First and foremost Lorraine Feather is a lyricist, a writer. She is also a gifted singer who has continued to develop her considerable natural skills over the years.
But as a lyricist and singer who relies on musical composers, she has had to master a third and very difficult skill, which, because it is so all-encompassing, is quite invisible: she is one of the music world's most accomplished practitioners of the delicate act of collaboration. Her embrace of this fine art is key to understanding the artist. Even the most educated of listeners is only vaguely cognizant that it is Ira Gershwin
's words they are hearing in their head when they hum "I've Got Rhythm," or Oscar Hammerstein's when they hum "The Sound of Music." But because collaborations are team efforts, it is the team ("Rodgers-and-Hammerstein" is spoken these days as a single word) that gets the spotlight. Unless, as was the case with the great Johnny Mercer, and is the case with Lorraine Feather, the lyricist is also the singer. The Body Remembers
(Bean Bag, 1997) is a solo album that was a collaboration with several composers, principally Feather's husband, drummer/producer Tony Morales. "[It] was essentially conceived in Tony's studio in our first, wee home in La Crescenta [California] on our old 4-track machine. It's dated now because of all the electronics, but it was a blast to do. 'Five' was based on a weird sliding thing Tony's old BassMan bass machine started doing when the batteries were wearing out. He made it into a groove. I don't overdub my own voice anymore because it's not often appropriate on an acoustic jazz recording, but I did it a lot on that CD and I love doing it. Janis Siegel
later sang 'Indigo Sky,' which Eddie Arkin and I wrote for TBR
, with Bruce Lofgren. Joe Curiale and Yutaka Yokokura wrote the beautiful music for 'Bleecker Street,' dedicated to my friend Cliff, who had died of AIDS. Terry Sampson, Tony and I wrote 'Where Are My Keys,' which I recorded later for Language
, and is one of the most played tunes of mine on radio.
"I also worked with Don Grusin
for the first time on that CD. Besides being a fantastic player and writer, he gave me a lot of good musician's advice that helped me as a singer. 'Touchy' was written with John Capek, who had hits with Rod Stewart
, Toto and Heart ... we later wrote a song called 'Why Did She Come In with You?' that Patti Austin
recorded... it was a strange tune with a kind of yuppie rap section that included the word 'quesadillas.'
Feather Composer/Collaborators, From Left: Dick Hyman Eddie Arkin, Russell Ferrante
"In 1999, five years after my dad passed away, I was going through some CDs with my mom and borrowed Fats Waller
's Turn on the Heat
(Bluebird/RCA, 1991). I hadn't heard much of his music growing up. I became smitten with it. I wrote lyrics to a Fats piece for fun, recorded it with the original piano and live musicians. I sent it to Dick Hyman because I thought he might get a kick out of it. He called me and suggested I do a whole Fats album. 'It's like Lambert, Hendricks and Ross but with much older music!' he said. 'I'll help you decide on the material and I'll play on it.' A few days after he called, my mother had a stroke. She died within a couple of weeks. Dick told me that he thought it would be good for me to keep working through that sad time, and it was. I could never have done the album without him, musically or otherwise.
During the writing period, Mike Lang worked with me in L.A. As well as being a fine, fine player, he knows a lot about jazz history and helped me expand my knowledge of the Fats repertoire did hip arrangements of 'Blue Black Bottom' ("Too Good Lookin"), 'Viper's Drag' ("Timeless Rag") and 'Numb Fumblin' ("In Living Black and White").
"I remember, vividly, the first time Dick Hyman played Fats Waller's 'The Minor Drag' for me, in David Abell's piano store. I thought it was the most entertaining piece of music I'd ever heard." So inspired was she, that it became "You're Outa Here," the opening track on New York City Drag
(Rhombus, 2001), her CD of Waller pieces for which she daringly wrote the classic tunes' first-ever lyrics. As it turned out, this collaborative album with Hyman and Mike Lang (and Waller) was a watershed moment in her career. Finding Her Artistic Voice
With Café Society
(Sanctuary, 2003) Lorraine Feather strikes just the right nostalgic note for the listener, providing a wistful introduction (or re-introduction, as the case may be) to the world of 1945 Greenwich Village, where the basement at 1 Sheridan Square housed the historically famous nightclub Café Society Downtown and the top floor was the apartment home of her newlywed parents. She creates a rare kind of intimacy for her listener that is only possible because of its authenticity. Her lovingly written musical paeans and revivifying lyrical treatments of a pair of tunes written by Duke Ellington, and one each by Johnny Mandel
and Charlie Barnet, are seamlessly enveloped in a world few besides Feather would have had the life experience needed to imagine it. Her collaborations with contemporaries like Eddie Arkin, Don Grusin, and Russell Ferrante are all in the spirit of that hard-swinging and first-ever racially integrated club where blacks and whites sat side-by-side not only on the bandstand, but at the tables in the audience as well. After the club opened in 1939, such luminaries as Lester Young
, Ella Fitzgerald
, Art Tatum
and Billie Holiday had performed there.
. . . was mostly all-original. Some of the highlights were working with Russ for the first time on the title track, doing my own version of Eddie's and my song 'Big Fun,' that Barry Manilow had recorded on the Swing Street (BMG, 1987)
album Eddie worked with him on; my own version of 'Jungle Rhythm' from The Jungle Book 2. Paul Grabowsky
and I wrote two of the songs for that film with him in Australia and me in Half Moon Bay, CA, never having metfor me, one of the first clues that the world had completely changed thanks to the Internet. The singers on that album, Shelby Flint, Carmen Twillie, Michael Mishaw, Randy Crenshaw and Morgan Ames, who arranged the vocals, were divine."
A year later Feather went all-in once more with an entire album of lyrical treatments to Duke Ellington tunes (save one nugget written by her father and recorded by Duke) entitled Such Sweet Thunder (Sanctuary, 2004)
"I love Ellington's music, Strayhorn's. Many of my favorite pieces were written in the 30s. I had done three Ellington pieces for Café Society
and met Bill Elliott
, who is a stellar big band arranger. I decided to do a whole Ellington album with Bill arranging and it was a thrill from beginning to end, except for the legal hassles. Doing these adaptations of old tunes is a real can of worms, or slippery slope, or Pandora's Box, I'm not sure which to choose... but it's fraught with peril. You have to show the publishers what you're doing before they agree, and by that time you've already invested time and money. At the last minute, one of the publishers for three pieces I wanted to use, decided not to give the okay because Norah Jones
, an artist on their label, was doing an Ellington adaptation of her own. Of course, no one had forced me to take the chance! The musicians were wonderful though, and there was so
much music to listen to and consider. Ken Dryden sent me some fascinating Ellington compositions I had never heard. It was a real adventure as well as an honor.
"I do feel I have a deeper appreciation of these composers' work, having delved into it as I did. It was good for me as a singer and lyricist, good for my ears to learn the music more intimately, and good for my soul to have the privilege of connecting with what these compositions had to say, and keep saying, as they are performed all over the world every day. I took the liberty of writing whatever came naturally to me without regard for period. Once when I was performing 'You're Outa Here' in New York, a musician pulled me aside after a run-through to hip me to the fact that there were no 501 jeans during Fats Waller's lifetime,"
Significantly, somewhat ironically perhaps, her collaborationist's efforts with these composer's ghosts and their classic recordings were helping her to find her own artistic voice.
Stride pianist Fats Waller inscribed this photo of himself with the words, "To Leonard Feather, you 'swell' person. Oh! What a change you have made in life! May God bless you and your days without end. Sincerely, 'Fats' Waller"
Vocalese, the painstaking musical prestidigitation done by writing lyrics to already-penned instrumental melodies or complete compositions, was back. Sometimes maligned by hair-shirted jazz police, this "simple" art form has been responsible for some of the most popular music of all time: Lambert, Hendricks & Ross
was the biggest jazz vocal group of the 1960s, and The Manhattan Transfer
was the hottest thing in pop vocals in the late 1970s/early 1980s. This time, at the dawn of the new millennium, it was carefully crafted lyrics written with practically a historian's sensibility and depth of understanding, first for the breakneck up-tempo compositions of Fats Waller, and then for the sophisticated stylings of Duke Ellington, performed with Lorraine Feather's bright, agile instrument in the place of the group dynamic of LH&R's improvisations and scatting, or MT's close harmonies. New York City Drag
elicited rave reviews. Zan Stewart of Down Beat
wrote: "Employing Fats Waller's attractive and still meaningful '30s music, the gleaming-voiced, fluid and articulate Feather concocts a variety of mostly contemporary scenariosmany humorous, some disquieting...emotive whammy...glowingly tributes Waller and his ilk;" while Charles Champlin of the Los Angeles Times
wrote: "Her new twinning of words and music based on chop-busting, improvised choruses do not simply recall previously heard melodies and riffs; the words, in Lorraine's supple and engaging voice, bring a new luster and excitement."
Of Such Sweet Thunder
, Nat Hentoff
, the esteemed old professor of jazz himself, wrote: "At this point I have to say, and I never had the temerity to say this to Duke, that in a number of others' attempts to put lyrics to Duke's music, they missed his swift and amused sense, for example, of the unintended consequences of desire. Lorraine has that perception in the stories that are her lyrics. I wish she had been around as a lyricist when Duke was. I think they could have collaborated."
Because as much as Lorraine Feather and her lineage could be loftily viewed as the embodiment of the Jazz Age, she is far more than a time-traveler or historical reference point. All good writers live in their constructed worlds long enough to write about them. Like a successful student in the Flemish School of painters during the European renaissance, she had studied the masters to the point where her own mastery was becoming an extension of theirsbut the more she was drawn to working with them, the greater the urge became to collaborate with the talented contemporary composers she had come to know, and do entirely original work.
"On Dooji Wooji
(Sanctuary, 2005) I discovered that I was suddenly allowed to use the three other Ellington pieces I had worked on. I'd become smitten with the 'small big band' sound he popularized in the early 30s and much of the album goes for that vibe. That CD included Eddie's and my song 'I Know the Way to Brooklyn,'which Janis Siegel
sings on the road... in fact we sang it together at Jazz Alley in Seattle when the Transfer were therealso 'Remembering to Breathe,' a song I wrote with Bill Elliott right before he moved east to teach at Berklee. As with 'The Girl with the Lazy Eye,' the music was written to my lyrics before the get-together, and when I heard him play it I teared up. I think Bill was a little taken aback, but it really touched me. I had started to work with Shelly Berg on the previous album and he wrote two tunes with Eddie and me on this one, 'Once Bitten' and 'Cicada Time,' the latter in honor of the mysterious insect's reappearance that year after 17 years underground.
Production cel from 2009 short film, You're Outa Here
" produced by Feather, in collaboration with animator George Griffin That's pianist Dick Hyman stylin' on the ivories
I went with all-original songs, music by my living collaborators. I was able to have three kick-ass vocalists guest: Tierney Sutton
, Janis Siegel
, Cheryl Bentyne
. I had sung with Janis and Cheryl before on the Dick Tracy
soundtrack, but never with Tierney, and they were all a delight to work with. I'd heard the Hornheads track 'Can't Quite Put My Finger On It' driving to a sound check in Plano, TX and looked up Michael B. Nelson to ask if I could adapt it. Gary Grant put together one of his killer horn sections for that song, 'Waiting Tables.' I wanted to do acoustic versions of 'Very Unbecoming' and 'Where Are My Keys?' and Shelly arranged them. For some reason I thought the talking sections might put people off, I guess because you don't hear a lot of that on jazz recordings, but no one ever mentioned it. Eddie's and my 'Making It Up as We Go Along' was supposed to be on Café Society
, but that was when I thought that album would be all ballads. . . the concept turned out to be too lugubrious and I replaced several ballads with up tunes, but I always wanted to have that song on a CD. Mike Lang plays so beautifully on the track. Shelly and I wrote 'Traffic and Weather' and 'We Appreciate Your Patience' in record time, at this house in LA. And Russ and I did the song that made me laugh the most when we were working on it, 'Hit the Ground Runnin.'"
Making herself and other people laugh, as it turns out, is something Feather does too easily. No songwriter wants to be known for writing humorous tunes any more than an actor wants to be remembered as a comedian. Who wants to be remembered as a novelty act, the Spike Jones
of the new millennium, or a cult favorite in France who never wins the big awards?
But one of the aspects of finding one's own artistic voice is discovering talents or predilections one has not suspected. Almost effortlessly, it would seem, Feather's lyrics can produce everything from ironic smiles, embarrassed chortles or little snickers all the way up to loud, satisfying, gasping-for-air guffaws.
Nowhere is this more in evidence than in the videos she has produced, mostly with her own camerawork and editing, sometimes in collaboration with her husband Tony. With the exception of the video she did to accompany her heart-rending "Remembering to Breathe," the song whose lyrics she wrote as advice to a fictional, aspiring young ballet dancer, her videos produce such mirth that they can be revisted as often as one needs to laugh. While last year's hilarious award-winning short film You're Outa Here
will not be available until animator George Griffin has completed work on compiling a DVD of his work, "The Making of New York City Drag," "Rockin' in Rhythm," and "The 101" are available on her website