SONG OF THE DAY
“Mean To Me” by Carmen McRae (Any Old Time, Denon Records, 1986). Music by Fred E. Ahlert and lyrics by Roy Turk.
INTERESTING FACTS (a la wikipedia)
- “Mean To Me” is a popular song, originally published in 1929 and since recorded by many artists.
- Doris Day recorded a version for the 1955 film Love Me or Leave Me.
- Ella Fitzgerald included this song on her 1962 Verve release Ella Swings Brightly with Nelson, recorded with the Nelson Riddle Orchestra; the album won a Grammy Award in 1963.
- Carmen Mercedes McRae was an American jazz singer, composer, pianist, and actress.
- Considered one of the most influential jazz vocalists of the 20th century, it was her behind-the-beat phrasing and her ironic interpretations of song lyrics that made her memorable.
- McRae drew inspiration from Billie Holiday, but established her own distinctive voice.
- She went on to record over 60 albums, enjoying a rich musical career, performing and recording in the United States, Europe, and Japan.
- McRae was born in Harlem to Jamaican immigrant parents, Osmond and Evadne McRae. She began studying piano when she was eight, and the music of jazz greats like Louis Armstrong and Duke Ellington filled her home. She met singer Billie Holiday when she was just 17 years old.
- As a teenager McRae came to the attention of Teddy Wilson and his wife, the composer Irene Kitchings Wilson. One of McRae’s early songs, “Dream of Life” through their influence, was recorded in 1939 by Wilson’s longtime collaborator Billie Holiday. McRae considered Holiday to be her primary influence.
- In her late teens and early twenties, McRae played piano at a New York club called Minton’s Playhouse, Harlem’s most famous jazz club, sang as a chorus girl, and worked as a secretary. It was at Minton’s where she met trumpeter Dizzy Gillespie, bassist Oscar Pettiford, and drummer Kenny Clarke.
- She had her first important job as a pianist with the Benny Carter’s big band (1944), worked with Count Basie (1944) and made first recording as pianist with Mercer Ellington Band (1946–1947). But it was while working in Brooklyn that she came to the attention of Decca’s Milt Gabler. Her five year association with Decca yielded 12 LPs.
- In 1948 she moved to Chicago with comedian George Kirby. She played piano steadily for almost four years before returning to New York. Those years in Chicago, McRae told Jazz Forum, “gave me whatever it is that I have now. That’s the most prominent schooling I ever had.”
- Back in New York in the early 1950s, McRae got the record contract that launched her career.
- Among her most interesting recording projects were Mad About The Man (1957) with composer Noël Coward, Boy Meets Girl (1957) with Sammy Davis, Jr., participating in Dave Brubeck’s The Real Ambassadors (1961) with Louis Armstrong, a tribute album You’re Lookin’ at Me (A Collection of Nat King Cole Songs) (1983), cutting an album of live duets with Betty Carter, The Carmen McRae-Betty Carter Duets (1987), being accompanied by Dave Brubeck and George Shearing, and closing her career with brilliant tributes to Thelonious Monk, Carmen Sings Monk (1990), and Sarah Vaughan, Sarah: Dedicated to You (1991).
- As a result of her early friendship with Billie Holiday, she never performed without singing at least one song associated with “Lady Day”, and recorded an album in 1983 in her honor entitled For Lady Day, which was released in 1995. Some songs included are; “Good Morning Heartache”, “Them There Eyes”, “Lover Man”, “God Bless the Child”, “Don’t Explain”, just to name a few. McRae also recorded with the world best jazz musicians, Take Five Live (1961) with Dave Brubeck, Heat Wave (1982) with Cal Tjader, and Two for the Road (1989) with George Shearing.
- McRae sang in jazz clubs throughout the United States—and across the world—for over fifty years, including performances at the legendary Monterey Jazz Festival (1961–1963, 1966, 1971, 1973, 1982). She also has a legendary performance with Duke Ellington’s at the North Sea Jazz Festival in 1980, singing “Don’t Get Around Much Any More”, and at the Montreux Jazz Festival in 1989.