April 30, 2015. Posted by Sheila Anderson.
We know many great singers by their first names: Ella, Sarah, Abbey and Carmen (McRae, that is).
Now we have another Carmen - Lundy, that is!
Like Abbey, this Carmen is multitalented: a composer, arranger, and actress. She is also painter, whose artwork has been exhibited in New York and Los Angeles.
Soul to Soul, Carmen's latest album and her fourteenth, features 13 songs, 11 of which she composed and arranged.
She plays guitar on all tracks, piano on “Kindred Spirits,” the electric Rhodes piano on “Don’t You Know How I Feel,” and the drums/percussion on “Sardegna” and also provides backing vocals on “Grace.”
My introduction to Carmen was twenty years ago, when I began hosting “Sunday Morning Harmony.” Her haunting rendition of Victor Lewis’s “Big Girls,” as well as "Moment to Moment" by Henry Mancini, the title track of her third album, grabbed me.
She has impeccable intonation, loves harmony that makes her very accessible, easy to listen to.
Carmen is not an imitator, but an innovator, who learned from her influences. From Ella she heard her scatting, range, diction and swing, from Billie, how to sing a lyric and emotion, telling a story and from Sarah, how she dealt with her vocal range.
We met in the late nineties, soon after she moved from New York to Los Angeles. She had come back to sing at the now defunct Sweet Basil nightclub.
The club was packed with loyal fans - one of whom I’d become.
What I love about Carmen is her toughness, single mindedness, fortitude, passion, humor and grace.
For over four decades, she has excelled at being one of the few who mostly sings and performs her own material, much of it autobiographical.
Her lauded album and DVD combo, Jazz and the New Songbook-Live at the Madrid, is another great body of work where she, with the help of incredible musicians, brilliantly presents her songs. In this we can see that Carmen is, in the words of Marian McPartland, a luminous, hauntingly dramatic and an enchanting performer.
In my opinion, Carmen Lundy is the “real deal,” deserving of wider recognition. I believe, from soul to soul, that her star will continue to shine!
© 2015 WBGO
April 30, 2015. Posted by Lezlie Harrison.
I learned a lot in the alto section of the young adult choir in my grandfather’s North Carolina church.
There, in the front row directly behind the pulpit, I witnessed the effect the choir’s selections, and the preacher’s sermon, had on the congregation.
Together, we were able to stir souls, and ease whatever troubles lay heavy on the mind.
As performers, we possessed the power to move the audience to “get happy,” do the “holy dance,” cry, shout and release. I loved that. That’s what I wanted to do.
Singers, like preachers, are storytellers. We are responsible for giving our audience a true and deeply heartfelt experience in hopes of lifting someone’s spirit.
On my way to becoming a professional singer, I had the good fortune to spend many hours in the company - both on and off the stage - with singers who could really deliver lyrics.
Shirley Horn, Jimmy Scott, Carmen McRae, Phyllis Hyman, and Abbey Lincoln are the most memorable to me. Here’s Shirley:
These singers draw you in, hold your attention and make you feel their truth. The beautiful, the bad - even the ugly truth.
Telling tales of love, or the lack thereof. Tales of wars, winning and losing, with heartfelt delivery.
I call upon the spirit of these great storytellers and ask for guidance before each performance.
On a recent tour through Russia with an all-Russian band, I played before audiences who understood about as much English as I did Russian - zilch!
After every performance, I was greeted by some with smiling faces, tears in their eyes, full of appreciation for the music we’d just played.
Young, old, bankers, clergy, teachers – all just regular folks, groovin’ and swingin’ to the tales being sung.
I will continue to move the audience with the very best in song!. As we celebrate vocalists during Jazz Appreciation Month at WBGO, I express my gratitude to all the great storytellers who inspired me to tell my own.
- WBGO announcer Lezlie Harrison is also a vocalist, bandleader, and actor
Contact: Lezlie@lezlieharrison.net, Facebook, Follow MzLezlie on Twitter
© 2015 WBGO
April 30, 2015. Posted by Felix Hernandez.
The new president and first lady dance as Beyonce sings. Meanwhile, I think about another singer - Etta James.
My third interview with Etta is long overdue, I think, as I watch the White House Inaugural Ball in 2009. Obama and Michelle's first dance will give us plenty to talk about. The tune Beyonce's singing is one that Etta long considered hers.
Our first interview took place in the 80s. Johnny Otis, the late capo of West Coast R&B, introduced the two of us while I was on a national tour interviewing R&B stars of previous generations.
In Los Angeles, Johnny hooked me up with some of R&B's early heavyweights. I spoke with Big Joe Turner, in what would be his last interview; Joe Liggins, whose "Honeydripper" was one of the biggest R&B hits of the 40s; Pee Wee Crayton; Richard Berry, who introduced the song "Louie Louie" to a world eager to cover it.
And Etta, or "Peaches," as Johnny liked to call her.
At the time, Etta was getting herself back on the map, taking advantage of the roots R&B revival.
Soon after our interview, she played a packed blues club in Manhattan, where she sang to an audience of young professionals as well as older people who had bought her 45s when they were on the charts.
The song that got the wildest ovation was "At Last," which she did as part of a medley that dated back to her early years at Chess Records.
By the time we met again in the mid-90s, Etta had released several acclaimed albums and co-written a book with biographer David Ritz.
I had moved my "Classic Soul" operation from Tribeca to a dilapidated Brooklyn brownstone, where I planned to build an interview studio.
The studio faced an enclosed garden. It was to be a place where my R&B, pop and jazz heroes would gather and talk freely - with food grilling, wine pouring, and tapes rolling.
Etta James was my first and only guest in the studio.
Destiny's Child, the group that launched Beyonce, was still unknown on the day a hired limo rolled up 8th Avenue in Brooklyn.
Several minutes after stopping at the house, two large men stepped out of either side, then Etta James. I ignored the bodyguards and waved Etta into the house and back into the studio.
There was small talk. We laughed a lot. Etta James liked to say she didn't "show her teeth" to just anyone, so I felt honored.
She mentioned Ruth Brown, one of her idols, wanting to know how she was doing. Years earlier, Ruth Brown and I had started working together. I watched Ruth emerge from obscurity to a revived singing and acting career.
That led Ruth to a Tony award for Black & Blue and a role as the fast-rappin' disk jockey "Motormouth Maybelle" in John Waters' original Hairspray movie. She was also a national radio hostess and recording artist (again).
I suspected that Etta, who as a teenager, had modeled so much of her sound and look on the Ruth Brown of the 1950's, was studying Ruth's comeback moves.
I offered Etta and her men coffee or cold water and apologies for the lingering smell of fresh paint. Unpacked boxes with records and studio equipment were scattered around the floor. All Etta said was, "You should see some of the places I've played."
We spent most of the session talking about Rage to Survive, the book in which the co-authors tell the stories about the wild child Jamesetta Hawkins (Etta's original name), the drugs, the abuse, the cold-hearted, profit-obsessed music business.
I ended up using about forty of the interview's tamest minutes for a public radio profile. (I tried to get a less trimmed-down version of the Etta interview on commercial radio, but they'd never heard of her.)
We talked a bit about "At Last," an afterthought now that Etta's career was back on track. Her recorded performance came about as a result of a friendship with Harvey Fuqua. Harvey had a singing group called the Moonglows, a popular R&B act of the 50s.
Etta and Harvey had cut some tracks together as Betty & Dupree. (Etta also did some studio work during this period, including a Chuck Berry session where she remembers singing backup harmonies with an up-and-coming youngster named Marvin Gaye.)
Harvey eventually helped get Etta on Chess, the company where the Moonglows recorded their hits. Etta and Harvey recorded some new duets at the label's Chicago studios in May of 1960.
Harvey heard something in Etta's voice that transcended rock and roll, so he gave her a book to study. It contained 100 popular standards, including a 1942 Glenn Miller hit called "At Last." The tune had been revived in 1957 by Nat King Cole in a lush arrangement for Capitol Records. "At Last," as recorded by Etta James for Chess' Argo line in October 1960, became one of her best-selling hit singles and, eventually, her signature song.
Almost a half century later, it's the Obama inaugural ball and it's Beyonce, not Peaches, singing "At Last."
I learned from a few scattered reports that what I'd imagined turned out to be true: Etta was furious. As a result, she was "a little down."
I also knew that, for Etta, "a little down" could mean much more. But no one seemed to care, and it was Beyonce's version that the radio kept playing. Beyonce had portrayed Etta James in the film Cadillac Records, very loosely based on the Chess story.
Having been lucky enough to spend hours with Etta James in Los Angeles and Brooklyn, I knew that the wild child, the rowdy teenager who practiced in the high school bathroom and fought through some of life's toughest struggles, would one day laugh about it all, and sing "At Last" to an audience on its feet.
But first, Etta vowed to "whup that girl's ass."
© 2015 WBGO