Note to readers: My apologies for JazzWax not being accessible at times over the past few days and posts bereft of images. TypePad, the platform on which JazzWax appears, has been migrating to a more stable system. Along the way, the migration has taken longer than they expected and has been more problematic than they anticipated once the migration was completed. What's more, the functionality that allows me to embed images isn't fully restored. As you can imagine, this past week has been as frustrating for me as it has been for you. Hopefully, all will be restored and up to snuff over the weekend. In the meantime, let's think of this as the JazzWax no-frills camping edition:
In The Wall Street Journal this week, I interviewed actor Jon Hamm for my "House Call" column in the Mansion section (go here). Jon talked about his parents' divorce, the passing of his mom when he was young and other struggles as he found his way to acting and leading roles on TV and in film. His latest is the dramedy Confess, Fletch, which arrives at Showtime on October 28. We did the interview by Zoom, with Jon sitting in front of wooden Venetian blinds turned slightly to let just the right amount of early morning Los Angeles sunlight in. Visually, I did feel at times as if I was conversing with Don Draper. But as the interviewed progressed, I was taken with Jon's emotional candor and his smart, analytical way of looking at events and life.
Here's Jon in Mad Men...
Here's Jon in more Mad Men...
Here's Jon in Curb Your Enthusiasm. In the episode, he's studying all of Larry's mannerisms because he's been cast as a Larry-type character in a movie...
And here's Jon in the trailer for Confess, Fletch...
Also in the WSJ, my essay for the Opinion section on the 50th anniversary of Stevie Wonder's Talking Book album and why it remains one of the most revolutionary and influential LPs of the 1970s (go here).
Here's Tuesday Heartbreak. Listen to the layers of synthesizers and how they go off, especially the Moog bass and the Arp, plus David Sanborn's alto saxophone and background vocals...
And finally, the WSJ Opinion section last night republished my 2010 "Cultural Conversation" column with the late Jerry Lee Lewis at his ranch in Mississippi (go here).
Last week, Publisher's Weekly gave Anatomy of 55 More Songs, due December 6, a rave review, joining Kirkus Reviews, Library Journal and Booklist in praise. Here's what Publisher's Weekly had to say...
"Music journalist Myers details how 55 famous songs were conceived, written, and recorded in this perceptive follow-up to 2016’s Anatomy of a Song. Myers provides a brief introduction to each of his picks, and their composers, musicians, and producers share stories behind each song, as well. There are surprising details about musical arrangements (composer Burt Bacharach, who worked on Dionne Warwick’s “Walk on By,” had one piano play in the verses and two in the chorus), and insight from artists about their lyrics: Jackson Browne’s “Doctor My Eyes” became a “metaphor for lost innocence” but was inspired by an eye infection Browne had and a trip to the ophthalmologist; Pat Vegas, Native American rock band Redbone’s bassist, arranger, and coproducer, envisioned “Come and Get Your Love” as a song that showed that Native Americans were “about love, not about massacring”; and Tommy James and the Shondells’ “Crystal Blue Persuasion” took shape after James read a poem about the Book of Revelation. Myers has a knack for capturing the artistry of songwriting and easily shows why these tracks are “iconic but not tired.” This melodic collection will strike a chord with music fans."
Please buy my book. I put a ton of work into JazzWax, six days a week. If you enjoy all the free music suggestions, clips, interviews, jazz legend correspondence and my heart, please consider buying my new book for yourself and your music-minded family members and friends this holiday season. After all, $27 isn't too bad for weeks and weeks of access to JazzWax. If you agree, please pre-order here. My humble thanks in advance.
Orrin Keepnews. Here's another one of Bret Primack's sensational on-camera interviews with producer Orrin Keepnews for Concord Records back in 2008. This time, the subject was Orrin's Riverside Records release of Thelonious Monk at Town Hall...
Women in Vinyl. Long a profession populated by burly guys in coveralls and smocks, the revived vinyl LP industry today offers women a wide range of work opportunities. Know women who are looking for a new, rewarding career? Have them reach out to Women in Vinyl, founded in 2018 by the indefatigable Jenn D’Eugenio. It is a nonprofit networking group that unites women who have started labels, founded album pressing plants or work at any capacity on the record-making and album-production sides. If they don't have positions, they can point you in the right direction. Women in Vinyl features podcasts here, and you can reach Women in Vinyl here.
Tammy Burdett. I last posted on vocalist and bassist Tammy Burdett in August when her fabulous Fancy Free album was released by Fresh Sound. Tammy is on vocals singing all of her own songs—words and music (go here). Here's Tammy's note last week:
Hi Marc! A quick note. I just found a YouTube clip of my song "Follow the Swallow," posted by Sue, the wife of the trumpet/flugelhorn player (Bob Strickland) on "Fancy Free." What a small world! Bob and Sue moved out of the Seattle area about a year ago. They now live in Pensacola, Fla. I miss them both so much. He’s a big band enthusiast, and I love his flugelhorn playing.
My recording of "Follow the Swallow" features Eric Verlinde on keyboard, Paul Gabrielson on bass, Marty Tuttle on drums, and Jeff Busch on percussion. Sue even included information for those wishing to obtain permission to record the song: Contact Tammy Burdett at Tramca Music, PO Box 27221, Seattle, WA 98165 or Email: [email protected]. Her website is tammyburdett.com.
Here's the clip...
RIP Jerry Lee Lewis. Jerry Lee had his ups and downs. No matter his past, he was one of those artists who didn't study the piano but came to it naturally and with gusto as a way out of hard circumstances. Few pianists from the early rock 'n' roll era could play with his level of drive, excitement and flamboyance. Little Richard was his only peer, but Richard was more visually exciting than keyboard exciting. Jerry Lee could play rockabilly, country and gospel, and he made it all look so easy. Deep down, he was a hell-raiser, and the music became a valve to let that energy out. When I visited him at home in Mississippi in 2010, we talked about a lot of things and he showed me how he ran his fingers across the keyboard. It was a special day. In tribute to the one and only "Killer," here are a few of my favorite performance clips:
Here's Jerry Lee in England in 1964...
Here's Jerry Lee in 1972 holding the attention of tens of thousands of fans at London's Wembley Stadium with just a microphone and keyboard and backup band...
Here's Jerry Lee on the Ed Sullivan Show in 1969 singing a medley...
Here's Jerry on the same show in 1969 singing a country song, Doug Gilmore and Mickey Newbury's She Even Woke Me Up to Say Goodbye...
Here's Jerry Lee singing Jerry Chesnut's Another Place, Another Time...
And here's Jerry Lee singing gospel...
For more on Jerry Lee, read Rick Bragg's superb biography Jerry Lee Lewis: His Own Story (go here).