The wonderful Maxine Sullivan sings Loch Lomond. Somehow, this seems appropriate right now:
The death of Lauren Bacall (pictured above with husband Humphrey Bogart leading a 1947 march against McCarthy’s witch hunt of leftists and liberals) robs us of the last great star from Hollwood’s ‘golden age’ and a brave liberal – in the best sense of the word. She described herself to TV host Larry King, in 2005, as “anti-Republican and a liberal. The L-word. Being a liberal is the best thing on earth you can be. You are welcoming to everyone when you’re a liberal. You do not have a small mind.”
I can’t resist the opportunity to show you a clip of Bacall in her first film, Howard Hawks’ 1944 ‘To Have And Have Not’, in which she sings the Hoagy Carmichael/Johnny Mercer number ‘How Little We Know’, accompanied by Hoagy himself at the piano. For many years it was thought that Bacall’s singing was dubbed by the young Andy Williams, but Hawks confirmed (in Joseph McBride’s book ‘Hawks on Hawks’) that although Williams’ voice was recorded, it was not used because he (Hawks) decided Bacall’s voice was good enough.
Singer Jimmy Scott died Thursday morning at his home in Las Vegas at age 88, according to his booking agent, Jean-Pierre Leduc. Scott’s death was a result of complications from Kallmann’s syndrome, a lifelong affliction that prevented his body from maturing through puberty.
Scott was labeled Little Jimmy Scott by bandleader Lionel Hampton in the late 1940s. Hampton also delivered the first of many professional slights in 1949 when he left Scott’s name off on an early hit, “Everybody’s Somebody’s Fool.”
Scott’s career seemed promising after he left Hampton’s orchestra. He recorded for various independent labels and toured with a revue run by dancer Estelle “Caledonia” Young that included R&B singer Big Maybelle and comedian Redd Foxx.
Throughout the early ’50s and ’60s, Scott recorded for various indie labels including Savoy, where he was under the tight control of owner Herman Lubinsky.
According to Scott’s 2002 autobiography, The Life of Jimmy Scott (written with David Ritz), Lubinsky halted production of a 1963 album that was personally supervised by Scott fan Ray Charles for his own Tangerine label. Lubinsky used legal proceedings to halt distribution, claiming Scott was under contract to Savoy. The album was eventually rescued and released in 2003 and has been widely hailed as one of the great jazz vocal albums.
The experience of having his album shelved — not to mention the hardships he experienced being misidentified as a woman, accused of drug addiction and harassed about his sexual identity because of his voice — took a toll and Scott left the music business, moving back to his native Cleveland and becoming a hotel clerk.
Despite his absence, Scott maintained friends and fans in the music business, including legendary R&B producer Doc Pomus, who requested that Scott sing at his 1991 funeral. A record executive in attendance heard the performance and signed him to a record contract on the spot, kick-starting Scott’s second act. This time adulation came rushing in, resulting in a string of albums that received both popular and critical acclaim. He even appeared in the final episode of the singular TV hit Twin Peaks.
For most of his nearly nine decades Scott’s life and art were affected by loss: first his mother’s death when he was 13, then the personal slights and missed opportunities in his fractured career and decades of anonymity away from the record business. In 2000, The New York Times called him “perhaps the most unjustly ignored American singer of the 20th century.”
And yet in a late-career interview Scott was philosophical about the bad breaks he had caught along the way. “I’ve learned that music is such a healer,” he said. “As long as I could sing my songs, I wasn’t as angry about what had happened, about being shoved back for this or shoved back for the other. I’m a singer, and I never lost sight of that.”
From And Still I Rise, by Maya Angelou ,1978.
Source: The Complete Collected Poems of Maya Angelou (Random House Inc., 1994)
You have just five days to catch the superb BBC 4 (that’s TV not Radio 4) documentary, Nat ‘King’ Cole : Afraid of the Dark, which deals mainly with the music, but doesn’t flinch from describing the racism either.
Nat was the first black artist to have a show on mainstream US television, but it only lasted for two years (1955-57) before folding due to lack of sponsorship. Nat (not his channel, ABC) finally pulled the plug, commenting “Madison Avenue is afraid of the dark.”
The contributions to this BBC documentary from from Nat’s widow Maria are extraordinary and often heartbreaking. Meanwhile, here’s a reminder that Nat wasn’t only a (very superior) crooner: had he never sung a note he’d still be remembered as one of the great jazz pianists:
I was up late last night (well, this morning, to be precise), drinking single malt and surfing the net. I came upon this Youtube clip, featuring the great Harlem stride pianist Willie ‘The Lion’ Smith and a singer I’d been only very vaguely aware of, Thelma Carpenter. It’s from a 1964 TV salute to bandleader/promoter/man-about-jazz Eddie Condon, and is not typical of the hot music (sometimes called “Dixieland”, though Eddie hated the term) that predominates in the rest of the show: it’s the sophisticated Johnny Mercer/Harold Arlen ballad ‘Come Rain or Come Shine’, a song whose difficult chord sequence and structure momentarily wrong-foots even the usually impeccable trombonist Cutty Cutshall.
In truth, Thelma Carpenter isn’t a singer in the same league as, say, Billie Holiday or Ella Fitzgerald (or, indeed, Eddie’s favourite, Lee Wiley), but she does a good enough job here, and seems to have been an engaging personality. The Lion’s opening banter with her reminds us that he was – believe it or not – Jewish, and on his business cards described himself as “The Hebrew Cantor.”
Al Hall is on bass and the great George Wettling is at the drums. Melting-pot music…
Guest post by Pink Prosecco
Adam Deen, of the Deen Institute, has been coming in for a bit of flack from (some) Muslims over his ‘modernising’ approach to Islam. In particular he has spoken out against the marginalization of women in university ISOCs, the way they have been excluded from full participation. Now he is at the centre of another controversy, this time sparked by the Happy Muslims video, which you can see at the Pharrell – HAPPY BRITISH MUSLIMS! site here. Deen appears with other Muslims, including his wife Myriam Francois Cerrah, dancing and singing to the Pharrell Williams hit ‘Happy’.
Several different objections have been raised to this project. The most predictable focus on the supposed impropriety of the video:
“We’ve basically lost all meaning for what the word hijab means. I can’t even be bothered to explain this issue again, the fact that hijab is a state, not just a piece of cloth on the head. Anyway, whatever. This isn’t about the women anyway, this is about the mindset of *all* who support such things.”
Others complain that it is pandering to non-Muslim prejudices to put on a display of happiness and normalcy in order to counter stereotypes. A few just find it a bit cringey, and some feel happiness is rather misplaced when there is so much suffering in the world.
Here is an extract from one of the more aggressive responses, a post by Uthman Badar.
“What we have here is an attempt by Muslims to been seen as ‘normal’ by the mainstream non-Muslim white majority in response to overbearing stereotypes and allegations to the contrary. In the words of the producers,
‘We Brits have a bad rep for being a bit stiff, but this video proves otherwise. We are HAPPY. We are eclectic. We are cosmopolitan. Diverse. Creative. Fun. Outgoing. And everything you can think of.
This video is to show the world despite the negative press, stereotypes and discrimination we are burdened with we should respond with smiles and joy, not anger.’
There is so much wrong with this approach, I don’t know where to begin!
It has Muslims coming in to bat for ‘Brits’ and their bad rep. Reward for the excellent treatment received by Muslims in Britain and by Britain abroad? House-Muslim mentality?”
The quotation from the video’s publicity material, that Badar objects to above, in fact demonstrates that the participants are not complacent about anti-Muslim bigotry, yet still unequivocally identify as British, and want to reach out to non-Muslims with a positive message.
It’s a cheerful video – but I do wonder what it is for exactly. I don’t think EDL supporters will see the error of their ways after watching it – they’ll probably think the performers are practicing taqqiya. Those with more nuanced concerns may quite like the video – but wouldn’t have seen people like Julie Siddiqui as a problem in the first place.
I think Uthman Badar (and others like him) have got this all wrong. My hunch is that this video was never intended to influence non-Muslims, but rather to enable Deen and co. to position themselves in opposition to more conservative, or orthodox, Muslim voices. Participants such as Salma Yaqoob have sometimes seemed keener on differentiating themselves from Quilliam types than from Muslim ‘puritans’ (to use Deen’s term). It’s positive that the battle against real hardliners, usually waged by ultra-liberal Muslims and non-Muslims, is being joined by those who are only moderately moderate.
An appropriate song for today, from hep-cat Mel Torme (who always wanted to be a drummer):
…but if you want real, classy corn, here’s Al Jolson singing it, acted and lip-synched by Larry Parks (happily, not in black-face):
I often, these days, worry about growing old … until (as Woody Allen once said) I think about the alternative.
But these three elderly gentlemen, filmed in 1981 after 56 years of working together, demonstrate that we can grow old with style, dignity and an intact sense of romance:
At last! Spring is here. And here are two pieces of music to celebrate:
Billy Holiday (lyricist/composer, Irene Kitchings):
Any other suggestions?