My good friend Ricky Ricardi, archivist of the Louis Armstrong House Museum in Queens, NYC, commemorates the 65th anniversary of Louis’ recording of ‘La Vie En Rose’ (from Ricky’s blog ‘The Wonderful World Of Louis Armstrong’):
65 Years of “La Vie En Rose”
Louis Armstrong with Sy Oliver’s Orchestra
Recorded June 26, 1950
Track Time 3: 26
Written by Mack David, Edith Piaf and Louiguy (Louis Gugliemi)
Recorded in New York City
Louis Armstrong, trumpet, vocal; Melvin Solomon, Bernie Privin, Paul Webster, trumpet; Morton Bullman, trombone; Hymie Schertzer, Milt Yaner, alto saxophone; Art Drelinger, Bill Holcombe, tenor saxohpne; Earl Hines, piano; Everett Barksdale, guitar; George Duvivier, bass; Johnny Blowers, drums; Sy Oliver, arranger, conductor
Originally released on Decca 37113
Currently available on CD: It’s on “Satchmo Serenades” and about a thousand compilations.
Available on Itunes? Yes.
65 years ago today, Louis Armstrong tapped into his French side by recording two songs he’d perform for the rest of his career: “La Vie En Rose” and “C’est Si Bon.” What follows is a slightly updated version of my original 2010 posting on “La Vie En Rose” and I’ll be back in a few days with a fresh look at “C’est Si Bon.” Enjoy!
For the last couple of decades, “What a Wonderful World” easily wins the title of the most ubiquitous Louis Armstrong recording, being used in a countless amount of films, television commercials and high school reports (just check YouTube). But “La Vie En Rose” is definitely a close second. According to Imdb.com, it’s been used in at least eight major motion pictures since 1994, most notably in the Pixar classic “Wall-E,” as well as television shows, commercials, you name it. And anyone who has spent three minutes and 26 seconds in its presence can easily understand the phenomenon. You’d have to have the heart of the Tin Man (pre-Oz) to not be moved by it.
Of course, the song truly belongs to Edith Piaf, the legendary French singer who co-wrote it and made it famous to the point where a documentary and a feature film about her life each bear the title “La Vie En Rose.” Piaf apparently wrote the song in 1946 and sat on it for a while before she finally gave it a go in public, where it was received tremendously. In 1948, she sang her original French lyrics on a recording that was picked up in the United States by George Avakian of Columbia Records. I’ll let George tell the story, as he eloquently did in the liner notes to an Armstrong boxed set on the Hip-O label, “An American Original”:
“That same year, Edith Piaf took New York by storm an me by surprise. I was doubling as International and Pop Album director at Columbia in those days, and when Piaf’s manager told me she was coming back to New York despite a cool reception the first time ’round, I asked our Paris affiliate to send me samples of her interim releases so that I could try to choose something which might appeal to the American public. I recognized one melody as ‘You’re Too Dangerous, Cheire,’ a failed pop tune I had liked a couple of years earlier. The label said ‘La Vie En Rose,’ and the impassioned French lyric was far superior to wishy-washy English words I knew. We gave it a shot and to everyone’s astonishment but ‘Ay-deet’s,’ it sold a million copies.”
For those who aren’t familiar with it, hear’s Piaf’s original French version, courtesy of YouTube:
As of today, multiple YouTube versions have amassed over 20 million views, a testament to the lasting power of Piaf and that song in particular. But who is in second place? Ol’ Pops with just over 19 million views himself. As Avakian added, “Of the countless cover versions that followed, Louis’ was easily the best, and he never stopped singing it.” Read the rest of this entry »
Somehow, this seems entirely appropriate:
A suitable poem for Valentine’s Day from that unlikely romantic, Mr P. Larkin.
I can think of no more bracing, positive and life-affirming start to 2015 than this magnificent performance by Henry ‘Red’ Allen, recorded live in 1965 with a quartet that included pianist Sammy Price:
Almost unbelievably, Red had just two years to live when he recorded this, the high point of a late-period revival in his musical and personal fortunes.
Philip Larkin wrote: “There was always something unusual about Allen’s playing: even at the start he tended to sound like Armstrong in a distorting mirror, and by the end of his life an Allen solo was a brooding, gobbling, stretched, telegraphic thing of half-notes and quarter-tones, while an Allen vocal sounded like a man with a bad conscience talking in his sleep.” I trust it’s obvious that Mr Larkin meant all that approvingly.
At this time of year, those of us without Christian religious convictions attempt to make the best of things by celebrating goodwill and love towards all humanity. For those of us in the jazz community, nothing can express this better than Mr Jackson Tea and his old friend Louis singing and playing ‘Rockin’ Chair': the affection – indeed, love in the truest, platonic, sense – is obvious. It transcends all racial, cultural and other artificial divisions of humanity.
This 1957 TV performance is as near as we’ll ever get to a film of the legendary New York Town Hall performance of ten years earlier: Bobby Hackett (cornet) and Peanuts Hucko (clarinet) are once again present, which is just great; but Jackson and Louis are the timeless stars – wondrous then, now and forever:
I saw you last night…
I saw you last night and got that old feeling
When you came in sight, I got that old feeling
The moment that you danced by I felt a thrill
And when you caught my eye my heart stood still
Once again I seemed to feel that old yearning
Then I knew the spark of love was still burning
There’ll be no new romance for me, it’s foolish to start
‘Cause that old feeling is still in my heart
I’d intended to post something at the end of last month, on the occasion of what would have been his 104th birthday, about the great jazz bassist Milt ‘The Judge’ Hinton (June 23 1910 – Dec 19 2000); but for one reason and another I didn’t get round to it.
Anyway in the Youtube video below Milt gives a lesson in jazz bass playing. And below that is a heart-warming story from fellow-bassist Bob Cranshaw, via my pal Michael Steinman at Jazz Lives.
Michael Steinman writes: The extraordinary pianist Ethan Iverson (of The Bad Plus) has a superb blog called DO THE MATH, and most recently he has offered a lengthy, lively conversation with string bassist Bob Cranshaw here. This story seized me.
BC: Milt Hinton was one of the first bass players that I heard. This was before TV. I heard him on the radio. I think he was my biggest influence. When I heard him play, the shit was swinging so hard that the radio was about to jump off the table. I went to my father, and I said, “I want to play that.”
I have a story about Milt when I came to New York. I had been in New York maybe a few months, and I was on 48th and Broadway. I was on my way to rehearsal with somebody and I had a bag on my bass that was raggedy and about to fall off, but I couldn’t afford anything else. I was walking down to the rehearsal and this gentleman dressed with a tie stopped me on the street. He said, “Hi. What’s your name?” I said, “Bob Cranshaw.” He said, “Are you a professional bassist?” I said, “Yes, sir.” He said, “I’m Milt Hinton.” I said, “Oh, shit.” It was like meeting God. Here’s my mentor.
He took me into Manny’s and he bought me a bass case on the spot.
EI: Really? Hadn’t even heard you play a note?
BC: Took me and bought me a bass case right there. He said as a professional, I couldn’t be walking around with a bag like that. What I teach in my method and my thought of music is, I say, “The Milt Hinton Method,” because when I came, I followed Milt around. I used to just go. They were doing a lot of recording. They were recording all day. I would just go to the date and I would sit on the side. I didn’t want to disturb anybody, but just to watch him. What I got from watching him was when – it could be 50 musicians – when The Judge walked into the room, you could feel the energy. Everybody was talking. That was the kind of guy he was. That was the life. He was my biggest, my most wonderful influence, was watching The Judge. When I started to play, when I started to work with Joe Williams and so forth, Milt did all the record dates. He was part of the rhythm section with Osie Johnson and a couple other guys. I would go to the dates and just watch him because I was working with Joe and I was going to have to play the same music the next week. I said, “I might as well get it from the horse’s mouth. Let me get the first thing and then I have a better understanding of what I need to play when we go out on the road with Joe Williams.”
I followed Milt’s career all the way to the point where I used to call him every Sunday. I’d say, “Judge, I just want me blessing,” just to talk to him and so forth. One Sunday I called, and his wife said, “The Judge is at a club meeting.” I’m saying, “He’s almost 90 years old. What kind of club meeting? What could he be into now?” There was a club called the Friendly Fifties that are in New York and I’m a member now. I joined following his thing. It was what guys like Jonah Jones and a bunch of the older guys put together, this club, so that the wives could be more together when they were traveling. These were the early days. I became part of the Friendly Fifties, and I wrote an article for Allegro at the union about all of these famous guys that were part of this club that nobody had any idea it existed.
I love the rest of the stories — because Milt in person was the embodiment of Wise Joy — but it is the little anecdote of the bass case that catches me and will not subside into a Nice Anecdote about One of My Heroes. You will notice that Milt didn’t lecture the young man about how wrong he was; he didn’t sell him a case and ask for money to be paid back; he was serious but gently fixed what was wrong with loving alacrity.
We all praise Kindness as a virtue. We try to be Kind. But how many of us would have made it so vibrantly alive as Milt did? Kindness in Action.
Several years ago, I wrote a post I am still proud of: I called it What Would Louis Do?.
Meaning Louis no disrespect, I would like to propose the quiet religion of Hintonism. Nothing new except the name. Doing good without asking for recompense. Taking good care of a stranger.
When we lie down in bed at night, we could ask ourselves, “Did I do my Milt today?” If we did, fine. We could try to do several Milts the next day, and ever onwards. We might have less money, but we’d be surrounded by love and that love would surely be immortal. Just a thought.
May your happiness increase!
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.”
Peaches Geldof, who died on Monday, had become a serious and thoughtful person, and a very good writer. In her memory, we re-publish this powerful piece that she wrote for The Independent, published on 9 October 2012. Happily, Peaches lived to see this battle won, but her message of tolerance, love and decency is still worth reading, and stands as a fitting memorial:
In the summer of 2003 I was 14 years old, and my best friend was a gay boy named Daniel. He was smart, funny and totally unaware of how beautiful he was. Everyone seemed to be in love with him at some point, but he was in love with his school friend Ben.
Every day after classes ended, Daniel, Ben and I would hang out. For a little bit, they could both be funny, bitchy queens in the most unashamed and wonderful way, and all was right in the world. Time would glide. As the years progressed we three drifted our way through youth, our journeys disjointed but always seeming to connect at significant points along the way.
Daniel came out to his parents two years after he and Ben became serious. He was 16. I was there when he told them, I don’t know if he’d planned on me being there for support, he never told me. I sat hiding at the top of the stairs in his house, listening. His mother laughed, I’d always loved her laugh, it sounded musical, like bells ringing, and I remember that laugh was just full of love in that moment, and she said to him she’d always known and how happy she was that he had experienced love and it didn’t matter who with. His father echoed her sentiments entirely and I heard the intake of breath that always seems to precede a meaningful hug.
Back in his room, his face seemed different somehow. Where once his eyes had seemed to me to be restless and distant at times, now they just shone. His whole face shone, with this pure elation, and in that ephemeral moment I realised how these revelations people make to the ones who mean something to them, can make a person into something great or break them entirely.
Accept and respect
And Dan was made in that moment. He was whole. I remember vividly having this weird image in my head of the old Disney movie of Pinocchio, where the good fairy turns him into a real boy. And looking back I guess Daniel had been exactly that, just wooden, all that time before. I learned that day that all you really need to do to make someone happy is to accept who they really are, and respect who they are.
Weeks passed and Ben still hadn’t participated in the big coming out party. Where once our after-school hangouts had been easy, effortless fun, now they seemed tense. Instead of Ben and Daniel’s relationship becoming more open, it seemed all the more clandestine. They both confided in me in emotional, tearful phone calls and I began to feel like the go-between. I was falling into other interests and felt myself pulled in a different direction, away from these boys that were so much a part of me. I started loathing our meetings because I could see how terrified Ben was of revealing himself to his parents, and how Daniel was pushing him to the point where it seemed inevitable that he would just leave.
What he didn’t understand, having never met them due to Ben’s terror of being caught out, was that Ben’s parents were different to his. His mother was, and always had been, a housewife who had raised him, his two sisters and three brothers seemingly without any help as his father, a Protestant priest, had staunchly archaic views on where a woman’s place was. Weeks, months passed. We grew and changed, summers came and went. It was winter two years later when the ultimatum was issued, and by then too much was at stake, and Ben did come out to his parents. I sat there, on the same patch of grass in Cavendish Square, worn down from our school shoes, and my friend wept as the words left his mouth. I grieved for them, knowing I could never take the words back for him myself.
His mother was devastated, his father, in his words, “ruined”. They both told him he was sick and a failure. He left home. How, of course, could he have stayed. I think, after that, Ben hated Daniel a little bit, partly because he had pushed him to come out, partly because he was jealous. But in the end he loved him more, and Daniel’s parents allowed him to move in to their house and live there with him.
Years passed. We had kept in touch by email, but our lives had taken us in different directions and our friendship wasn’t the same any more. It was December, freezing, when I received the invitation to their wedding. They had been living in New York, where gay marriage had been legalised. I was elated. More than that. These boys, who had been such an intrinsic part of my teenage years, were finally getting what they deserved. It was a beautiful moment.
In New York, the snow had covered everything in a soft white blanket, making it new again. As everyone was gathering outside the city hall, I spotted Ben’s parents. They seemed nervous, but they were there. I assumed they had eventually come round to his sexuality, but he later told me they had turned up without telling him. He had sent them an invite, half out of defiance and half out of hope, but had never expected them to be there for him. In that moment I saw how powerful marriage can be.
A nation of dictating pigs
This man, who I loved so much, was marrying his best friend, his soul mate. Taking vows to stand by him until death. And why not? Why, if these two men wanted to be married in the country they were born in, would it only be regarded as a “civil partnership” – a title more insulting than anything else, a half measure. It’s not as if us saintly heteros take the institution of marriage so seriously, is it? A recent study shows same-sex civil partnerships lasting longer than straight marriages, and divorce at a record high.
I have had first-hand experience of how wonderful the introduction of gay marriage has been, and how negative and potentially damaging it is to not allow it, which just breeds more homophobia. For a country and culture that declares ourselves so progressive, our governments, citizens and, of course, our churches, can be small-minded bigots at the best of times. One day we’ll look back on the gay marriage ban as we look back on historical events like apartheid. Because in the end, that’s what it is, pointless, futile segregation. I long for the day when we break free of this Orwellian ridiculousness, a nation of dictating pigs, where “all animals are equal, but some are more equal than others”.
And even if Daniel and Ben’s marriage was a small squeak of opposition drowned out in the roar of prejudice, at least it happened. And it will continue to happen, til death do they part.