Peggy Lee at Shelley's Manne Hole

I used to work weekends - and I'm at my favorite jazz club. Shelley's group was to later become highly regarded: Richie Kamuca, tenor; Conte Condoli, trumpet; Russ Freeman, piano; Chuck Berghofer on bass and of course the big guy on drums. In later years, the series of live recordings from the Black Hawk were to become classics.

Anyway, this Monday or Tuesday was a slow night. Shelley's business partner was off in a corner with his accountant scratching his beard and head and wondering how to get through another month in the red ink. Shelley's in ecstasy on the stand with a king sized cigarette swirling smoke around his closed eyes while his brushes transformed rhythms to melodic patterns. Conte was taking his solo on one of the tracks from a new CD “Shelley Manne Plays the Themes from Peter Gunn," when she walks into the club with her manager and, I think, John Pisano the guitarist. She sits directly in front of me and I suddenly bolt to life. At that point in time she's still a particularly attractive woman. For me, it was an icon in real time within touching distance.

After the group finishes the piece, Shelley comes forward to introduce the next number. Conte nudges him and casts his eyes toward Ms. Lee. Shelley is aglow and obviously excited about her presence in his domain. Meanwhile, in the back of the room, there's a serious discussion going on over the books and whether the club can still exist under the extravagant methods of the current management. Shelley signals for Ms. Lee to come up on the stand and sit in with the group. Judging by the way she'd staggered into the club, I didn't think she was in condition to maintain any balance standing on the stage at the Manne Hole without sufficient support. Further, her manager says something about a union violation if she were to physically come up on the stand with the musicians.

Shelley, never one to be lost to improvisation: He once said that playing for Stan Kenton was like chopping wood. He was also a kid in New York when he worked with Bird for a brief stint. Shelley took the microphone off the stand and handed it to Ms. Lee at her table. She looks to her manager who shrugs his shoulders. You can see that she's titillated by the idea. John just happens to have brought his acoustic guitar with him. Remember, this is all taking place directly in front of me.

During that time “Days of Wine and Roses" was a smash box office hit and probably one of Jack Lemmon's best performances. She whispers the theme in her low and sensual way, John complementing with just the right chords. Shelley's Men are there as part of the audience up on the stage. The Business Manager and his accountant set the books aside for the moment and in my heart she's singing this solely for me.