From Broadway To 52nd Street
On October 19, 1938 the musical Knickerbocker Holiday opened at the Ethel Barrymore Theatre starring Walter Huston, Ray Middleton, Richard Kollmer and Jeanne Madden. The play ran for 168 performances with music composed by Kurt Weill and Maxwell Anderson. From the musical came the jazz standard September Song.
The Story: As he is writing the history of New York, Washington Irving seems to wander back to the 17th century just as New Amsterdam is awaiting the arrival of Peter Stuyvesant. The town council seeks to divert the new governor from its corruption and ineptitude by staging a hanging of a rebellious young man named Brom.
Brom has brashly asked for the hand in marriage of Tina, one of the councilor’s daughters. Stuyvesant pardons Brom but refuses him marriage to Tina. Stuyvesant decides to marry Tina, prompting Brom to rouse the citizens against the governor. Sensing the way the political winds are blowing, the governor backs down, his decision aided by Irving’s warning for him to consider his place in history.
Broadway History: While Broadway is experiencing both success and failure, Hitler takes control of the army and marches into Austria; Joe Louis takes the heavyweight championship title from Nathan Mann followed by a first round KO of Max Schmeling; the first play is telecast with the original cast of Susan and God; the Yankee Clipper completes its first cross Atlantic flight; Howard Hughes flies around the world in 91 hours; and instant coffee is invented.
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Daily Dose Of Jazz…
Carmen Mercedes McRae was born on April 8, 1920 in Harlem, New York City to Jamaican immigrant parents. She began studying piano at eight and the music of Louis Armstrong and Duke Ellington filled her home. Drawing inspiration from Billie Holiday, whom she met at 17, she developed and established her own distinctive voice. As a teenager she came to the attention of longtime Holiday collaborator Teddy Wilson and his composer wife, Irene Kitchings Wilson and through their influence Billie recorded her early composition “Dream of Life”.
In her late teens and early twenties, McRae worked as a secretary, sang as a chorus girl, played piano at Harlem’s famous Minton’s Playhouse where she met Dizzy Gillespie, Oscar Pettiford and Kenny Clarke. By 1944 she was playing piano with Benny Carter, working with Count Basie and made her first recording as a pianist with Mercer Ellington between 1946-47. But it was her meeting of Milt Gabler that got her signed to Decca and over the next five years she produced twelve albums.
A four-year stint in Chicago from 1948 to 1952 gave her, in her own words, “Those years in Chicago gave me whatever I have now… That’s the most prominent schooling I ever had.” Upon her return to New York she landed the record contract that launched her career and got her voted best new female vocalist by Down Beat magazine.
Carmen McRae enjoyed an opulent career that would span fifty years producing memorable albums with composer Noel Coward, Sammy Davis Jr., Dave Brubeck, George Shearing, Louis Armstrong, Cal Tjader and Betty Carter. She never performed without singing at least one song associated with Lady Day and recorded tribute albums to Billie Holiday, Thelonious Monk and Sarah Vaughan. She sang in jazz clubs throughout the U.S. and around the world, performed at the North Sea and Montreux Jazz Festivals and was a seven-time invitee to the Monterey’s Jazz Festival. She recorded over 60 albums and it was her behind-the-beat phrasing and ironic interpretations of lyrics that made her memorable.
Refusing to quit smoking, she was forced to retire in 1991 due to emphysema and on November 10, 1994 Carmen McRae, singer, composer, pianist and actress died in Beverly Hills, California from a stroke following complications from respiratory illness. She was 74.
Daily Dose Of Jazz…
Billie Holiday was born Elinore Harris on April 7, 1915 in Philadelphia, Pennsylvania to a single mother who often left her to be raised by relatives. Surviving a tumultuous childhood in and out of reform schools, it was while working in a brothel at fourteen that she first heard the songs of Louis Armstrong and Bessie Smith. She soon teamed up with tenor saxophonist Kenneth Hollan and changing her name to Billie Holiday, her first taken from an actress she admired and taking her father Clarence last name. For the next two years played clubs like Grey Dawn, Pod’s and Jerry’s and the Brooklyn Elks Club. Replacing Monette Moore in 1933 at Govan’s gave producer John Hammond his first opportunity to hear her and he quickly set up a recording session with Benny Goodman who had heard her two years earlier.
By 1935 she was recording with Teddy Wilson which produced “What A Little Moonlight Can Do” and Miss Brown To You” and established Billie as a major vocalist. Under the Brunswick label during the 1930’s and 40’s, Wilson and Holiday revolutionized improvising melodies to fit the emotion of the lyric and these recordings caught singers attention nationwide who began imitating Billie’s light, rhythmic style.
Among the musicians who accompanied her frequently was her friend tenor saxophonist Lester Young, who dubbed her “Lady Day” and she in turn nicknamed him “Prez”. She also worked with Count Basie and Artie Shaw during this period; the latter arrangement of working with an all-white band went against the tenor of the times. Throughout her career she co-wrote notable jazz standards “God Bless The Child”, Don’t Explain”, Fine and Mellow”, “Lady Sings The Blues” and made “Easy Living” and “Strange Fruit” her signatures. Turbulence followed her from her childhood into adulthood with failed marriages, drug addiction, incarceration and the revocation of her cabaret card prohibiting her from working in New York City.
Arrested for drug possession while she lay dying of cirrhosis of the liver in New York City’s Metropolitan Hospital, she passed away on July 17, 1959. Billie Holiday’s well-trained ear, distinct delivery, masterful improvisation and infallible technique left a profoundly essential impressive catalogue of music that has influenced countless generations of jazz singers.
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Daily Dose Of Jazz…
Pearl Mae Bailey, born March 29, 1918 in Southampton County, Virginia was raised in the Newport News, Virginia. She began singing at the age of three, making her stage debut at 15 when prompted by her brother Bill she entered an amateur contest winning first prize at Philadelphia’s Pearl Theatre. She went on to do the same at The Apollo, which cemented her decision to pursue an entertainment career.
Singing and dancing in Philly’s black nightclubs and other east coast cities in the thirties, by WWII she was touring the country with the USO and then settling in New York. Her success as a solo nightclub performer brought her work with Noble Sissle, Cootie Williams, Cab Calloway and Duke Ellington.
In 1946 she made her debut on Broadway in St. Louis Woman, which was later followed by House Of Flowers. Broadway led to the silver screen and in 1954 she took the role of Frankie in Carmen Jones, Maria in Porgy and Bess in ’59, both starring Dorothy Dandridge and Aunt Hagar in the film version of St. Louis Blues. In between demanding stage and screen commitments she continued to tour and record.
Returning to Broadway with Cab Calloway in David Merrick’s 1967 production of Hello Dolly won her a Tony award a year later. Throughout the next two decades she would sing the national anthem at the World Series, have her own television show, continue to perform on Broadway, be the voice for several animated film characters, earn a B.A. in theology from Georgetown University, become a spokesperson for Duncan Hines, win a Daytime Emmy, be appointed Ambassador of Love by President Nixon, be awarded the Bronze Medallion from New York City and a Presidential Medal of Freedom.
Pearl Bailey, an uninhibited vaudevillian, singer and actress passed away on August 17, 1990 in Philadelphia of arteriosclerotic coronary artery disease. The sultry voice was best known for her signature songs “Takes Two To Tango”, “Baby It’s Cold Outside” and “Won’t You Come Home Bill Bailey”.
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From Broadway To 52nd Street
I’d Rather Be Right opened at the Alvin Theatre on November 2, 1937 and ran two hundred and ninety performances. The play starred Joy Hodges, Austin Marshall and George M. Cohen. The composers of the play’s music were Richard Rodgers and Lorenz Hart and one of their songs emerge to become a jazz standard – Have You Met Miss Jones.
The Story: As the story goes, a couple, Phil & Peggy, who wish to marry cannot do so until he receives a raise in pay. This raise was contingent on President Roosevelt balancing the budget. Falling asleep in Central Park, Phil dreams that he and Peggy meet the President. The President, in turn, summons the Cabinet, goes to battle with the Supreme Court, all to help the youngsters. Seemingly stymied, the President then suggests the young lovers marry anyway. When Phil awakens, that’s what they do.
Jazz History: Swing was dance music. It was a “live” broadcast nightly on the radio across America for many years especially by Earl “Fatha” Hines and his Grand Terrace Cafe Orchestra broadcasting coast-to-coast from Chicago. Although it was a collective sound, swing also offered individual musicians a chance to “solo” and “improvise” melodic, thematic solos, which could at times be very complex and “important” music. Over time, social strictures regarding racial segregation began to relax in America: white bandleaders began to recruit black musicians and black bandleaders. In the mid-1930s, Benny Goodman hired pianist Teddy Wilson, vibraphonist Lionel Hampton and guitarist Charlie Christian to join small groups.
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