Last week in The Wall Street Journal, my "Anatomy of a Song" column explored the evolution of Killing Me Softly With His Song (go here). I interviewed Charles Fox, the song's composer; Lori Lieberman, the first artist to record the song; and Roberta Flack, whose fascinating rendition climbed to #1 on Billboard's pop chart for five weeks in 1973 and won several Grammys. Roberta arranged the version and played Fender Rhodes electric piano.
Here's Lori Lieberman's version...
And here's Roberta Flack's...
Also in the WSJ, I interviewed racing legend A.J. Foyt for my "House Call" column in the Mansion section. A.J. is the only race-car driver to win the Indianapolis 500, the Daytona 500 and the 24 Hours of Le Mans. We talked about what A.J. was like as a teen and what happened the day the police in Houston figured out he was behind the wheel of the Ford that out-ran their cars. [Photo above of A.J. Foyt on his last-lap car, on display at A.J. Foyt Enterprises in Waller, Texas, by Scott Julian for The Wall Street Journal]
Here's a clip of A.J. winning the 1961 Indy 500 at age 26. The tradition of drinking milk in the winner's circle began in 1936, when winner Louis Meyer drank cold buttermilk to celebrate. Then an executive with the Milk Foundation made sure it was repeated in coming years...
SiriusXM. This Monday, I'll be on SiriusXM's Feedback (VOLUME, Channel 106) with Nik and Lori at 9 a.m. (EDT) to talk about my WSJ "Anatomy of a Song" column on Killing Me Softly. Great way to start the week. Tune in!
A big thanks and a hug for everyone who sent along JazzWax birthday wishes and added wonderful comments to the JazzWax Facebook page heralding the blog's 12th anniversary.
Larry Bunker. In last weekend's post, I included clips of Bill Evans in London in 1965 with Chuck Israels on bass and Larry Bunker on drums. I noted that this trio was among my favorites fronted by Evans, noted for its sensitive expression and perfect pacing. Last week, Chuck Israels sent along the following email...
Marc, just to second your opinion: Larry Bunker was a superb drummer and superb musician. I don’t think anyone else came close to matching Bill’s level of creativity and musicianship. A lot of people liked Paul Motian's playing. I never thought much about it when I was playing with him—it was OK. Then I heard Larry and no longer wanted to listen to Paul. I’ve had a good relationships with drummers—none better than with Larry and the unsung Donald Bailey. I could go on attempting to describe Donald’s magical playing, but words don’t come close. They were two of my favorites.
There are a lot of great drummers with whom I’ve had the good fortune to make music. A good drummer can enliven a band; a mediocre one can limit the music and make creativity difficult. And nothing kills a band more quickly than a bad one.
I also enjoyed your posts on João Gilberto. He was a mess of a person but a fascinating artist. He worked on minute details that would have eluded most others. I heard him practice the timing of the words of one phrase over and over—trying it every way he could think of until he found the rhythms he liked. Then he’d perform it that way, and it would sound wholly spontaneous. That’s what he was seeking—the timing of the phrase that would perfect the illusion of spontaneous expression. It didn’t matter that it was meticulously practiced. He found a way to line up the timings with how he felt about the words. The result produced a convincing emotional response in the listener. As bassist Red Mitchell once said, “There’s nothing so well prepared as a great spontaneous performance.”
Jennie Smith. Following my post on Steve Allen Show regular and singer Jennie Smith, I heard from singer-pianist and composer Meredith d'Ambrosio...
Hi Marc, Jennie was an amazing singer, and one of my all-time favorites. What a great tone! I really respected her talent for composing. I recorded two songs she wrote with Steve Allen. "After Awhile" on my album titled Beware Of Spring. I can't recall the other one. I thought she was one of the important singers of our time. I asked Steve what happened to her but he didn't want to talk about it. He only said that she decided to retire from the business. Only later did I realize I had asked him about Jennie while his wife, Jayne Meadows, was sitting next to him. Whoops. What did I know back then about what was going on behind the scenes. I often wonder what happened to Jennie. She was elegant. Thank you for reminding the world of her brilliance!!! She was a true artist.
Raymond De Felitta. Following my post on director Raymond De Felitta's new piano-trio album, Pre-War Charm, I received the following email from Steven R. Waters...
Marc, I gotta tell you, "Pre-War Charm" by Raymond De Felitta is not the only thing charming in today’s JazzWax! (I’m sitting here listening to his album right now.) Also charming was the picture you included of Edward Everett Horton, which reminded me instantly of “Fractured Fairy Tales” from the old "Adventures of Rocky and Bullwinkle and Friends." I just loved Mr. Horton in the movies and grew up with those crazy fairy tales, recognizing his voice instantly. I found this one, narrated by Mr. Horton...
History of the 45. When Columbia unveiled the 33 1/3 long-playing album in June 1948, RCA countered in '49 by introducing the 45rpm record. Columbia was willing to make the LP technology available for free to RCA (and all other labels), but RCA insisted on unleashing a rival format. [Above, Texarkana Baby by Eddy Arnold, RCA's first 45; different genres of music initially were released on different colored vinyl]
At first, RCA stubbornly positioned the 45 as a viable alternative to the classical LP. It even began producing a special turntable to drop the discs fluidly without missing a baton stroke. In short order in 1950, RCA's classical artists began revolting, complaining about the fidelity and refusing to record for the label. Since classical was RCA's money-maker, the label gave in, and the 45 became a format for children's records, such as the Bozo the Clown series.
In 1952, when RCA finally threw in the towel and adopted the LP as the best long-playing technology, the 45 was repositioned as a replacement for the 78. By default, the 45 became the format used for singles in jukeboxes and for niche styles of music such as country & western, R&B and rock 'n' roll.
Here's a promotional industry documentary on the 45 sent along by Bill Pauluh...
Beatles historian. Last week i received the following email from John Horan, who writes a terrific blog on Beatles history...
Dear Mr. Myers, I am John Horan and we e-mailed a couple of times last year. I just want to tell you how much I enjoyed your Anatomy of A Song on "Killing Me Softly with His Song," and all your other columns. I also like your reminiscences about rock and rock artists. Your articles are always a pleasure to read.
Be sure to give John's blog a read. To start you off, here's a fascinating post by John on the connection between Lady Madonna and Helen Reddy's Angie Baby: Go here.
Louis Armstrong radio. WKCR-FM in New York will present Part 2 of its annual summer special on Louis Armstrong this Sunday, August 4. Satchmo's music will play for 24 hours on his actual birthday anniversary (v. July 4), starting Saturday night at 11:59 p.m. (EDT). To listen from anywhere in the world on your phone or computer, go here.
More Prologue (This Is an Orchestra!). Bill Pauluh also sent along the following after last weekend's post:
Marc, thought you'd want to know that Stan Kenton’s Prologue also was issued as a two-record 10-inch 78rpm set. Here's the cover, back cover and discs...
What the heck. Here are The Three Degrees in 1970 singing Maybe...
Oddball album cover of the week.
I get that a picnic in a cemetery is out there. But even more out there are the food choices on Lenny Bruce's blanket—grapes, watermelon, beer, raw vegetables and sides of coleslaw and potato salad. A shame we couldn't get the woman on the flying carpet from a few weeks ago to fly in for lunch.
