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Doris Day’s Career as a Pop Singer

As Will Friedwald writes in his essential A Biographical Guide to the Great Jazz and Pop Singers “The world of pop music is a funny place – perhaps the only area of our culture where someone can be rich and famous and still be considered ‘underrated.'” He is referring to Doris Day. Actually, the entire reason that I purchased his book is because I had read that he was an enthusiastic fan of Doris Day as a singer, which turned out to be perfectly true. “Doris Day can be considered the best [pop singer] just because she’s as great as a pop singer can be.” “Doris Day sang like she had nothing to prove.” “Doris Day has a sound like bottled sunshine. It’s hard to think of another human voice that’s so luxuriously sensual.” “At her very best, Doris Day is worthy of being mentioned in the same breath as Frank Sinatra or Ella Fitzgerald, yet though she’ll hardly die broke, she’s never gotten a fraction of their respect.”

The irony is that Doris Day became a singer by accident. In many ways, her entire career was an accident. Born Doris Mary Anne Kappelhoff, she once said, “I’m still Doris Mary Anne Kappelhoff from Cincinnati, Ohio. All I ever wanted to do was to get married, have a nice husband, have two or three children, keep house and cook – a nice clean house – and live happily ever after – and I ended up in Hollywood.”

But even if she hadn’t ended up in Hollywood, she would have had a stellar career as a pop singer, though it was her career as a singer that ultimately led her to Hollywood. Fortunately, unlike other fine singers like Alice Faye or even Judy Garland, she was still able to record while making films.

She originally intended to be a dancer. As a child, she teamed up with another young dancer, Jerry Dougherty, and danced around Cincinnati, winning prizes until Doris Day’s mother decided they should move to Hollywood, where she was convinced her daughter would be a success. But before they could move, Doris Day was in a car accident, which left her right leg shattered. It took her a year to recover fully. To pass the time, she listened to the radio and tried to sing along with Ella Fitzgerald. She eventually took lessons and her teacher, Grace Raine, recognized that Day’s voice and singing was special.

Day sang at a local Chinese Restaurant, sang on the radio, and soon was hired by band-leader Barney Rapp, who gave her the name Doris Day, supposedly after the song she sang, “Day by Day.” Rapp’s band played at Rapp’s nightclub in Cincinnati, then went on tour. She then sang for bandleaders Bob Crosby, Fred Waring, and finally Les Brown.

Les Brown and Doris Day

After a disastrous marriage to trombonist Al Jorden, who was abusive, she was now a young divorcee with a child and returned to work with Les Brown. In 1945, she would record her first big hit, “Sentimental Journey,” which struck home with the post-WWII mood of returning soldiers and starting life afresh.

Before taking a screen test and being chosen by Michael Curtiz for her first film, Romance on the High Seas (where she had another hit with “It’s Magic”), she signed with Columbia Records. After WWII, the big bands were fading and there was more interest in vocalists, like Frank Sinatra. Unfortunately, many of the songs Columbia would assign Day were cheesy novelty numbers, but there were also records and songs of the highest quality.

She would never tour again and she always preferred not to perform live. The remainder of her career as a singer would occur in the recording studio. But she only grew more popular, both as an actress and singer, into the 1960s.

Some of her greatest albums are “Duet,” where she is accompanied by Andre Previn; “Day by Day” and “Day By Night.” Will Friedwald also makes a case for her recording with Robert Goulet of “Annie Get Your Gun.” But there are many more. She spanned big band, Broadway, pop, and could even swing.

As Friedwald writes, “Dinah Shore, who had been around longer, had a bigger broadcasting career, but couldn’t touch Day in pictures; Judy Garland had a shorter but more spectacular film career, but wasn’t utilized as much on recordings or radio as she should have been. Paramount tried to make Rosemary Clooney the next Doris Day, but she never caught on in pictures. Day was the sole female singer to come from the band world and make the transition to solo stardom and pictures.”

Friedwald tends to measure the ultimate success of a singer, not only by their vocal abilities, but by the body of work that they produce, if they record worthy songs and albums that stand the test of time. In the case of Day, despite all the novelty songs, she recorded an impressive number of songs by the great composers like Gershwin, Berlin, Mercer, Rodgers, etc. Sadly, at least sadly for us, she retired from singing quite early in life, when she was in her forties.

But perhaps it’s churlish to repine. It is her life to live and she gave us so much extraordinary music. Far more than most singer/actors. I can never get tired of listening to her vast body of work.

This post was written as part of the “Second Annual Doris Day Blogathon,” hosted by Love Letters to Old Hollywood. Click here for more posts celebrating Doris Day.


Sources:

Considering Doris Day – by Tom Santopietro

A Biographical Guide to the Great Jazz and Pop Singers – by Will Friedwald

The Great Jazz and Pop Vocal Albums – by Will Friedwald

 

 

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Posted by on April 3, 2018 in Music

 

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A Christmas Potpourri

I’ve somehow largely been out of the mood for Christmas (not in a bad mood, just having trouble feeling like it’s Christmas), watching no Christmas movies, listening to very little Christmas music, and reading even less Christmas related material. It’s been odd. However, here three Christmasy things relating to music, literature, and cinema that are part of my December that I wanted to share.

Julie London and Christmas

Julie London did not have a very big voice. She said she had “only a thimbleful of a voice, and I have to use it close to the microphone. But it is a kind of over-smoked voice, and it automatically sounds intimate.” She manages to sound both sexy and classy.

My December has been rather warm, because I’m temporarily in California. Usually, my Christmas is damp and chilly (rather than snowy), but this year it is sunny and warm. In two songs, Julie London sings about a warm Christmas, but it’s not because of the sun.

“I’ve Got My Love To Keep Me Warm” – written by Irving Berlin in the 1937 film On the Avenue.

And “Warm December”

“I’d Like You For Christmas” was written by Julie London’s husband, Bobby Troup, who acted with Julie London in the TV series Emergency!

Relating to John Milton

I’ve been reading about John Milton, author of Paradise Lost. One random fact I learned in a biography about him – The Life of John Milton: A Critical Biography by Barbara K. Lewalski – is that the phrase “Hobson’s Choice” derived from Thomas Hobson, who owned a livery stable and rented horse and carriages to the students at Cambridge (presumably including John Milton). He reportedly would force the students to rent whatever horse and carriage was closest to the door, thus the saying “Hobson’s choice,” which essentially means “no choice.” I mention it because I had never heard the phrase before and caused the title of David Lean’s film Hobson’s Choice to make much more sense. I had previously and rather ignorantly assumed it meant that he really had a choice to make.

But the one Christmas work I have consistently been listening to is Ralph Vaughan William’s “Hodie,” which is a cantata with music set to texts from the Bible and various English poems from authors like George Herbert, Thomas Hardy, and John Milton. The most moving song is “It Was the Winter Wild,” which is adapted from John Milton’s poem “On the Morning of Christ’s Nativity.” Listen how, at the end, the music hushes after the soprano sings about how “Birds of Calm” brood over the music so that it forgets “to rave.”

It was the Winter wilde,
While the Heav'n-born-childe,
All meanly wrapt in the rude manger lies;
Nature in aw to him
Had doff't her gawdy trim,
With her great Master so to sympathize:
And waving wide her mirtle wand,
She strikes a universall Peace through Sea and Land.

No War, or Battails sound
Was heard the World around:
The idle spear and shield were high up hung; 
The hooked Chariot stood
Unstain'd with hostile blood,
The Trumpet spake not to the armed throng,
And Kings sate still with awfull eye,
As if they surely knew their sovran Lord was by. 

But peacefull was the night
Wherin the Prince of light
His raign of peace upon the earth began:
The Windes, with wonder whist,
Smoothly the waters kist, [ 65 ]
Whispering new joyes to the milde Ocean,
Who now hath quite forgot to rave,
While Birds of Calm sit brooding on the charmed wave.

A New Christmas Movie

I have yet to see a single holiday film this December, but thanks to Ruth at Silver Screenings, I have a new Christmas film to watch tonight that I have never seen, or even heard of before. It is called The Holly and the Ivy, starring Ralph Richardson, Celia Johnson and Margaret Leighton. It looks to be delightful. For more information and a link to the film, please check out her post, here.

Have a Merry Christmas! I’ll be back before New Year with a look at the past year and some thoughts about the coming new year.

 
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Posted by on December 23, 2017 in Books, Movies, Music

 

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A Return to Earth and Johnny Hartman

After having dropped off the face of the blogging earth, so to speak, I am feeling rather giddy to have returned. I’ve missed writing and reading about movies and books and hope everyone is doing well and having a lovely fall. It’s been a beautiful autumn where I live. How about your autumn?

I’ve actually stacked up a lot of different things I would like to write about: Japanese cinema, Jo Stafford, a new book about jazz and pop singers that is dangerously addictive to read, a few movie reviews of film noirs, some observations about American hard-boiled writing. But perhaps the best place to begin is with Johnny Hartman.

Johnny Hartman never achieved the success he deserved during his own lifetime and even now is not as well known as he should be. He has a meltingly lovely voice. When the word mellifluous was created, surely that person had Johnny Hartman in mind.

He was primarily a singer of ballads, which was part of his difficulty, because he was singing ballads at a time when rock and roll had stormed in. Perhaps if he had been singing a decade earlier, he would have been better known.

He inadvertently became known as a jazz singer when he collaborated with John Coltrane on their brilliant album John Coltrane and Johnny Hartman, though he was also a pop singer. Will Friedwald, in the dangerously addictive book I mentioned called A Biographical Guide to the Great Jazz and Pop Singers, wrote that “The basic sound of a Johnny Hartman performance touches on all three sources: jazz, adult pop, and cabaret.”

He was also, according to Friedwald (and it’s difficult to argue), “one of the greatest of all interpreters of love songs.”

It wasn’t just a question of a deep, sensual voice, which he surely had: it was his romantic attitude. ‘There was a sentimentality to him,’ his longtime accompanist Tony Monte put it. ‘He was in love with the idea of being in love, and he [continually] expressed that idea. He would sing about it, and he would speak about in his patter. He would look out wistfully in the audience and say he was going to dedicate the rest of the show to the beautiful women out there and to the men who brought them, and who were paying such great attention to them. And it wasn’t just a little piece of theater, he meant what he was saying.’

In honor of Autumn, which is coming to a close, here is Johnny Hartman and John Coltrane’s rendition of “Autumn Serenade.”

And “The Nearness of You,” written by Hoagy Carmichael and Ned Washington. This song can just about melt a person.

 
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Posted by on November 20, 2017 in Music

 

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