, comic stuff but it had flashes of wordplay and bouncy rhythm. It was perfect for the Garrick Gaieties revue of 1930.

One of the chorus girls left Johnny out of breath as well. Her name was Ginger Meehan and she was Bing Crosby's squeeze at the time. Eventually, Mercer won her over and they married in 1931 after Johnny secured a staff job writing lyrics. The following year, his persistent work paid off when he partnered with Hoagy Carmichael, already well-known for his sensational song, Stardust. After several months, the collaboration produced Lazybones, Mercer's first hit song. It was full of black dialect and all the stereotypical perceptions of the day.

By the time Lazybones became popular, the New York music industry was in full transition thanks, in part, to the rapidly growing film industry in California. Films needed songs and with his prospects cooling in New York, Mercer traveled to Hollywood where he met his old friend, Bing Crosby, who had already made the transition to the West. The early years were a challenge for Mercer, but things changed in 1936. That year, Crosby offered to sing one of Mercer's songs in the film, Rhythm on the Range. The film wasn't much. The song was a runaway hit:

I'm An Old Cowhand

words and music by Johnny Mercer


I'm and old cowhand
From the Rio Grande,
But my legs ain't bowed
And my cheeks ain't tanned.
I'm a cowboy who never saw a cow,
Never roped a steer 'cause I don't know how,
And I sure ain't fixin' to start in now.
Yippy I O Ki Ay,
Yippy I O Ki Ay.

. . .

And I learned to ride
'Fore I learned to stand,
I'm a ridin' fool who is up to date,
I know ev'ry trail in the Lone Star State,
'Cause I ride the range in a Ford V-Eight

. . .

And I come to town
Just to hear the band,
I know all the songs that the cowboys know,
'Bout the big corral where the doagies go,
'Cause I learned them all on the radio.

. . .

Where the West is wild
'Round the borderland,
Where the buffalo roam around the Zoo,
And the Indians make you a rug or two,
And the old Bar X is a Bar B Q.
Yippy I O Ki Ay,
Yippy I O Ki Ay.


I think Mercer came into perfect form with this one. With a little help from his pal, Crosby, his name became associated with songwriting among Hollywood's shakers and makers. In these early years, he struggled through a few flop movies, but he learned the ins and outs of Hollywood, and continued writing poetry to music. Mercer went on to great fame after I'm An Old Cowhand. Movies, records, and radio brought his folksy, common sense, "free and easy, that's my style" personality into homes across America and made him a beloved next door neighbor. 

Mercer could be serious with a lyric, but he was equally capable of making us laugh at ourselves and our circumstances. Hooray for Hollywood is an outstanding example. I'd say almost every American can hum the title line but it's the rest of the lyric that really sparkles. Here's the song as it appeared in Busby Berkeley's 1937 blockbuster film hit, Hollywood Hotel. If you don't want to miss any words, the original lyric is below.

Hooray For Hollywood

words by Johnny Mercer
music by Richard A. Whiting


Hooray for Hollywood!
That screwy bally hooey Hollywood,
Where any office boy or young mechanic
Can be a panic,
With just a good looking pan,
And any bar maid
Can be a star maid,
If she dances with or without a fan,

Hooray for Hollywood!
Where you're terrific if you are even good,
Where anyone at all from Shirley Temple
To Aimee Semple
Is equally understood,
Go out and try your luck,
You might be Donald Duck!
Hooray for Hollywood!

Hooray for Hollywood!
That phoney super Coney Hollywood,
They come from Chilicothes and Paducahs
With their bazookas
To get their names up in lights,
All armed with photos from local rotos,
With their hair in ribbons and legs in tights,

Hooray for Hollywood!
You may be homely in your neighborhood,
But if you think that you can be an actor,
See Mister Factor,
He'd make a monkey look good.
Within a half an hour,
You'll look like Tyrone Power!
Hooray for Hollywood!


Over three decades Mercer wrote the lyrics to hundreds of songs, collaborating with the country's top music writers, including Harold Arlen, Bernie Hannigan, Hoagy Carmichael, Harry Warren, Gene DePaul, Henry Mancini, Jerome Kern, Rube Bloom, and Matty Malneck.

In 1971, Mercer appeared in what he called a "parlor evening" performance as part of the 92nd Street Y's Lyrics and Lyricists Series. At the end of the program, Mercer delivered an unforgettable medley of his "bread and butter" songs. I'd say most songwriters and performers would be pleased to have five songs in such a list. Mercer had twenty-nine. Regardless of your age and interest in popular music, you may be surprised at how many of these songs you recognize today:


Lazybones (1933), music by Hoagy Carmichael

Goody, Goody (1936), music by Marty Malneck

Too Marvelous For Words (1937), music by Richard A. Whiting

Jeepers Creepers (1938), music by Harry Warren

Satin Doll (1958), written with Duke Ellington and Billy Strayhorn

You Must Have Been A Beautiful Baby (1938), music by Harry Warren

That Old Black Magic (1943), music by Harold Arlen

Accentuate the Positive (1944) music by Harold Arlen

Fools Rush In (1940), music by Rube Bloom

I Remember You (1942), music by Victor Schertzinger

Day In - Day Out (1939), music by Rube Bloom

Dearly Beloved (1942), music by Jerome Kern

Come Rain or Come Shine (1946), music by Harold Arlen

Tangerine (1942), music by Victor Schertzinger

Hooray For Hollywood (1938), music by Richard A. Whiting

Laura (1945), music by David Raksin

Dream (1944), words and music by Johnny Mercer

On the Atcheson, Topeka and the Santa Fe (1946, Academy Award for Best Music, Original Song, music by Harry Warren

Something's Gotta Give (1954), words and music by Johnny Mercer

One For My Baby (1943), music by Harold Arlen

In the Cool, Cool, Cool of the Evening (1951), Academy Award for Best Music, Original Song, music by Hoagy Carmichael

Skylark (1941), music by Hoagy Carmichael

Autumn Leaves (1950), music by Joseph Kosma

I Wanna Be Around (1962), words and music by Johnny Mercer and Sadie Vimmerstedt

Blues in the Night (1941), music by Harold Arlen

Charade (1963), music by Henry Mancini

Summer Wind (1965), music by Henry Mayer

Moon River (1961), Academy Award for Best Music, Original Song, music by Henry Mancini

Days of Wine and Roses (1962), Academy Award for Best Music, Original Song, music by Henry Mancini


That's plenty of "bread and butter" on one man's plate, but we need to keep in mind that he had seven more songs nominated for an Academy Award that never made it into the medley. What a talent.

If you're curious to learn even more about Mercer, your minimal immersion requires three books, one website, and one audio disk.


THE BOOKS:

A good starting point is, Johnny Mercer: The Life, Times and Song Lyrics of Our Huckleberry Friend. It was collected and edited by television producer Bob Bach and Ginger Mercer, Johnny's widow. There's nothing scholarly about it. It is simply a nostalgic look at Mercer's career through photos, letters, notes, sheet music covers, lyrics, and tributes. Photos are always worth their thousand words, and the book gives readers the chance to study the lyrics to almost 100 Mercer songs. One highlight is the publication of the texts of four Christmas greeting cards. In two of them, Johnny worked his lyrical magic using all the surnames on his card list. The book concludes with incomplete lists of his published songs and motion picture contributions.

Philip Furia takes a more scholarly approach to Mercer in his book, Skylark: The Life and Times of Johnny Mercer. This book is a well-balanced treatment of a life characterized by great success as well as trouble and torment. It is well known that Mercer could be not only a gentleman and generous friend when sober, but also a vicious drunk who frequently sent roses to his victims the day after his verbal assaults. But Furia is at his best analyzing the process of songwriting, devoting many pages to a single song, and detailing the origin and evolution of the lyric. If you want to skip the nostalgia and go straight to reading a very good biography, Furia has written your book.

Gene Lees was a music biographer, lyricist and jazz historian who was a personal friend of Mercer's beginning around 1950. He brings more of a Hollywood insider perspective to the Mercer story, and does so with an entertaining, informal style. If this is what you look for in a biography, then Portrait of Johnny: The Life and Times of John Herndon Mercer is your book. The book doesn't have Furia's tight organization, but it is full of personal recollections and opinions from scores of close friends and associates. The high point for me is the author's extensive use of direct quotes from Mercer's unpublished autobiography. On the other hand, Lees gives his readers almost too much detail on Ginger Mercer as the terror in her family's life. Some readers may say the book is more of a layman's psychological analysis than a true biography. Regardless, it provides a nice balance to Furia's book in spite of the duplication.

This exhaustively researched 2013 biography by Georgia State University professor, Glenn Askew adds much to the Mercer story, builds upon the previous popular biographies, and places Mercer firmly in the context of American music and its impact throughout the world. Askew's thesis that Mercer brought blues, jazz, and Southern-themed music, first, to the attention of American audiences and, second, throughout the world with his founding of Capitol Records, is soundly defended. His ninety pages of notes provide even more information in addition to valuable documentation and context.


THE WEBSITE:

If you want to use the Internet as a source of information on Johnny Mercer, there is no better site than the Johnny Mercer Foundation. The home page may look a bit complex, but don't let that fool you. The links open windows to hundreds of pages of information and media.


THE AUDIO CD:

You can find scores of audio CDs featuring the songwriting and singing talent of Johnny Mercer. For me there is one essential CD and an "honorable mention." The essential is An Evening With Johnny Mercer, the 92nd Street Y Lyrics and Lyricists program Mercer did in 1971. I think it's a great hour to spend with the man and his music.

The "honorable mention" is Ella Fitzgerald Sings the Johnny Mercer Songbook. Fitzgerald's brilliant eight-album Songbook Series was recorded between 1956 and 1964, at the height of her vocal quality. The Mercer tribute is included here because of her near-perfect diction - you do want to hear the words - the fact that Mercer was the only lyricist honored in the Songbook Series.

I have provided you with some details about Mercer's life, his contribution to American popular music, and best of all, several examples of his words and music. In addition, for those interested in learning more about him, I listed several sources in a variety of formats. There's plenty more to know. For example, you'll find that Mercer was both the source of the idea and a founding member of Capitol Records. You'll also read that he was extraordinarily generous. And you'll also find out that almost throughout his life, the fame and fortune came at great personal cost. That seems to be the rule. Still, Mercer's gap-toothed smile and performance talent brought a wealth of entertainment to millions of Americans during his active years beginning in the mid 1930s.

Almost two generations have passed since Mercer's death in 1976. He may be gone, but that mountain of music and the ideas he left behind are very much alive and well. Mercer stays with Great American Songbook and jazz enthusiasts through the singers and organizations that keep his music and legacy alive. Here is a list of past and present singers


THE SINGERS:

Margaret Whiting (Long associated with Mercer as a performer and family friend, she was a most significant individual promoter of Mercer's music late in her life.)

Frank Sinatra

Mel Torme (extensive recordings from the Mercer catalog, but no single album)

Sylvia Syms

Nancy LaMott (outstanding interpretation; her untimely death was a great loss to the music world))

Susannah McCorkle

Diana Krall (extensive recordings from the catalog, but - very sadly - no single album)

Bobby Darin (a landmark album recorded with Mercer; it's a classic)

Maxine Sullivan (simply swinging jazz from a great vocalist)

Shari Lynn

Jenny Ferris

Blossom Dearie (close associate of Mercer in his last years who kept his memory and music very much alive until her death in 2009)



That just about covers my Mercer birthday tribute this year. I want to end with three favorite Mercer lyrics that have become embedded in our culture as great American songs and jazz standards over their sixty years. They are:


Midnight Sun


Lionel Hampton and Sonny Burke wrote Midnight Sun in 1954 as an instrumental and had a big hit with it. The story goes that Mercer heard the tune on the freeway heading to his office. By the time he got there, he had the lyric. Ella Fitzgerald has "owned" this song for fifty years.

Your lips were like a red and ruby chalice warmer than the summer night
The clouds were like an alabaster palace rising to a snowy height
Each star its own aurora borealis suddenly you held me tight
I could see the midnight sun....


Early Autumn

Early Autumn was composed in 1949 by Ralph Burns and Woody Herman.

When an early autumn walks the land and chills the breeze
And touches with her hand the summer trees,
Perhaps you'll understand what memories I own.
There's a dance pavilion in the rain all shuttered down,
A winding lane all russet brown
A frosty window pane shows me a town grown lonely....


Laura


In 1944, the film, Laura, appeared with a theme song composed by David Raskin. The next year Mercer added the haunting lyrics.

Laura is the face in the misty lights,
Footsteps that you hear down the hall.
The laugh that floats on a summer night
That you can never quite recall.

And you see Laura on the train that is passing through,
Those eyes how familiar they seem.
She gave your very first kiss to you
That was Laura but she's only a dream....



If you do pick up a book or check out a website, you'll find that Mercer was quite a diverse personality. As a lyricist, composer, performer, businessman, and philanthropist, he shaped much of the American popular music industry for forty years, beginning in the mid 1930s. You'll also find that, almost throughout his life, the fame and fortune came at great personal cost. That seems to be the rule. Still, Mercer's gap-toothed smile and performance talent brought pleasure to millions of Americans during the mid-century. He's still with us in so many ways.

So happy birthday, Johnny. You're just about too marvelous for words.





References: Books by Bach and Mercer, Furia, and Lees; Johnny Mercer Foundation; Georgia State University Archives, and The Complete Lyrics of Johnny Mercer, by Kimball, Day. Kreuger and Davis.

Art Tatum: Magician At The Keyboard

He had perfect pitch and came from a musical family. He was virtually blind but that did not stop him from reaching the pinnacle of piano jazz. Tatum's piano technique was all his own. As a child he learned compositions by ear listening to recordings, piano rolls, and the radio. He often had no idea that he was copying in two hands a musical performance by four hands. After basing his early performance on the stride piano style of James P. Johnson and Fats Waller Tatum's piano technique soon evolved into a flying lyric in the right hand riding on a modified stride in the left. In time his skills made him a magician at the keyboard. Here is his famous 1933 rendition of Tea For Two:

And a bit more up-tempo, here is the master of improvisation with the tune, Tiger Rag, also recorded in 1933:

When you have enjoyed jazz for fifty years and listen to Art Tatum you'll hear Oscar Peterson, Billy Taylor, Thelonious Monk, Johnny Costa and many others as Tatum dances effortlessly across the keyboard. He was so good, his legacy in music may be timeless. In fact, the great stride pianist, Fats Waller, once said upon seeing Tatum enter the club where Waller was performing, "I only play the piano, but tonight God is in the house."

At the Vogue Room, New York, 1948

Tatum was born on this day in Toledo, Ohio, in 1909 and died in Los Angeles in 1956. 



Sources

Photos and Illustrations:
William P. Gottlieb Collection, Library of Congress, Washington, DC

Text:
Art Tatum entry, wikipedia,com (for quote source see note 2)

A Birthday Celebrated And Shared

For several years now my birthday always brings to mind the remarkable coincidence that I share the day with two of my favorite personalities from the world of the arts. Studying them in depth came later in my life and it's only been in the last thirty years or so that I realized September 29 was a big day we shared. It's a coincidence from somewhere in the stars beyond time. I don't want to attempt an explanation. And there's no delusion here, my friends, I will never approach their genius. Not sure I'd want to. I'll simply leave it at that and let this post unfold.

So who are these two artists? They are Walter Inglis Anderson and George Gershwin. I discovered Anderson on my own in the 1970s during the dedication of a National Park Service visitor center in Ocean Springs, Mississippi. The award-winning center featured architectural elements incorporating his motifs as well as interior displays of his nature paintings, island journals, and other books. The building itself, a gift to the National Park Service, was a work of art emerging from the salt marsh at the edge of Davis Bayou. Unfortunately, the center was destroyed by Hurricane Katrina. In regard to George Gershwin, I had an ear for him very early in life as my mom and dad enjoyed listening to his work on radio, records, and television.

Walter Inglis "Bob" Anderson, Self-Portrait, ca. 1941

George Gershwin a few months before his death in 1937

Anderson and Gershwin were filled with creative genius and tragic loss. Anderson died (1965) in his early sixties recognized as a local artist and obscure introvert wracked by schizophrenia. National appreciation of his contribution to American art would come slowly and long after his death. Even today he's not well known among general populations beyond the South. Gershwin would die of an aggressive brain tumor at the age of 37 at the height of his career and known throughout the world.

Walter Inglis Anderson, was born on September 29, 1903 in New Orleans. After training at the Pennsylvania Academy of Fine Arts in the mid-1920s, he spent most of his career associated with Shearwater Pottery, a family enterprise founded in Ocean Springs, Mississippi. Though deeply troubled with mental illness for much of his life, he produced thousands of vivid works of art - often called "abstract realism" - seeking to celebrate the unity of human existence with nature. I often describe his work as decorated illustrations that play freely with figure and ground and the positives and negatives of visual perception. His realizations of nature explode in the mind's eye. Observing Anderson is a meditative experience. Visit the Walter Inglis Anderson Museum of Art site to learn more about the life and work of this regional artist whose work has only recently has taken on national significance.

Frogs, Bugs, Flowers                          Walter Anderson, ca 1945

George Gershwin was born in New York in 1898. He went on to become perhaps the most beloved American composer of the last century through his many compositions for the musical stage, the concert hall, and what has become known as the Great American Songbook. Gershwin's appeal comes in part from his colorful and lively incorporation of jazz motifs in all of his music. He died in 1937 with what could only be called a spectacular career ahead of him. I often imagine what he could have brought to American music had he lived another forty years. Here is a spectacular interpretation of the final movement of Gershwin's Concerto in F. For good reason he originally called the it New York Concerto. To me there's no more energetic sound image of the Big Apple than this piece.

Today I begin my 78th year still deeply immersed in the amazing output of Anderson and Gershwin. Although I'm perfectly happy not to share their fame, I'm honored to share their interpretations of the American experience with anyone. And what fine interpretations they are.

Little Room, South Wall Walter Inglis Anderson, 1950-65

Sources

Photos and Illustrations:

Walter "Bob" Anderson, Self-portrait, 1941. Walter Anderson Museum of Art, Ocean Springs, Mississippi.
Frogs, Bugs, and Flowers, Walter Anderson, ca 1945. Repository: Roger H. Ogden Collection. Copyright held by Roger H. Ogden.
George Gershwin 1937. Carl Van Vechten Collection, Library of Congress