Happy birthday to us, happy birthday to us, happy birthday dear Israel, happy birthday to us.
It’s our 70thtoday, and the few millions of us here are mostly out on the roads, visiting air force bases, national parks, waving flags and fanning the grill with our families and friends. But not far below the surface there’s a sincerity in it all, a true recognition and celebration of our very existence, something we don’t take for granted.
The Center of the Universe
Did you know that Israel is the only country in the world whose national anthem is in a minor key? Could be because after 2000 years of persecution it was built on the ashes of a near genocide. Israel has fought three existential wars in its 67 years, and hence lives with an acute sense of fragility. It’s the only country in history recreated by a miraculous act of will out of a tribal imagination, the only nation to return to its homeland from dispersion, reviving a dead language on the way. It’s also the only democracy in this part of the world, a bizarre mix of refugees from every corner of the world stuck in the middle of the Levant, hence a sharp sense of irony regarding our still-evolving national identity. People run around like crazy trying to be normal in the most abnormal of societies.
Kaveret
In the wake of the 1973 Yom Kippur War, in which the country barely survived obliteration, a bunch of army buddies formed a band called Kaveret (‘beehive’), sometimes also known as Poogy (after the name of their first album, “Poogy Stories”). The leader and chief songwriter was Danny Sanderson, an Israeli who grew up in the US on rock and roll. In three years they recorded three albums as out of place and ahead of their time in the Israeli musical landscape as the country is in the Middle East – sophisticated in music, production, performance and content.
Patriotic symbol
Many of their songs have become cultural icons, still sung today by teenagers and recycled by rock stars. I’d like to share one with you, sort of a mock anthem, a modest little song that captures the spirit and ethos and self-image of this noisy, neurotic little country better than anything else I know of – ‘Little Country’.
We Israelis get pretty tired of seeing ourselves on the front page of the NY Times every day. On the other hand, we also see ourselves as the center of the universe. Go explain it. Well, Sanderson’s lyrics do it best – our wry perception of our very existence, our precariousness, our homey patriotism better expressed in self-effacing humor than in pompous parades.
Happy birthday, Israel. Here’s SoTW’s official nomination for our unofficial anthem.
מדינה קטנה
במקום די רחוק, קרוב לכאן
אספנו את עצמנו
הבאנו חברינו
ולא אמרנו מי ומה
In a pretty remote place near here,
We gathered ourselves up,
Brought all our friends,
Didn’t say anything.
בדרום בצפון או במרכז
שכרנו קצת שמים
דמעות הביאו מים
פתחנו ארץ חדשה
In the north, in the south, or in the center
We rented some sky,
Tears brought the water,
We opened a new land.
מדינה קטנה מתחמקת מצרה
את הכתובת לא תמצא
היא שמורה בתוך קופסה
בעולם כל כך קשה
להתבלט זה לא יפה
נתחבא כאן ולנצח לא נצא
A little country avoiding trouble
You can’t find the address,
It’s kept in a box,
In such a hard world
Sticking out isn’t nice,
We’ll just hide here and never leave.
שני בתים, שני סוסים ,שלושה עצים
נוסעים תמיד ברגל
שרים שירים בלי דגל
נושמים שנים ללא סיבה
Two houses, two horses, three trees
Travelling by foot
Singing songs without flags,
Breathing for years with no reason.
מלחמות אסונות חולפים בצד
אנחנו בתוכנו
וכל מה שאצלנו
תמיד ניתן למחיקה
Wars, tragedies, pass on by,
We inside ourselves
And all we have
Are always erasable.
יום אחד אם כדאי אולי נצא
כל עוד נעמוד לאורך
אני לא מרגיש ת’צורך
נחיה נמות ואז נראה
One day, if we should, maybe we’ll go out.
As long as we stand up straight
I won’t feel the need.
We’ll live, we’ll die, then we’ll see.
I recently had the distinct pleasure of reading “Hound Dog,” the autobiography of Jerry Leiber and Mike Stoller. They were the first great record makers of rock and roll, although they themselves said all they ever wanted to do was make good rhythm and blues. So our Song of The Week is naturally going to be one of my favorites of their many, many, many hits. I hope you’ll bear with me if a take a somewhat circuitous route in getting to it. Know what a shaggy dog story is? “An extremely long-winded tale featuring extensive narration of typically irrelevant incidents, usually resulting in a pointless or absurd punchline.” Well, that’s me to a T. But maybe you’ll find some of those incidents surrounding Leiber and Stoller as interesting as I do. If not, I won’t be hurt. Just click on the links and enjoy their very fine music.
Jerry Leiber and Mike Stoller were both born in 1933.
Stoller grew up in a wealthy Jewish home in NY. His first exposure to black music was at an integrated sleep-away camp in 1941(!), where Paul Robeson was a guest artist singing spirituals and Hebrew folksongs. Stoller heard a black kid playing boogie-woogie in barn, which he says changed his life. Back home, he took piano lessons with James P. Johnson (1894-1955), king of the stride piano, composer of “The Charleston”, mentor of Fats Waller, compadre of Willie ‘The Lion’ Smith and Bessie Smith. In his early teens, Stoller fell under the spell of Charlie Parker and Thelonious Monk, the luminaries of bebop.
Leiber grew up in poor Baltimore, fought in street gangs, blacks and black music an integral part of the social landscape. He says that his musical revelation was as a kid washing dishes in an all-night diner, he watched the short-order cook leaning back with a joint hanging out of his mouth, listening to Jimmy Witherspoon’s “Ain’t Nobody’s Business“.
Leiber and Stoller met up in 1950 in LA, two 17-year old Jewish boys bubbling with enthusiasm for R&B. In 1951 they managed to get a few songs recorded for some ‘minor labels with major talents’, including even the young Ray Charles. In 1952 they wrote “Kansas City” for Little Willie Littlefield, which became a hit for Wilbert Harrison in 1959, and was eventually recorded by some 300 artists including The Beatles.
One morning they got a call from guitarist/producer Johnny Otis. He was in his garage rehearsing with Willie Mae “Big Mama” Thornton. He needed a song for her. Our boys wrote it in minutes, and drove over to Otis’s garage. There they met Ms. Thornton attired in her combat boots and oversized overalls. Mike played the song on the piano, and she began to croon it.
“Big Mama,” Jerry suggested gently, “maybe if you’d attack it with a little more–”
“Come here, boy,” she said, motioning me to stand even closer to her. “I’ll tell you what you can attack. Attack this…” she added, pointing to her crotch.
Johnny Otis came to the rescue, saying “You sing it Jerry, you show Big Mama how it goes.” This is the result.
Leiber and Stoller were paid $1200 for the song, but the check bounced. Released in 1953, it did fairly well by R&B’s modest commercial standards, but within one month 5 more versions had been recorded.
In the mid-50s, white kids were beginning to become attracted to the dangerous sexuality of black rhythm and blues – but it was a bit too raw and threatening, so they greatly preferred to buy white versions of black music. The first commercially successful rock and roll songs were Bill Haley’s 1954 sanitized cover of Big Joe Turner’s “Shake Rattle and Roll”, and “Rock Around the Clock” in 1955.
There were lots of clones and imitators of Bill Haley, including a long-forgotten Freddie Bell and the Bellboys. They were having a successful run in Las Vegas, and one of their popular numbers was a jokey, novelty version of Big Mama’s “Hound Dog”. Elvis Presley and his band were having an unsuccessful run in Vegas at the same time. They watched Freddy Bell nightly. Elvis liked the song, decided to try it himself. When he appeared with it on Milton Berle’s TV show, over 40,000,000 people saw the performance, and the network received thousands of letters of complaint about how ‘Elvis the Pelvis’ was promoting juvenile delinquency.
I guess that’s when life as we’ve known it in the second half of the twentieth century really started.
In 1956, Stoller was honeymooning in Paris. He and his bride were returning to New York on the luxury liner the S.S. Andrea Doria. It collided with another ship and 46 passengers died. Stoller and his wife made it into lifeboats.
Jerry ran up to me on the pier saying, “Mike, you’re okay!” before adding, “We have a smash hit.”
“You’re kidding?”
“Hound Dog.”
“Big Mama Thornton?”
“No, some white kid named Elvis Presley.”
Although Leiber and Stoller had great respect for Elvis as a performer, they never really liked what he did to the song. They eventually became the main source of music for his movies, writing dozens of songs which Elvis recorded, including “Love Me,” “Loving You,” “Don’t,” and “Jailhouse Rock.” For a while they were becoming quite friendly with Elvis, but Colonel Parker didn’t like those Jewish boys hanging around his golden rooster and kept them away.
Meanwhile, back at the ranch, Leiber and Stoller had met up with Nesuhi and Ahmet Ertugun, sons of the Turkish ambassador to the US, great jazz and R&B fans, owners of Atlantic Records. Leiber and Stoller started grinding out major hits for Atlantic for a group called The Robins, which soon morphed into The Coasters.
They used The Coasters to paint aural pictures, their own very wonderful version of comic-book blues.
These hits left an indelible mark on popular music for two reasons. First, because as L&S said, “We didn’t write songs; we wrote records.” They wrote not just the song, but also the arrangement, the style, the sound, the nuances of the vocal performances, the entire production. And in that, they were the first real creative artists in the popular idiom. In that, they predated the Brill Building songwriters, not to mention The Beatles and Dylan and the generations of music makers they inspired.
Oh, yeah, and secondly—well, just listen to how great these hits are: “Riot in Cell Block #9”, “Smokey Joe’s Café”, “Down in Mexico”, “Young Blood”, “Searchin'”, “Yakety Yak”, “Charlie Brown”, “Along Came Jones”, “Poison Ivy”, “Little Egypt”.
Impossible a task it is, but house rules say I have to pick just one for our SoTW. Should it be the first, “Riot in Cell Block #9“, the manic genius anarchical jailhouse opera production? The paean to STD “Poison Ivy” with the greatest couplet in rock annals, “You’re gonna need an ocean/of calamine lotion”? No, let’s just go with the greatest of the great, the anthem of all the sullen, acned, lethargic adolescents we all were–”Yakety Yak“. Written just for me and ‘all my hoodlum friends outside’.
Take out the papers and the trash Or you don’t get no spendin’ cash
If you don’t scrub that kitchen floor
You ain’t gonna rock and roll no more
Yakety yak (don’t talk back)
Just finish cleanin’ up your room Let’s see that dust fly with that broom Get all that garbage out of sight Or you don’t go out Friday night Yakety yak (don’t talk back)
You just put on your coat and hat And walk yourself to the laundromat
And when you finish doin’ that Bring in the dog and put out the cat
Yakety yak (don’t talk back)
Don’t you give me no dirty looks Your father’s hip; he knows what cooks
Just tell your hoodlum friend outside
You ain’t got time to take a ride
Yakety yak (don’t talk back)
Leiber and Stoller’s career didn’t end there. They hundreds and hundreds of memorable hits (‘On Broadway’, ‘Under the Boardwalk’, ‘Stand By Me’, ‘Spanish Harlem’, ‘Chapel of Love’, ‘Leader of the Pack’, ‘Ruby Baby’, ‘She Cried’, ‘Only in America’, ‘Is That All There Is?’, 20 songs by Elvis, many if not most of The Beatles first recordings), and still write on occasion.
One reader told me that I was focusing too much on singers with morbid, sensationalist, Yellow Journalism sob story bios – Blind Willie Johnson, Eva Cassidy, Radke Toneff. Well, no one’s going to make an afternoon TV movie about Leiber and Stoller. But someone did make a very successful Broadway show.
In 1995, Smokey Joe’s Cafe: The Songs of Leiber & Stoller opened on Broadway – forty songs by L&S, running for over five years, the longest-running musical revue in Broadway history.
Ladies and gentlemen, meet Lennie Tristano. I’m probably not going too far out on a limb if I assume that very few of you have ever heard of him.
Chicago pianist, blind from birth, 1919-1978. Moved to NYC 1946, at the height of the bebop’s popularity. Made a few recordings. Made friends and enemies with his pioneering experiments in overdubbing and tape manipulation. Recorded the very first experiments in free jazz (turn on tape, pay attention, start playing without the safety net of a song, and good luck). He was just a little popular in the early 50s. From 1951 he concentrated on teaching.
He was also an obstreperous, obnoxious opinionated bastard, a dictator of a teacher who inspired both cultish loyalty and great resentment among his former students.
Bebop was Charlie Parker, Bird–frenetic, fast, adventurous, impassioned. He would stagger onstage at gigs, hours late if he appeared at all, drunk and high and dissolute, grab the nearest sax and blow his heart out.
Lennie Tristano was the antithesis to Bird. He demanded rigorous practice, intense concentration and discipline. He insisted that the musician take responsibility for every note he played.
Tristano forced his rhythm section to serve as a metronome, providing a regular, mechanical pulse. Remarkably, such creative musicians as bassist Charles Mingus and drummer Max Roach were Tristano supporters. Because on top of that pulse, he would reorganize the bar, displace the metric system, create a disjointed and constantly surprising world. You can count tick-tick-tick without problems, but try one-two-three-four and at some point you’ll find yourself in a world of temporal relativity. It’s a shame Tristano never invited Einstein to sit in on violin. He would have felt very much at home, I think. Well, Aaron Copland was a big fan, if that counts.
The cut we’re presenting this week is called ‘Wow’, from an obscure recording of the same name, from an undocumented date live in New York in 1950. For those of you who can’t take the excitement, here’s a tamer version of the same song in a studio recording from the same period.
Tristano often took popular songs and transmogrified them beyond recognition, mostly for copyright reasons (that way the musicians were also paid as composers). ‘Wow’ is based on the chord progression of ‘You Can Depend on Me,’ an old standard. Here’s a version by Count Basie, and here’s one by beboppers Gene Ammons and Sonny Stitt.
Eunmi Shim, in her book on Tristano, has this to say about ‘Wow’: “This intricate melody is linearly constructed and thematically developed through polyrythmic figures and varied phrase lengths, which undermine the modular phrase structure of its model.” Thanks, Eunmi. Couldn’t have said that better myself.
The group here is Tristano’s core sextet, with Billy Bauer on guitar and one-track tape recorder, and an unknown bassist and drummer. The saxophonists here are his regulars, his prize students, two of my very favorite musicians: Lee Konitz on alto sax, Warne Marsh on tenor sax. Marsh remained a loyal devotee of Tristano throughout a commercially mediocre but critically acclaimed career up to 1987, when he died on stage playing ‘Out of Nowhere’. Lee Konitz left the Tristano circle in 1953. He maintained his admiration for his teacher but felt he needed to try new, less stringent waters, although he continued to play and record with Tristano and Marsh intermittently for many years. He is still going incredibly strong at 82, having released close to 40 CDs in the last decade! And I can testify, each one is a new, ballsy experiment. No resting on the laurels for Lee.
If you’re interested, here’s the Lennie Tristano Quintet playing Subconscious-Lee in a pretty rare clip from a 1964 Sunday-morning Christian-content television show exploring the subject of inspiration in jazz. Cool!
So what are we going to hear here in ‘Wow’? It starts with a group statement of the theme. At 0:45 Warne Marsh plays a solo, which at 2:00 he passes to Bauer in mid-phrase. At 3:15 Konitz plays his lovely, oblique, solo. ‘Like a long-legged fly upon the stream’, in W.B. Yeats’ words. And at 4:30 Tristano takes the reins. Ah, the beauty of form. At 7:00 the saxes and guitar return, passing the melody lightly between themselves. At 7:43 a group restatement of the theme. And then, miracle of miracles, listen to the phrase at 8:03 (well, a phrase in Tristano’s language can go on for many, many bars). All 4 lead instruments playing that wild, slippery equation, the alto a third up from the tenor at a speed that defies comprehension, as if that’s the sort of thing that humans are actually capable of doing.
And it all makes sense.
Over the last decade, I’ve spent an awful lot of hours listening to Lennie Tristano and his disciples. I often ask myself why. What is the pleasure in these cool, mathematical abstractions? The best answer is a phrase I wish I’d coined:
Well, Passover is just around the corner, and She Who Must Be Obeyed is busy polishing the wine cups and sterilizing the corkscrew. She’s given me a few minutes off from helping for good behavior (actually, for gross incompetence), so I’ll try to squeeze in a few appropriate words on the music of the season.
Pharoah
I can’t complain about the spring cleaning tasks. Well, I can, but I shouldn’t. Not when I think back to my forefathers, and the travails they underwent at the hands of Ol’ Pharoah. I know just how bad they had it, thanks to the moving description of those hardships by our soul brethren, the African-Americans who created the spirituals. Slaves were forced to go to church and sit on benches, to quell any ecstatic impulses they might still have from their native African worship. Shackled spiritually as well as physically, they were resourceful enough to create a lasting body of music which jumbled up their old religion and music with the new ones their European masters were imposing on them, resulting in songs of faith which expressed all the suffering and indignity they were living, albeit couched in thinly veiled Bible stories.
Paul Robeson’s (1898-1976) is a remarkable story by any standards. His mother died when he was six, so he was raised by his father, an escaped slave who graduated college and served as minister of a Presbytarian church in Princeton, NJ until his politics got him fired. Robeson was the only black at Rutgers University, class valedictorian, and All-American football player. He put himself through Columbia law school by playing professional football and basketball. In his spare time, he starred in a play which played in New York and London.
Slaves in America
He married Eslanda Cardozo Goode, a descendent of slaves and Sephardic Jews, a graduate of Columbia in chemistry. She passed on medical school to manage her husband’s business affairs. His other affairs she also learned to manage to live with, as they practiced an ‘open marriage’ until her death in 1965.
After Robeson quit his NY law firm (because a secretary refused to take dictation from a black man), his interests turned to the stage. He was the first to bring spirituals to the concert stage, starred in a play by Eugene O’Neil and was cast to star in the movie version of Porgy and Bess (till he argued politics with the director). In 1930 he went to London to play Othello (because no American stage company would employ him–although later, from 1943-45, his Othello became the longest running Shakespeare production on Broadway to this day).
He also sang ‘Ol’ Man River‘ in the immensely popular Broadway musical and movie “Showboat”. It was written for him by Jerome Kern and Oscar Hammerstein (neither of whom were particularly black, but both of whom had slavery hard-wired in their cultural heritage). The song has become one of the definitive expressions of black suffering. Robeson later changed the lyrics to transform the song from a lament to an expression of defiance.
Paul Robeson
In the 1930s and 1940s he was a star, performing spirituals in concerts throughout the world. But he also became radicalized politically, actively supported causes as wide-ranging as labor unions, the fight of the Republicans against Franco, the plight of Jewish refugees from Hitler, Welsh coal miners, the independence of African countries from colonial rule, the civil rights of blacks in the US, the integration of blacks into professional sports, (gee, just typing the list is getting me tired), and most notably empathy with the Soviet Union. Testifying before HUAC regarding his pro-Stalinist proclamations, he said: “You are responsible, and your forebears, for sixty million to one hundred million black people dying in the slave ships and on the plantations, and don’t ask me about [Stalin], please.”
His passport was revoked for a number of years, and when it was restored in 1958 he traveled to Moscow to accept the Stalin Peace Prize. His later years included self-imposed exile to the Soviet Union, mental and physical health problems caused at least in part by constant surveillance. He attempted suicide, was probably slipped LSD by the KGB, underwent shock treatment in East Germany, was hounded by the FBI (he reportedly owns the largest file in their archives), and finally retired to his sister’s house in Philadelphia. Whew. And that’s leaving out a lot.
L to R: Desdemona, Othello
But we stray. The Wife is calling me back into the kitchen. So let’s put on the soundtrack of our festival of freedom, and get back to work. I’m not quite clear how Yoshke slipped into the last line of the song. If you sing it at the table seder night, I suggest you improvise some other lyrics.
When Israel was in Egypt’s land (let my people go)
Oppressed so hard they could not stand.Go down, Moses, way down in Egypt’s land; Tell old Pharaoh to let my people go.
The Lord told Moses what to do,
To lead the children of Israel through. They journeyed on at his command,
And came at length to Canaan’s land.
Oh, let us all from bondage flee,
And let us all in Christ be free.
