{"id":1319,"date":"2013-01-19T17:13:42","date_gmt":"2013-01-19T17:13:42","guid":{"rendered":"http:\/\/peggylee.com\/wp\/?p=1319"},"modified":"2021-08-04T10:19:09","modified_gmt":"2021-08-04T14:19:09","slug":"musical-majesty","status":"publish","type":"post","link":"https:\/\/www.peggylee.com\/musical-majesty\/","title":{"rendered":"Musical Majesty"},"content":{"rendered":"
\n by Howard Reich<\/p>\n

In a word, she is indomitable.<\/p>\n

Undeterred by diabetes, by a heart condition that require bypass surgery a couple years ago, by a fall from a Las Vegas stage in 1987 that left her with several broken bones, singer-songwriter Peggy Lee presses on.<\/p>\n

Perhaps the same spirit that enabled to her survive the premature death of her mother, the subsequent beatings from her stepmother and a volatile ride along the top of the pop charts starting in the \u201840s has enabled Lee to accomplish something few artists of her vintage have done.<\/p>\n

At 73, an age when many folks are enjoying the diversions of retirement, Lee has released one of the most taxing and notable works of her long career, Love Held Lightly: Rare Songs by Harold Arlen (Angel), features Lee in world premiere recordings of music by one of the most profound of American songwriters. Though several of the album\u2019s cuts are indeed \u201crare,\u201d as in \u201cnot often performed,\u201d others are still more exclusive, never having seen the light of day.<\/p>\n

Unearthed by scholar-author Edward Jablonski, a close associate of Arlen\u2019s until the composer\u2019s death in 1986, the songs had been discovered in various forgotten crates in Arlen\u2019s California and New York homes. Though some of the pieces are stronger than others, they all clearly come from the hand that penned \u201cCome Rain or Come Shine,\u201d \u201cThe Man That Got Away,\u201d \u201cBlues in the Night\u201d and \u201cOver the Rainbow,\u201d among other Arlen standards. In other words, the songs are steeped in blues melody, gently swaying rhythms and other elements of American jazz.<\/p>\n

The best of the tunes, such as \u201cCome On, Midnight,\u201d a blues lament, and \u201cGot to Get You Off My Weary Mind,\u201d a kind of musical cousin to \u201cCome Rain or Come Shine,\u201d seem likely to live on in subsequent performances. Surely such singers as Michael Feinstein, Steve Ross, Bobby Short, Tony Bennett and others will welcome a shot at \u201cnew\u201d Arlen works.<\/p>\n

It is Lee, however, who offers the critical first readings of this trove.<\/p>\n

The unusual project began when New York record producers Bill Rudman, Ken Bloom and Keith Ingham visited Lee carrying a stack of rediscovered Arlen material. Once they played the pieces for Lee, \u201cthe fervency of her response made it clear we\u2019d come to the right place,\u201d write the producers in the album\u2019s liner notes.<\/p>\n

\u201cActually,\u201d said Lee, \u201cI approached this music with the same kind of process I always use \u2013 as if I were given a role to play in a movie. When you\u2019re doing a movie, you analyze the character, and it\u2019s the same thing in thinking about a song.\u201d<\/p>\n

Thus Lee found the essence of several Arlen jewels. The sense of mystery she brings to \u201cCan You Explain?\u201d (lyrics by Arlen and Truman Capote), the smoldering intensity she lends \u201cGot to Get You Off My Weary Mind\u201d (lyrics by Mercer) eloquently suit the scores at hand. That Lee herself revised the exquisite, bittersweet lyric to \u201cHappy with the Blues,\u201d which she had written with Arlen years earlier, reveals just how much she understands about the art of songwriting.\u201d<\/p>\n

The album\u2019s tour-de-force, however, has to be \u201cI Had a Love Once,\u201d with a lyric by Arlen. Written for the composer\u2019s wife, Anya, who died in 1970, the piece amounts to a terse, anguished cry of grief.<\/p>\n

\u201cI consider all the songs wonderful, but I agree that \u2018I Had a Love Once\u2019 is especially powerful,\u201d says Lee.<\/p>\n

\u201cWhen I sing that line, \u2018I had a love once\u2019\u2026 well, I think I know what Harold means, because I had a love once, too. More than once.\u201d<\/p>\n

Indeed, Lee has experience enough of life\u2019s ups and downs to understand quite a bit about most of the songs she sings. In fact, from earliest childhood, when her mother died, she has been expressing her thoughts in song.<\/p>\n

\u201cI don\u2019t even remember a time when I was not singing,\u201d says Lee, who was born Norma Deloris Egstrom in Jamestown, North Dakota. \u201cIt was immediate.<\/p>\n

\u201cI remember writing a lyric to the song \u2018Melody of Love\u2019 when my mother died, when I was four. It wasn\u2019t a brilliant lyric, but I think it was interesting that a child would write one.<\/p>\n

\u201cI would walk around the house singing, \u2018Mom\u2019s gone to dreamland on the train.\u2019\u201d<\/p>\n

In the ensuing years, Lee would acquire plenty of experience to put into song, for her stepmother \u201chit me over the head with a cast-iron skillet [and] beat me with a heavy leather razor strap with a metal end,\u201d Lee wrote in her memoirs, Miss Peggy Lee (Donald I. Fine). The whippings, wrote Lee, \u201cmade a scar on one side of my face that even now tries to show up in a photograph.\u201d<\/p>\n

By age 14, though, the intrepid singer had taught herself enough about music to go pro, working at a Fargo, North Dakota radio station with a group called Four Jacks and a Queen. When the station manager suggested that the Queen rechristen herself Peggy Lee, her career had begun in earnest.<\/p>\n

It wasn\u2019t until 1941 at the Ambassador West Hotel in Chicago, however, that a star was born. On the advice of his wife, Swing King Benny Goodman dropped in to hear Lee.<\/p>\n

\u201cI couldn\u2019t believe he was sitting there listening to me,\u201d she recalls. \u201cSee, I was a big fan of his. I always would spend my extra change on the jukebox listening to him.<\/p>\n

\u201cSo here was Benny Goodman in the room. And Benny had a funny way of chewing on his tongue and staring at you at the same time. So when you were performing, you couldn\u2019t really think that he loved it.<\/p>\n

\u201cOf course, at the time, I didn\u2019t realize that I was actually auditioning, that Benny was looking for a replacement for [singer] Helen Forrest, who had left the band.<\/p>\n

\u201cWhen I was told that Benny was offering me the job, I thought it was some kind of joke.\u201d<\/p>\n

Lee soon discovered just how serious the situation was. All of 21 years old, she suddenly found herself facing Goodman\u2019s screaming fans, most of whom wanted to hear someone else.<\/p>\n

\u201cOh, yes, they wanted Helen Forrest, and they would say so,\u201d recalls Lee. \u201cThey\u2019d call out \u2018Sing, Sing, Sing\u2019 [the band\u2019s famous instrumental number], and they didn\u2019t mean me.<\/p>\n

\u201cBut it still was like a beautiful dream. I would sit there on the bandstand, night after night, just reveling in the music. I could hear the arrangements over and over and never get tired of them.<\/p>\n

\u201cI even learned the instrumental parts. [Pianist] Mel Powell and I used to sit on the bus, and one of us would sing the brass parts, and one of us would sing the reeds.\u201d<\/p>\n

No doubt that intimate knowledge of the repertoire helped, for Lee\u2019s two years with the band yielded several major hits, including \u201cBlues in the Night,\u201d \u201cThe Way You Look Tonight\u201d and the biggest one of all, \u201cWhy Don\u2019t You Do Right?,\u201d still a classic recording.<\/p>\n

Though there\u2019s no explaining why some singles become hits and others don\u2019t, Lee\u2019s uniquely intimating style must have had something to do with it. Where other singers scatted brilliantly (Ella Fitzgerald), phrased plaintively (Billie Holiday), or caressed a melody sweetly (Rosemary Clooney), Lee brought a soft-spoken sensuality to song that was uncommon in the heyday of the roaring big bands.<\/p>\n

\u201c[Songwriter] Alec Wilder used to make a strange analogy about my voice,\u201d recalls Lee. \u201cHe said I had a voice like a streetwalker you\u2019d walk past, but if you ever stopped, you\u2019d never leave.<\/p>\n

\u201cNow, I don\u2019t exactly think of myself as a streetwalker, but I think I know what he means \u2013 the sensuousness.\u201d<\/p>\n

Such was the demand for Lee\u2019s sound, in fact, that she could not quit the business when she wanted to. By 1943, she had met the love of her life, Goodman guitarist Dave Barbour, \u201cand I fully intended to keep house and have a baby,\u201d she says. \u201cBut the record producers would keep asking me to come down and cut a couple of sides.<\/p>\n

\u201cThen I started writing lyrics and dummy melodies while I was cleaning house. When Dave would come home, I\u2019d sing them to him, he\u2019d put them down on paper, and they just became hit after hit,\u201d adds Lee, referring to \u201cIt\u2019s a Good Day,\u201d \u201cI Don\u2019t Know Enough About You\u201d and \u201cMa\u00f1ana,\u201d among others.<\/p>\n

Though Barbour\u2019s alcoholism precipitated the demise of their marriage, by the \u201850s Lee was taking flight anew with such new, vibrant recordings as \u201cLover,\u201d \u201cFever\u201d and \u201cBlack Coffee.\u201d Her harrowing turn as a blues singer who succumbs to booze in the 1955 film Pete Kelly\u2019s Blues won her an Academy Award nomination; her songwriting gifts produced vignettes written with Quincy Jones (\u201cNew York City Blues\u201d), Cy Coleman (\u201cThen Was Then\u201d) and Duke Ellington (\u201cI\u2019m Gonna Go Fishin\u2019\u201d).<\/p>\n

Not even the rise of rock \u2018n\u2019 roll, which ended many careers, could quite derail Lee\u2019s, \u201cbecause I had a couple tunes that went right across the board,\u201d she says. \u201cThings like \u2018Fever\u2019 and \u2018Is That All There Is?\u2019 kept me going.\u201d<\/p>\n

Alas, even Lee\u2019s headiest successes were counterbalanced by tragedy. Though Barbour \u201chad overcome [his alcoholism], and we were even talking about getting married,\u201d she says, \u201cfour days later he died [in 1964]. It was such a blow.\u201d<\/p>\n

Yet Lee persevered, eventually summoning the gumption to take a corporate giant, the Walt Disney Company, to court. Lee had provided the voices for four characters in the 1955 animated film Lady and the Tramp, but she hadn\u2019t received a cent from the videocassette version.<\/p>\n

Last October, a California court upheld a 1988 decision, awarding Lee $3.2 million.<\/p>\n

\u201cI just thought that if there\u2019s any justice in the world, it\u2019s worth fighting for,\u201d says Lee who, to this day, clearly does not shrink from a fight. \u201cIt was a long road, and it was very hard on me.<\/p>\n

\u201cBut I have a lot of faith in a higher power, and that gives you a lot of courage.<\/p>\n

\u201cOr at least it has kept me going.\u201d<\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

by Howard Reich In a word, she is indomitable. Undeterred by diabetes, by a heart condition that require bypass surgery a couple years ago, by a fall from a Las Vegas stage in 1987 that left her with several broken bones, singer-songwriter Peggy Lee presses on. Perhaps the same spirit[…]<\/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-1319","post","type-post","status-publish","format-standard","hentry","category-library"],"yoast_head":"\nMusical Majesty - 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\/musical-majesty\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Musical Majesty - Peggy Lee\" \/>\n<meta property=\"og:description\" content=\"by Howard Reich In a word, she is indomitable. 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