Happy 129th Birthday, Irving Berlin!

The immortal Irving Berlin was born Israel Isidor Baline in Tolochin, Russian Empire, 129 years ago today. The great Jerome Kern once said of Berlin, “Irving Berlin has no place in American music—he is American music,” and we couldn’t agree more. Perhaps no songwriter’s works are heard more often on Cladrite Radio. Here are 10 IB Did-You-Knows:

• Berlin’s father, Moses, a cantor in a synagogue, moved his family to New York City when Irving was five to escape anti-Jewish pogroms. Berlin said his only memory of Russia was lying on a blanket by the road as a young child and watching the family home burn to the ground.
• Moses, unable to find work as a cantor, worked instead in a kosher meat market near the family’s home on the Lower East Side and gave Hebrew lessons on the side. He died when Berlin was just 13. Irving began working as a newsboy at age eight, hawking The New York Evening Journal, and his mother, Lena, worked as a midwife.
• While selling papers on the Bowery, Berlin was exposed to the popular music of the day pouring out of the neighborhood’s saloons and restaurants. He began to sing some of those songs as he sold papers, and picked up some spare change from appreciative customers in return.
• At 14, feeling he wasn’t contributing enough to the family’s welfare, he moved out, spending his nights in a series of lodging houses along and near the Bowery. He at first made his living stopping in saloons and singing songs for tips, but before long, he took a job singing at Tony Pastor’s Music Hall in Union Square and at 18, he got a job as a singing waiter at the Pelham Cafe in Chinatown. All the while, he was teaching himself to play piano during his off-hours.
• Berlin’s first hit, Alexander’s Ragtime Band, created a ragtime craze that reached even his native Russia.
• It’s estimated that Berlin, one of the few songwriters of his era who composed both lyrics and melody, wrote as many as 1,500 songs, including the scores for 19 Broadway shows and 18 Hollywood films. His songs received seven “Best Original Song” Academy Award nominations, with White Christmas, written for the 1942 picture Holiday Inn, earning Berlin an Oscar.
• Berlin was not a fan of Elvis Presley‘s recording of White Christmas, going so far as to send a letter to the nation’s top radio stations, requesting that they not play it over the air.
• All Berlin’s songs were written solely on the black keys of the piano, which is the key of F Sharp. His specially constructed piano had pedals that changed the key for Berlin.
• Berlin’s hit song Easter Parade was a reworking of one of his earlier songs, Smile and Show Your Dimple.
• Despite his association with the holiday, Christmas was a bittersweet day for Berlin, whose infant son, Irving Berlin, Jr., died on Christmas 1928 of typhoid fever.

Happy birthday, Irving Berlin, wherever you may be!

Happy 107th Birthday, Johnny Mercer!

Lyricist, composer and singer Johnny Mercer, one of the greatest lyricists to contribute to the Great American Songbook, was born John Herndon Mercer 107 years ago today in Savannah, Georgia. Here are 10 JM Did-You-Knows:

• Mercer’s father was an attorney; his mother was his father’s secretary before she became his second wife.
• Mercer was exposed to a wide range of African-American music as a child. His aunt took him to minstrel and vaudeville shows, and he spent time with many black playmates (and his family’s servants). He also was drawn to Savannah’s black fishermen and street vendors, as well as African-American church services. As a teenager, he collected records by black artists such as Ma Rainey, Bessie Smith and Louis Armstrong.
• Mercer was singing in church choirs by age six, and within a few years, had demonstrated a penchant for memorizing all the popular songs of the day.
• His family frequently escaped Savannah’s heat at a mountain retreat near Ashville, North Carolina, and it was there that young Mercer learned to dance from none other than Arthur Murray himself.
• Mercer moved to NYC in 1928, taking bit parts as an actor and continuing to work on the songwriting he’d begun to experiment with back in Savannah. He took a job at a brokerage house to pay the bills, and began to sing around town. He once pitched a song to Eddie Cantor, and though Cantor didn’t buy the song, he was very encouraging to Mercer.
• Mercer preferred writing standalone songs to writing for musicals, where the lyrics had to fit the show, so when the revue format gave way to book musicals on Broadway, he moved to Los Angeles and took a job with RKO.
• Mercer founded Capitol Records with songwriter Buddy G. DeSylva and businessman Glenn Wallichs in 1942, investing $25,000. In 1955, he sold his share in the company for $20 million.
• Mercer was married to Ginger Mehan from 1931 until his death in 1976, but he had an on-and-off affair with Judy Garland.
• A fan once wrote Mercer, suggesting the song title I Wanna Be Around (to Pick Up the Pieces When Somebody Breaks Your Heart). Mercer quickly wrote a song by that title, and when it became a hit, he gave the fan half his royalties.
• Mercer was a distant cousin of Gen. George S. Patton.

Happy birthday, Johnny Mercer, wherever you may be!

Happy 106th Birthday, Mary Lou Williams!

Composer, arranger and pianist extraordinaire Mary Lou Williams was born 106 years ago today in Atlanta, Georgia. Mary Lou’s mother and grandmother both worked as laundresses, but on the weekends, they drank heavily and argued. Mary Lou was a child prodigy on the piano, earning money to help support her family by entertaining at parties thrown by well-to-do white families.

As a teenager, she escaped the unhealthy home environment she’d grown up in, playing piano in traveling shows before settling in Kansas City in the late 1920s; it was an era when jazz music was dominated by men, and few were willing to give a young woman like Mary Lou a chance. Her husband, John Williams, was hired by bandleader Andy Kirk, and when Chicago record executive Jack Kapp came to town to audition local talent for the Brunswick label, Kirk’s usual pianist didn’t show. Williams, who had been touting Mary Lou’s abilities, convinced Kirk to give her a try.

Mary Lou was called and she rushed down to the club. The gig was a success, and Kapp arranged with Kirk for the band to do a recording session in Chi-town. The trouble was, when they arrived in the Windy City, they hadn’t brought Mary Lou with them, considering her just a fill-in. Kapp didn’t consider her a fill-in, though; he told Kirk there would be no recording with her. She was hastily summoned from Kansas City, and the session was a success.

With Mary Lou providing innovative arrangements and excelling in her role as featured instrumentalist, the Kirk Orchestra became more popular than ever. Eventually, Kirk and Williams began to butt heads as she continued to try to stretch out as a composer and arranger. She began to hear from other bandleaders—Tommy and Jimmy Dorsey, Cab Calloway, Benny Goodman, and Louis Armstrong, among them—asking her to do arrangements for them, and that perhaps understandably didn’t sit well with Kirk. For her part, Mary Lou felt underappreciated and underpaid, so she parted ways with Kirk and moved to New York, where Duke Ellington invited her to do arrangements for his orchestra.

That wasn’t a full-time gig, though, and Mary Lou was looking for her chance to shine. It came when jazz producer John Hammond arranged for her to be a featured performer at Café Society. She played there with just bass and drums as accompaniment, which required something of an adjustment on her part, after years of being a key cog in a big band. It was all on her now. Her run at the nightspot proved to be a success.

Though others of her generation rejected the innovations that came to be known as bebop, Mary Lou, ever looking to grow and stretch out, embraced them. “I tried to encourage the Modernists,” she said, “because I believed that bebop was here to stay.” This, even though she felt that many of the leaders of the new movement had borrowed from her work without giving her due credit.

Mary Lou’s NYC apartment became something of a salon where young jazz musicians would gather. She was willing to serve as something of a mentor to these young up-and-comers. She even wrote a song, In The Land of Oo-Bla-Dee, that was a big hit for Dizzy Gillespie and his band.

Sadly, at this stage of her life, Mary Lou was associated in minds of many with an older style of music and she wasn’t able to secure a recording contract, though she had a popular radio show at the time. Inspired in part by Ellington’s groundbreaking jazz suite, Black, Brown and Beige, she aimed to have a series of piano sketches she’d composed, under the name The Zodiac Suite, performed by an orchestra, and she succeeded: In 1946, an historic performance of the suite was undertaken at Carnegie Hall. But the reviews were not positive: It seemed the critics viewed The Zodiac Suite as neither fish nor foul, neither jazz nor classical.

So Mary Lou Williams, like many African-American jazz musicians before her, looked to Europe, but unlike many who preceded her in taking their talents overseas, Mary Lou found no satisfaction there. She returned to NYC and holed herself up in her apartment, putting aside music altogether as she dealt with emotional and mental distress.

As she put it, “Music had left my head.” She began to experience bad dreams, which she tried to interpret through drawings. She felt frightened when she began receiving messages from comic books, television and radio. “One day,” she said, “I heard a sound, like, ‘Go and purchase a rosary.’ I wondered what was happening; yet, I followed my sound to a Catholic church and started wailing madly. I was 44 years old and never asked God for forgiveness.”

Mary Lou found solace in the church—a “feeling of eternity,” as she put it. She joined St. Francis of Xavier church, where she met Father Anthony Woods, who encouraged her to return to her music. “Mary, you’re an artist,” he told her. “It’s your business to help people through music.” Father Woods asked Mary to consider writing a mass, and she was energized by the concept of combining her faith with her gift for music.

That request from Father Woods led Mary back into her music, and she experienced a renaissance in her career, finding herself in demand again.

Mary Lou Williams passed away from cancer in 1981, at the age of 71. She had arranged and composed more than 350 pieces of music.

Happy birthday, Ms. Williams, wherever you may be.

Happy 117th Birthday, Duke Ellington!

Duke Ellington was born Edward Kennedy Ellington 117 years ago today in Washington, D.C. His contributions to music are difficult to overstate: composer, pianist, and, for more than half a century, leader of a great jazz orchestra. And my oh my, was he an elegant man.

Happy birthday, Mr. Ellington, wherever you may be. Thanks for all the wonderful music.

Happy 126th Birthday, Paul Whiteman!

Today marks the 126th birthday of orchestra leader Paul Whiteman. Known as the King of Jazz during his heyday, Whiteman isn’t afforded that level of respect by many in the jazz community today, but his influence is undeniable. His music may have leaned to the pop side a little bit, but in that era, jazz was dance music. It was pop, in a sense, and Whiteman helped to bring the new sounds to a wider audience.

What’s more, the list of immortals who played or sang with Whiteman during his career is a lengthy one, among them Bing Crosby (who during his time with Whiteman was one of the hippest of vocalists), Bix Beiderbecke, Frankie Trumbauer, Joe Venuti, Eddie Lang, Jack Teagarden, Bunny Berigan, and Ramona Davies (she of the Grand Piano)—names that are very familiar to anyone who listens to Cladrite Radio reguarly.

Whiteman also commissioned George Gershwin to write Rhapsody in Blue, and that influential work’s 1924 debut was performed by an expanded version of Whiteman’s orchestra, with Gershwin himself at the piano.

Whiteman also performed in motion pictures, and it was announced earlier today that the restoration of his own starring vehicle, King of Jazz (1930), is now complete. It will be unveiled in screenings in various spots around the country beginning in May.

No less an authority than Duke Ellington once declared, “Paul Whiteman was known as the King of Jazz, and no one as yet has come near carrying that title with more certainty and dignity,” and that’s good enough for us.

Happy birthday, Pops. We can’t wait to see a pristine new print of your movie in May!