{"id":1257,"date":"2013-01-19T08:15:01","date_gmt":"2013-01-19T08:15:01","guid":{"rendered":"http:\/\/peggylee.com\/wp\/?p=1257"},"modified":"2021-08-04T10:19:15","modified_gmt":"2021-08-04T14:19:15","slug":"on-a-new-plateau-of-vocal-artistry-peggy-lee","status":"publish","type":"post","link":"https:\/\/www.peggylee.com\/on-a-new-plateau-of-vocal-artistry-peggy-lee\/","title":{"rendered":"On a New Plateau of Vocal Artistry: Peggy Lee"},"content":{"rendered":"
\n

by Les Tomkins<\/p>\n

Les Tomkins: There are two things I\u2019d like to say to begin with, Peggy. Firstly, to be here talking with you fulfills a long-held ambition for me. Secondly, as far as I\u2019m concerned, the show I\u2019ve just enjoyed is the best I\u2019ve ever heard from you \u2013 and I\u2019ve been listening to you for many, many years. To say it was the best does not overstate the case a bit.<\/p>\n

Peggy Lee: Of, that\u2019s marvellous \u2013 thank you very much. You don\u2019t know how good it is to hear that. That\u2019s wonderful.<\/p>\n

LT: And you sang some of the finest songs of all time. Anyway \u2013 the tour so far is going very well, it seems.<\/p>\n

PL: It\u2019s going very well. And I can\u2019t get over the audiences here \u2013 they\u2019re just absolutely wonderful. Well, you heard them. I did over thirty numbers.<\/p>\n

LT: Well, it wasn\u2019t one too many. I wouldn\u2019t like to say what other ones I wish you\u2019d done, because you did so many that I\u2019d hoped to hear \u2013 plus the extra, unexpected things like “As Time Goes By” \u2013 that was great.<\/p>\n

PL: Thank you. I love that song. Can\u2019t even remember everything I did \u2013 a whole long list of them.<\/p>\n

LT: As for your superb supporting group \u2013 it\u2019s an Anglo-American situation, of course.<\/p>\n

PL: Yes. Two of them are from New York \u2013 Mike Renzy and Grady Tate, who are very well known, of course. We\u2019ve all worked together now for about a year, because we were working on the play, Peg, in New York. And Grady\u2019s been working with me, off and on, since 1959 \u2013 and he\u2019s such a love. I\u2019ve just started doing concerts with the small group only, and I like it a lot, because it\u2019s so free. We can do different numbers, and they know the music so well that it\u2019s just a great pleasure. Couldn\u2019t be better. We will be adding strings for the Royal Festival Hall \u2013 and that\u2019ll be pretty, won\u2019t it? I hope I didn\u2019t forget the string parts! I must check that.<\/p>\n

LT: Knowing how thoroughly you always rehearse for your performances, it\u2019s interesting to see that you are allowing yourself the flexibility to insert unrehearsed items on the spot.<\/p>\n

PL: Well, I couldn\u2019t do it if Mike and Grady weren\u2019t so superb. And these musicians from England are so wonderful \u2013 I really like them a lot. Mitch Dalton on guitar, Paul Morgan on bass and our percussionist, Jim Lawless \u2013 they\u2019re just fantastic.<\/p>\n

LT: Some of your albums have included what are described as “head arrangements” on them. You like to work up a head thing now and again, don\u2019t you?<\/p>\n

PL: Yes, I do. “Lover” started out as a head arrangement \u2013 and then Gordon Jenkins did the masterful job of arranging it. We just worked out the basics, you know. Dear Gordon \u2013 we will certainly miss him.<\/p>\n

LT: There\u2019s an obvious head arrangement that I\u2019m fond of from the Big Spender album on Capitol \u2013 a swinging blues-type tune, “You Don\u2019t Know.” It ends: “No you can\u2019t, no you do-on\u2019t, know how I feel.”<\/p>\n

PL: Oh \u2013 you know that? I don\u2019t remember where I heard it\u2026it seemed to me I\u2019d heard it on an old Leadbelly record. Yeah \u2013 I love that.<\/p>\n

LT: On the subject of your early listening \u2013 back in Jamestown, North Dakota, what music around you was inspiring you?<\/p>\n

PL: I used to listen to Kansas City on a five-dial Atwater Kent radio. I\u2019d hear Bill Basie\u2026 I think they called him Bill Basie and His Kansas City Coon Shouters \u2013 so funny, it sounds so ridiculous now! Yes, and the Blue Devils. And then \u2013 oh, the Kid from Red Bank. Oh, what a giant to go! Gordon, and now Count Basie \u2013 oh, my goodness.<\/p>\n

LT: Yes, we\u2019re losing some great people. From the beginning, did you feel that your self-expression was going to be your voice?<\/p>\n

PL: Mmmm \u2013 absolutely. I always knew that. No, I wasn\u2019t listening to singers at that time \u2013 I did as soon as I could. But I knew it before I heard anyone else sing. Strange, knowing that. The great desire was there in me to do that, and a kind of a will for it to happen.<\/p>\n

LT: How about songwriting? Were you writing songs at an early age?<\/p>\n

PL: No. I used to write little poems \u2013 I loved that. And then gradually it became another profession \u2013 it\u2019s wonderful to do that. Johnny Mercer was a big\u2026 well, he was my mentor for songwriting. That\u2019s another one we\u2019ve lost. Well, we haven\u2019t lost him \u2013 he\u2019s still in our hearts.<\/p>\n

LT: Was your first successful song “It\u2019s a Good Day?” Or was it “I Don\u2019t Know Enough About You?”<\/p>\n

PL: I think “It\u2019s a Good Day” was first. Or \u2013 let me see \u2013 no, “You Was Right, Baby” was the first one; “What More Can a Woman Do?” and then “It\u2019s a Good Day” and “I Don\u2019t Know Enough About You” \u2013 in that order. I think “Ma\u00f1ana” was someplace in there, and then on later, with other writers.<\/p>\n

LT: You began your singing in hotels and night-spots, didn\u2019t you?<\/p>\n

PL: The very first was glee clubs in church \u2013 and any time anyone would listen.<\/p>\n

LT: But you were listening to the bands, and eventually were able to join one \u2013 Will Osborne, wasn\u2019t it?<\/p>\n

PL: Before that I sang with a college orchestra \u2013 students that were making their way through college, playing. Then later on I did join Will for about three months, but the band broke up, and then I started out on my own.<\/p>\n

LT: At some point, in Chicago, you were discovered by Benny Goodman.<\/p>\n

PL: Yes. His fiancee, Alice Duckworth, came in; she later became Mrs. Goodman. She brought Benny in. So he sat there and listened, but he looked as though he was preoccupied and didn\u2019t like it very much. The next day he called me on the phone, and I didn\u2019t believe it was Benny, but my roommate convinced me.<\/p>\n

LT: That must have been a pretty exciting time for you.<\/p>\n

PL: Well, I was already a big fan \u2013 I would put all my extra nickels in the jukebox and listen to “Don\u2019t Be That Way” and all those things. Then, when I was working with him, I\u2019d just sit there and enjoy his playing and the band \u2013 the band was wonderful. There were some great people in there, like Cutty Cutshall, Jimmy Maxwell, Bid Sid Catlett \u2013 oh, just so many.<\/p>\n

LT: Lou McGarity on trombone \u2013 I remember that “Blues in the Night” that you did with him.<\/p>\n

PL: Wonderful \u2013 and “Where or When,” “The Way You Look Tonight”\u2026<\/p>\n

LT: And, of course, “Why Don\u2019t You Do Right?”<\/p>\n

PL: That\u2019s when I met Dave Barbour with Benny \u2013 when he joined the band. And I tried to retire when we got married, but it didn\u2019t work. David didn\u2019t want me to, either \u2013 he said that later I might resent not having used the talent I\u2019d been given. I guess that was true\u2026 I was very happy, though. Wouldn\u2019t that have been something? It would have changed a lot of things.<\/p>\n

LT: We\u2019d have missed a great deal of good music. Would you say you have some sort of affinity with the guitar? You married a guitarist, you\u2019ve often featured the instrument on records \u2013 once you even made an album with an orchestra of guitars, Guitars a la Lee on Capitol.<\/p>\n

PL: Yes, I do have, I guess. Guitars and piano and flutes and French horns, trumpets and flugelhorns \u2013 and I could go on. Pretty soon I\u2019ll have an orchestra! I guess I love music. Sure, I like the guitar a lot \u2013 and bass too.<\/p>\n

LT: Have you found, over the years, that once you\u2019ve established a key in which to sing any given song, you stick with that?<\/p>\n

PL: It hasn\u2019t changed much. For instance, “Them There Eyes” is in G, and I\u2019ve been doing it in G as long as I can remember. So it must be that my voice is not changing. If anything, it\u2019s grown on both ends of the range. Do you think so?<\/p>\n

LT: Oh, yes. On tonight\u2019s showing, particularly, the growth is evident. It seems as if you\u2019re on a new plateau. Do you feel that?<\/p>\n

PL: Yes, I do, and I\u2019m loving it.<\/p>\n

LT: As regards routines and tempos, though, you believe in varying them?<\/p>\n

PL: We have changed some of them around. Grady is so marvellous with all those things \u2013 and Mike too. They\u2019re so flexible; they can make any tempo the right tempo, and make me enjoy singing it, you know. I\u2019m just loving the whole thing. Like, we\u2019re going “I Want to Be Happy” as a sort of Latin and reggae mixed together. That\u2019s been my whole thing, the percussion patterns. I love changing things around \u2013 like “Lover,” you know.<\/p>\n

LT: You\u2019ve made so many albums. Do you have any particular ones that you look back on as special to you? For instance, Black Coffee \u2013 is that special?<\/p>\n

PL: I\u2019d say Black Coffee, because\u2026 you realize how long that\u2019s been selling? It was when they started making long-play albums. And then I like the one that Frank Sinatra conducted \u2013 he actually produced it. Originally it was The Man I Love and then it became The Folks Who Live on the Hill. Now I understand it\u2019s back to The Man I Love. They\u2019re coming in from Japan, France and so on \u2013 it\u2019s amazing. I hope I\u2019m getting my royalties!<\/p>\n

LT: Yes, there\u2019s a gratifying spate of reissues of classic LPs of yours out now \u2013 Black Coffee, Dream Street and many more. It enables buyers to catch up with the backlog or get any they missed. Mentioning Sinatra \u2013 I know you haven\u2019t been known to do duets, but it was never mooted that you and he should do something together vocally?<\/p>\n

PL: Oh, I would love to do duets with him. That would be fantastic. I wish he felt it was a good idea, too. I don\u2019t know how he would feel about that, but I certainly would love it. We did a television show once, and we sang a lot of songs \u2013 that was marvellous. But I think I could do a better job with him now than I did then \u2013 I\u2019d be more comfortable with myself.<\/p>\n

LT: Well, to me you\u2019re totally on par \u2013 both of you, with maturity, seem to be getting better all the time, and, of course, you both come from the Big Band era. It would be the ultimate summit meeting.<\/p>\n

PL: It would be for me! I must see if I can get in touch with him, and see if he has any ideas about that.<\/p>\n

LT: What are your thoughts about Sinatra? You\u2019ve followed his career, of course?<\/p>\n

PL: Oh, yes, and I consider him to be a very good friend. He\u2019s a wonderful man; he\u2019s done a lot of kind things. We used to be neighbours, and he\u2019s been a very thoughtful person \u2013 couldn\u2019t have been nicer. I see him now and then, and it\u2019s wonderful to see him whenever I do.<\/p>\n

LT: We\u2019re looking forward at the moment to him coming over here in September.<\/p>\n

PL: Yes, well, if you see him, tell him I said that I think he\u2019s the greatest.<\/p>\n

LT: Your performances, naturally, contain the highest proportion of earlier standards. Do you find that recent material is harder to select from?<\/p>\n

PL: There aren\u2019t many of the newer songs that really have enough content to them \u2013 for me. I need to have things that are like little one-act plays. I love the one I\u2019m singing now, though \u2013 “You Are the Wind Beneath My Wings” \u2013 because it expresses something to the audience that I strongly feel.<\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

by Les Tomkins Les Tomkins: There are two things I\u2019d like to say to begin with, Peggy. Firstly, to be here talking with you fulfills a long-held ambition for me. Secondly, as far as I\u2019m concerned, the show I\u2019ve just enjoyed is the best I\u2019ve ever heard from you \u2013[…]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_et_pb_use_builder":"","_et_pb_old_content":"","_et_gb_content_width":"","_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"ngg_post_thumbnail":0,"footnotes":""},"categories":[4],"tags":[],"class_list":["post-1257","post","type-post","status-publish","format-standard","hentry","category-library"],"yoast_head":"\nOn a New Plateau of Vocal Artistry: Peggy Lee - Peggy Lee<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.peggylee.com\/on-a-new-plateau-of-vocal-artistry-peggy-lee\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"On a New Plateau of Vocal Artistry: Peggy Lee - Peggy Lee\" \/>\n<meta property=\"og:description\" content=\"by Les Tomkins Les Tomkins: There are two things I\u2019d like to say to begin with, Peggy. 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