Jerry Lott “The Phantom” – Love Me
Dot Cat# 16026 USA Year 1960
Jerry Lott a.k.a. Marty Lott, was born 30 January 1938, near Mobile, Alabama, and grew up in rural Leaksville, Mississippi near the Alabama border. As a kid he played country music on the school stage, which progressed to playing at Paynas Furniture Store in Lucedale, Mississippi. Jerry started entering and winning local performing contests, which led to touring, a familiar pattern to so many other artists on this blog.
But in 1956 when Elvis Presley came along, Lott’s eyes were pried opened, and his soul was charged with rock and roll. Country music was now the yesterday sound.
But Lott had written a simple yet sweet country love song, Whisper Your Love, which he says he spent a good 3 months putting it together. In the summer of ’58, Lott’s manager Johnny Blackburn, rented some studio time over at Gulf Coast Studios in Mobile, Alabama. Lott told Derek Glenister of New Commotion magazine in 1980, that someone had asked “What you gonna put on the flipside?”. Such was the naivete and innocence of the times, Lott had honestly never even thought about it. So he and the band shot form the hip on the B side! “Someone suggested I wrote something like Elvis ’cause he was just a little on the wane and everybody was beginning to turn against rock ‘n’ roll. They said, ‘See if you spark rock ‘n’ roll a little bit.’ It wasn’t any problem at all, and I wrote Love Me in about ten minutes”.
Lott continues with his story…”Me and Johnny Blackburn worked the controls in the studio, as we didn’t want it to sound like a commercial record, that was for sure. I put all the fire and fury I could utter into. I was satisfied with the first take, but everybody said, ‘let’s try it one more time’. I didn’t yell on the first take, but I yelled on the second, and blew one of the controls off the wall. I’m telling ya, it was wild. The drummer lost one of his sticks, the piano player screamed and knocked his stool over, the guitar player’s glasses were hanging sideways over his eyes, he looked like he was hypnotized”.
The result is a lusty explosion of animalistic energy, and if it had been 20 years later, you’d call hard punk! A monster was born on that day in ’58, and to this day, it still hasn’t lost any of that almighty fury! Clocking in at around 1.30 min., it’s a fast roller coaster ride through to the depths of rock ‘n roll hell, and it feels even with the frantic energy that Lott releases here, he is struggling to keep up with the manic “full steam ahead” drive the rest of the band are pushing out. But back then, wild got you nowhere without a record deal in your hands. Manager Blackburn sat on the tapes for more than a year, unable to clench any label interest.
Lott, known at this time as The Gulf Coast Fireball, left Mobile for Los Angeles to shop his master tape around. Then one day, on a truly bizarre impulse, he trailed pop crooner Pat Boone to church one Sunday morning and convinced him to give the tape a listen. It sounds like Boone had now been converted or had some kind of other spiritual awakening soon after. It was Boone’s idea to rename Lott The Phantom, and even agreeing to issue the record on his own Cooga Mooga label (an euphemism for God, as in Great Cooga Mooga). Eventually Lott signed a contract with Boone’s management but the single Love Me b/w Whisper Your Love was released on the label Boone recorded for, Dot Records in 1960 (apparently Lott never even met anyone at Dot). It was also released with a nifty picture sleeve, which normally was reserved only for the really big stars, and which I still have to get my hands by the way.
The song Love Me was appropriately covered by The Cramps in the late 70’s and released on both the Drug Train 7″ in ’80, and on the Bad Music For Bad People Lp in 84. The raucous romp is so very suited for Lux and Co., as can be seen in early footage from June of 1978, when they played at the California State Mental Hospital in Napa, CA.
But the deserved success story never really amounted for Lott, and in fact life instead, would soon drag him down into a darker chapter. Sadly in 1965, Jerry’s wife took her own life, and shortly thereafter, in 1966, while still attempting to tour, The Phantom was involved in a near fatal auto accident in York, South Carolina. After his car tumbled 600 feet down a mountainside he was left paralyzed below the neck. Lott continued to write songs, but he never recorded again.
But you know what…plenty of “rockers” since, have been signed and have had deals, have hit the big stages and have recorded hundreds of hours of material, yet the majority, if not all of those songs, would crumble in fear if they came up against the wild young reckless animal that is Love Me! Jerry Lott passed away on September 4th, 1983 at the age of 45.
Jerry Lott (The Phantom) – Vocals
Frank Holmes – Electric Guitar
Pete McCord – Bass Guitar
H.H. Brooks – Drums
Bill Yates – Piano
Referencing and interests…
Rockabilly – The Twang Heard ‘Round The World – published 2011, Voyageur Press.
eden ahbez – Tobago / The Old Boat
Del-Fi Records 4131 US Year 1960
Track 1 – Tobago
Track 2 – The Old Boat
Ever feeling like going away…far, far away? Sometimes the best trips are only as far as your record player. I have wanted share eden ahbez for some time on this blog, but the man was mysterious, you could even say mythical. Meaning there’s just not a lot out there to be found on this ahbez’s life.
Thankfully Brian Chidester’s elaborate Eden’s Island blog unveils a bit about the man, although after going through it all, you still want to know more. I’m so thankful that there are people out there spending the time documenting their knowledge and experiences with these disappearing artists. With some other news articles and such, here’s a brief summary of what I could put together, on eden ahbez and in particular, the story that leads to this 7″.
George Alexander Aberle was born, along with his twin sister Editha, on 15 April 1908, in Brooklyn, New York, to a Jewish father and a Scottish-English mother. Born in the depression, orphaned along with 12 other siblings, he spent his early years in the Brooklyn Hebrew Orphan Asylum of New York. He was then adopted, in 1917, by a family in Chanute, Kansas, and raised under the name George Mc Grew. During the 1930s, he lived in Kansas, where he performed as a pianist and dance band leader. But he didn’t stay long. He never stayed at any place for very long. He figured he didn’t fit into any prefabricated niches of society. He read books on Far Eastern cultures and philosophies and adopted the concept of a universal God. Then he was at home in the world. He hopped freight trains and waked across the country many times, and absorbed the echos of life around him. It’s probable he lived in New York City for some time, although little is known of that period of his life.
ahbez ventured to Hollywood, because he heard that’s where you go if you have a song…
Around 1940, Aberle arrived in Los Angeles and began washing dishes and playing live piano at the Eutropheon, a small health food store and raw food restaurant on Laurel Canyon Boulevard. The cafe was owned by John and Vera Richter, German immigrants who followed a Naturmensch and Lebensreform (1.) philosophy influenced by the Wandervogel (2.) movement in Germany. John Richter gave lectures throughout the Greater Los Angeles area during the 1940s, and some of the employees at the Eutropheon were young Americans who’d adopted his transcendentalist philosophy.
These followers, known as “Nature Boys” and who included Robert “Gypsy Boots” Bootzin, wore long hair and beards and ate only raw fruits and vegetables, a lifestyle that would be influential on the hippie movement that was to come, in California. During this period, Aberle adopted the name eden ahbez, choosing to spell his name with lower-case letters, claiming that only the words God and Infinity were worthy of capitalization. He is also said to have desired the A and Z (alpha and omega), the beginning and the end, in his surname, but he was known to friends simply as ahbe. During this period, he wore long unkempt hair, a bronze beard and a flowing white toga with leather sandals. ahbez would soon met Anna Jacobson, who became his wife and the mother of his only child, Zoma.
Nature Boy – In 1947, ahbez approached Nat King Cole’s manager backstage at the Lincoln Theater in Los Angeles and handed him the music for a song he wrote (some say it was he’s valet that passed on the piece of sheet music to Nat). That song was Nature Boy, and Cole began playing the song for live audiences to much acclaim, but he needed to track down its author before releasing his recording of it. Legend has it, that he, along with his wife, were discovered living under the first L of the famous Hollywood sign. He would became the focus of a media frenzy when Cole’s version of ahbez’s composition shot to No. 1 on the Billboard charts and remained there for eight consecutive weeks during the summer of 1948. Just for the record, Capitol Records sat on the recording for about a year, then finally put out the track as a B-side to Lost April.
ahbez was covered simultaneously in Life, Time, and Newsweek magazines. Frank Sinatra and Sarah Vaughan later released versions of the song. ahbez also faced legal action from Yiddish musical composer, Herman Yablokoff, who claimed that the melody to Nature Boy came from one of his songs, Shvayg mayn harts (Be Still My Heart). ahbez claimed to have “heard the tune in the mist of the California mountains.” There’s also reports that ahbez told the press that he’d heard the melody in the solitude of a cave, a notion he reiterated throughout his life. However, legal proceedings resulted in a payment to Yablokoff of $25,000 in an out-of-court settlement. (3.)
Soon after Nature Boy hit the top of the charts, R.K.O. Pictures optioned the rights to turn the song into a feature-length movie script, which likely melded into the late 1948 film, Boy with the Green Hair, a bizarre war time tale directed by Joseph Losey, starring Dean Stockwell. The picture featured Nature Boy throughout, and ahbez’s name was amongst the first in the opening credit roll.
ahbez continued to supply Cole with songs, including Land of Love (Come My Love and Live with Me), which was also covered by Doris Day and The Ink Spots, but unfortunately, none of these versions brought in any real success. For a brief period, some of the biggest jazz and pop artists of the day took an interest in working with ahbez, and recorded his songs for major American record labels. In 1950, ahbez’s own Nature Boy Orchestra released End of Desire b/w California, the latter was also recorded by Hoagy Carmichael, re-titled Sacramento, about a vagabond traveling the California coast by freight train. End of Desire was recorded by April Stevens & also Jack Powers, backed by another ahbez original, Guitar Totin’ Cowboy. ahbez would also collaborate with Wayne Shanklin during the 1950s, and together they came up with Hey Jacque, released in 1954 by Eartha Kitt. B-side to Kitt’s holiday hit, This Year’s Santa Baby, thousands of homes unknowingly had another ahbez ballad on their hands if they’d only turned the record over. ahbez also worked closely with jazz musician Herb Jeffries, and in ’54, the pair collaborated on an album, The Singing Prophet, which included the only recording of ahbez’s four-part Nature Boy Suite.
Throughout the ’50s ahbez continued recording with prominent black artists, including Sam Cooke, whose 1958 Lonely Island would be the second and final ahbez composition to hit the Top 40. Gene Chandler also recorded an almost identical version of that very song, that same year. In 1958 ahbez produced a doo-wop version of Nature Boy by R&B vocal group the Shields, featuring Jesse Belvin. R&B singer George “Biggie” McFadden recorded ahbez’s The Lesson of Love for Jackpot Records in 1958 too. In an interview with the Associated Press from June ’58, ahbez called Lesson his true follow-up to Nature Boy, insisting that he was also writing a “rock ‘n’ roll spiritual.”
In US mainstream, the strong tiki culture had introduced “exotica” music, a crossover between smooth jazz and Latin swing, with haunting melodies rooted in folklore sounds from different parts of the world. Often there were sound effects that would create an almost spooky jungle or dreamy island beach atmosphere, and even today it’s so easy to be completely taken away while listening to some of the Martin Denny and Arthur Lyman masterpieces of that time. ahbez’s first foray into the instrumental genre came in 1956, with three compositions he wrote for Bob Romeo & his Jungle Sextet’s Aphro-Desia LP. The tracks were Lisbon Street Dance, Zen and Sahara. The album jacket was graced by Anita Ekberg wearing a gypsy costume, and the cover also warned that the primitive rhythms therein could arouse uncommon emotions for the unaccustomed listener. Bob Romeo met ahbez’s Middle Eastern chord structures with proto-exotica percussion and abstract flute tones, with guidance from West Coast cool jazz giant Laurindo Almeida on guitar.
Eden’s Island – It was in 1960 when ahbez finally took an opportunity to record his full length solo album, Eden’s Island (Del-Fi Records). He had spoken of a “spiritual song cycle” as far back as 1958 in an interview with the Associated Press, and often performed bongo, flute and poetry gigs at L.A. beatnik coffee-houses such as the Insomniac Café (Hermosa Beach) and the Gas House (Venice Beach). ahbez approaches the field of exotica music from a different point of view, creating an epic concept album about an utopian society living in peace and harmony on an island far away from the modern western world as we know it. He would also utilize unusual combinations of instruments (flutes, bongos, vibes) and sound effects like creaking boats to conjure up the aural equivalent of a tropical breeze, but unlike Denny or Lyman, ahbez often added his own spoken poetry, speaking of coves, paradise, and other idyllic subjects. Eden’s Island seemed to be the grandiose summation of ahbez’s philosophic idealism.
The 7″ released from this album actually has a twist with the A side, in that it is an instrumental version of the opening and title track of the LP. I personally find this version, title Tobago on the 45, more pleasing. It’s pure escapism with it’s wind through the trees and the faraway birds. It’s not too difficult to picture ahbez’s figure standing distant on an far island hill, but close enough to make out his robe and hair slowly blowing through the salty wind, as he plays his wooden flute…and this weaving and undulating melody. On the B side is The Boat Song, as it is laid down on the LP. Again here, the listener is transported, however this time, the journey is further away, deep into the far ocean, but it still carries with a lovely rhythmic sway. Perfect track to listen to after a long night out DJ’ing or dancing, when you’ve just come home and you’re feeling completely wrecked! Chances are you’ll be completely lost into a peaceful state of sleepful bliss by the time the track is done…and it’s likely 8 hours later you’ll wake up to the crackling needle wearing down on the turntable.
Very grateful to have a 7″ release from the unique Eden’s Island album, especially with these two tracks. And while the whole LP is a journey that probably should be taken continuously from beginning to end, Full Moon, Banana Boy, and the prophetic La Mar all a big thumbs up from me. But was the world ready to take a trip out to Eden’s Island in 1960? Well, according the record’s producer Bob Keane, the album sold less than 500 copies. Adding another reason why it’s now a quite sort after record for a lot of exotica collectors. After this album, ahbez’s appearance on vinyl became thin.
During the ’60s, he did release
a handful of singles on various labels. Surfer John (flipped with John John), is an amusing and snappy shot of surf-exotica by Nature Boy & Friends (Bertram International Records) that tells a brief tale of a surfer who wasn’t afraid of taking on the largest of waves, well until until one fatal day that is. The kooky Yes, Master (b/w Jungle Bungalow), by Don Carson & the Casuals (Bertram International Records) is also witty and includes sound disciplinary clapping that sounds more like spanking to me. In 1960, there was also quite an illustrious operatic version of Nature Boy (b/w Lonely King of Rock and Roll) by Don Reed & “The Voice Of Love” Lorelei, that is truly wondrous (A&R Records). The novelty tune titled Mr. K by John Bean (Reprise Records) from 1963, with burps and all, makes you wonder can it get any more bizarre?
Anna Ahbez died in 1964, at the young age of 35, from cancer. Footage of her funeral shows family members and friends looking on as ahbez sits crossed-legged by Anna’s gravestone, playing a gong, and reciting some unknown words (the footage being silent). Zoma Ahbez died of a drug overdose in 1969, having been found seated in a lotus position. Some have claimed foul play was involved.
From 1970 onward, ahbez himself released very little. After Elvis Presley’s death in August 1977, ahbez’s old songwriting partner, P. Sterling Radcliffe (aka Don Sterling, aka Don Reed), re-recorded The Lonely King of Rock ‘n’ Roll, a tune the pair had written and released in 1960, as a new single on Via Records; Radcliffe left ahbez off the credits.
Anbez passed away on March 4, 1995 due to injuries incurred from an auto accident. At the time of his death, ahbez had been working on a book and album titled The Scriptures of the Golden Age. The overnight smash, Nature Boy, is best remembered for its universal benediction, “The greatest thing you’ll ever learn is just to love and be loved in return.” It has since been covered by literally thousands of artists, including Miles Davis, Grace Slick, and David Bowie. Congressman Bill Aswad recited the lyrics before the Vermont House of Representatives at the passing of his state’s same-sex marriage bill in ’09.
1. Lebensreform (“life reform”) was a social movement in late 19th-century and early 20th-century Germany and Switzerland that propagated a back-to-nature lifestyle, emphasizing among others healthy raw organic foods, nudism, sexual liberation, alternative medicine, and religious reform and at the same time abstention from alcohol, tobacco, drugs, and vaccines
2. Wandervogel is the name adopted by a popular movement of German youth groups from 1896 onward. The name can be translated as rambling, hiking, or wandering bird, and the ethos is to shake off the restrictions of society and get back to nature and freedom. Soon the groups split and there originated ever more organisations, which still all called themselves Wandervogel, but were organisationally independent.
3. To that end it is worth noting that the first two measures of the song’s melody also parallel the melody of the second movement in Antonín Dvořák’s Piano Quintet No. 2 in A, Op. 81 (1887). It is unknown if ahbez and/or Yablokoff were familiar with Dvořák’s piece, or if they arrived at the same melodic idea independently.
Again I have to mention how useful Brian Chidester’s elaborate Eden’s Island website was for this post. Please do visit it for a far more in-depth reading on abhez and the life around him. Also referencing…
Santo & Johnny – Slave Girl (EP)
PARLOPHONE GEP 8806 UK – Year 1960 PARLOPHONE GEPO 70009 AUS – Year 1960
Slave Girl (Side 2 Track 2)
While this is a far lesser known track from the Farina brothers, this exotic sultry instro has to be my fav from this talented duo! And to find it on a 45, means I can now take it with me everywhere I go.
Farina brothers, Santo Anthony & John Steven, were born in Brooklyn, New York, just 4 years apart. Santo, the elder, was born October 24, 1937 and then Johnny followed, April 30, 1941. The boys were young when their Dad was drafted into the army and stationed in Oklahoma. One evening on the radio, he heard this beautiful accent while listening to country and western…it was the sound of the steel guitar. He wrote home to his wife and said “I’d like the boys to learn to play this instrument”. When he returned from the war they searched out for a man who could get them started with the steel. The boys, I imagine, probably jumped for the opportunity. What kid doesn’t want to play a guitar of sorts?
But althou
gh their dad was super keen to have the boys learn that very particular style that carried those unyielding memories, and although he was successful in finding a lap steel guitar somewhere in a music store in Brooklyn, there was no certainty that the right teacher who had the specific skills would materialize. After a few failed attempts from baffled music school tutors, who just lacked the know-how to master the “sound”, their frustrated dad searched himself and eventually found an authentic Hawaiian musician with the skills. The brothers finally had a teacher with the expertise, and thanks to some Italian food coaxing, he would tutor the boys at their own home. After about 5 months, the teacher headed back to Hawaii, and the brothers never saw him again, but he had left behind enough of his teachings for Santo and Johnny to now take flight…and spread their wings they did.
When Johnny reached the age of twelve, he began to play accompaniment to Santo on a standard electric guitar (his big brother helped him learn to play). Their supportive father had bought them a Webcor tape recorder, and encourage them to write their own material and record everything. The brothers eventually formed a duo and became rather popular in school, soon started performing at church dances, weddings, clubs and other events in the New York boroughs. The Farina brothers began to gather fans from Brooklyn to Long Island.
In 1958, Mike Dee & The Mello Tones (Santo Farina on steel guitar; Johnny Farina on electric guitar and with their uncle Mike Dee on drums) recorded a self-penned instrumental which they called Deep Sleep. Loosely inspired by the song Softly, As In The Morning Sunrise (Sigmund Romberg, 1929), it had the same chord progression but a simpler melody line. Deep Sleep would in time become Sleep Walk.
The determined younger brother, Johnny, made the rounds of the New York record companies searching for a publishing deal, with a couple of their recorded demos in hand. His persistence and determination paid off and they got lucky with Canadian American Records, who signed them to a song writer’s contract. Although grateful I’m sure, it was a recording deal which is what they were really chasing, and soon enough the opportunity was granted to them. Their first release in 1959 was consummated, and it was called Sleep Walk. And did it do well? Umm…yes it did! It was recorded at Trinity Records in Manhattan and entered Billboard’s ‘Top 40’ on August 17, 1959. The moody eerie composition rose to the No.1 position on the American charts, for two weeks in September, and remained in the ‘Top 40’ list until November 9. There’s a great live version from ’59 on the Saturday Night Beech-Nut Show, on youtube I recommend you looking for.
Santo and Johnny actually wrote lyrics to Sleepwalk, and after the instrumental was a hit song, Betsy Brye (real name is Bette Anne Steele) released a beautiful “lynchesque” vocal version as a single in 1959 (Canadian American Records 106), which did not chart on the Hot 100, but damn I like it! At first it was believed that the composition was written at 2.am early one morning, when one brother woke the other with an idea. But a recent interview with Johnny reveals that it was a long and constant progression of revisited ideas that finally got them the hit.
The follow-up song “Tear Drop” was also a hit, though their self titled LP released that same year, was less successful in the United States. But that takes nothing away from the lp, which was arranged and conducted by Bob Davie, who had been the guiding hand to all of Santo and Johnny’s musical activities. It included some fabulous interpretations of well known ditties such as Caravan, Raunchy, Dream, and there’s even a take on Chuck Berry’s School Days. And you have to hear the wildly hypnotic version of Summertime. But the standout for me at least, has to be the self penned Slave Girl, and it wasn’t that long ago that I made the discovery of it in the form of a mono UK 7″ EP. There’s just something so exciting about this wonderful piece of exotica. It’s slinky (yeah I know I like using that term), sensual, so rhythmic, and it’s quite transporting, but unfortunately it’s also just too short! It’s a fine early night spinner, to get the right kinda’ cool in the air. This ep also includes a gorgeous version of Blue Moon which makes it even more desirable. Also funnily enough, I recently found an Aussie copy with an alternate picture sleeve, in a local record shop bargain bin.
With their unmistakable sound, they appeared on all the top music shows, “The Alan Freed Show”, “Dick Clarks’ American Bandstand”, “The Perry Como Show” etc. etc. Their fame spread to other countries and they got booked on tours in Australia, Mexico and Europe. After the less successful debut album, they issued five more albums for Canadian-American, before the company dissolved in 1965. But Santo & Johnny continued to record and release a great amount of Lp’s and 45’s with other various labels including Imperial, Ricordi and Produttori Associati, the Italian label founded in 1969 by Antonio Casetta. The albums were ethereal, relaxed, sometimes swinging, and variously themed (James Bond, Hawaiian songs, country music, rock and roll hits, etc.), but were more popular internationally than at home.
In 1964, they released an album of Beatles covers including And I Love Her, which hit #1 in Mexico and held the spot for 21 weeks (they received The Golden Kangaroo Award for it). In 1973, Santo & Johnny recorded Nino Rota’s The Godfather theme which went to #1 in Italy and stayed at that spot for 26 weeks which broke all records in Italy (there certainly feels like some Jean-Jacques Perrey channeling going on in that one). They received a “Gold Record” in Italy and were inducted into the Italian Music Hall of Fame.
Santo and Johnny’s distinctive sound influenced a generation of not just guitarists, but all kinds of musicians. “Sleep Walk’s in everybody’s DNA,” says Farina. “John Lennon said he was inspired by Sleep Walk, and that’s why he wrote Free As A Bird. George Harrison released a song called Marwa Blues inspired by Santo and Johnny”.
1999 was a great year for Sleep Walk, it earned BMI’s Millionaires Award symbolizing 2 million airplays on the radio. Also that year, Brian Setzer’s version earned him a Grammy Award for best instrumental of 1999. Because of constant radio airplay and numerous TV show and commercial plays, Sleep Walk continues to be one of the most popular and quickly recognized instrumentals of the 20th century. It was also used throughout the 1992 Stephen King movie, Sleepwalkers.
In 2002 Santo & Johnny were inducted into the International Steel Guitar Hall of Fame. Hanging proudly on his wall, Johnny has 2 Gold Records, one for Sleep Walk and on for The Godfather.
Santo retired from music in the early 70s, but Johnny continues to perform, now taking on the lap-steel role, and still finds time to record new material with his own band. He is also the president of Aniraf, Inc., an international record company based in New York, and currently operates the official Santo And Johnny website.
Nina Simone – Come On Back, Jack
Colpix CP 614 US Year 1960
“She earned the moniker ‘High Priestess of Soul’ for she could weave a spell so seductive and hypnotic that the listener lost track of time and space as they became absorbed in the moment.” Official ninasimone.com.
As we all know, she was arguably one of the most important and influential women of the soul, blues and jazz genre, and I think the only real place to start a 45 collective journey is at the beginning. And it was in the early 60’s, a time when Nina was singing some of her most intimate and bluesy compositions of her career, when this little fiery monster surfaced amongst it all!
But first a little bit about Eunice Kathleen Waymon. She was born in Tryon, North Carolina on February 21st, 1933, the sixth child to a Methodist minister mother and a handyman and preacher father, and started playing piano by ear at the age of three. Her parents taught her right from wrong, to carry herself with dignity, and to work hard, which would in time mold her into the incredibly strong woman she grew up to be. She played piano in her mother’s church, displaying remarkable talent early in her life, but didn’t sing at that time.
Able to play virtually anything by ear, she was soon studying classical music with an Englishwoman named Muriel Mazzanovich, and quickly developed a lifelong love of Bach, Chopin, Brahms and Beethoven. After graduating from her high school, her local community raised money for a scholarship to study at Julliard in New York City before applying to the prestigious Curtis Institute of Music in Philadelphia. Eunice’s hopes for a career as a pioneering African American classical pianist were dashed when the school denied her admission. To the end, she herself would claim that racism was the reason she did not attend.
To survive, she began teaching music to local students, and also began singing in bars, which Eunice’s mother would refer that practice as “working in the fires of hell”. But quickly she attracted club goers up and down the East Coast with her unique jazz-blues renditions of Gershwin, Porter and Rodgers standards. And then Eunice Waymon became Nina Simone, taking the nickname “Nina” meaning “little one” in Spanish and “Simone” after the actress Simone Signoret.
At the age of 24, Nina came to the attention of Syd Nathan, owner of the Ohio-based King Records, and was signed to his Jazz imprint, Bethlehem Records. While at first Nathan had insisted on choosing songs for her debut set, he eventually relented and allowed Nina to delve in the repertoire she had been performing at clubs and was well known for. What I think is one of her most outstanding jazz compositions on Bethlehem is the B sided African Mailman released in 1960, and one you really need to check out!
Nina’s stay with Bethlehem Records was short lived and in 1959, after moving to New York City, she was signed by Joyce Selznik, the eastern talent scout for Colpix Records, a division of Columbia Pictures, founded in 1958. Her stay with Colpix resulted in some incredible recordings, including 9 albums, and some mighty fine 45’s including Forbidden Fruit and her beautiful version of I Got It Bad.
Produced by big band legend Stu Phillips, Come On Back, Jack is Nina’s response to Ray Charles dance floor bomb Hit The Road Jack, (written by rhythm and bluesman Percy Mayfield) which was released that same year! But while it does share a similar riff and beat, I have to say it’s Nina’s jam that has got Jack running the fastest and packs as much, if not more, dance floor impact. Unavailable on LP, this is a prized diamond hidden amongst so many jewels in Nina’s treasure trove that’s worth hunting for!
Finally, this post is only a very small chapter of this remarkable woman’s life and her recording career, but please stay tuned for future Simone posts here, as there’s certainly a few more 45’s that deserve to be spotlighted!
To find out so much more on this incredible woman’s highly influential life and music visit ninasimone.com.
And also….I Put A Spell On You: The Autobiography Of Nina Simone
Seven45rpm 
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