Stranger Songs with Mike Regenstreif – CKCU – Tuesday June 21, 2022: Songs from “Porgy & Bess” and other Gershwin classics

Stranger Songs with Mike Regenstreif finds connections and develops themes in various genres. The show is broadcast on CKCU in Ottawa on Tuesdays from 3:30 until 5 pm (Eastern time) and is also available 24/7 for on-demand streaming.

CKCU can be heard live at 93.1 FM in Ottawa and https://www.ckcufm.com/ on the web.

This episode of Stranger Songs was prerecorded at home and can already be streamed on-demand by clicking on “Listen Now” at … https://cod.ckcufm.com/programs/595/56633.html

Theme: Songs from “Porgy & Bess” and other Gershwin classics.

The folk and jazz influenced opera “Porgy & Bess,” composed by George Gershwin with lyrics by Du Bose Heyward and Ira Gershwin premiered on Broadway in 1935 and was based on Du Bose Heyward’s novel, Porgy, published in 1925.

Moore & McGregor- Summertime
Dream with Me (Ivernia)

Ella Fitzgerald- I Wants to Stay Here
Ella Fitzgerald & Louis Armstrong: Porgy & Bess (Verve)
Lena Horne- My Man’s Gone Now
Harry Belafonte & Lena Horne: Porgy & Bess (RCA)
Ella Fitzgerald & Louis Armstrong- I Got Plenty O’Nuttin
Ella Fitzgerald & Louis Armstrong: Porgy & Bess (Verve)
Ray Charles- Buzzard Song
Ray Charles & Cleo Laine: Porgy & Bess (RCA)
Ella Fitzgerald & Louis Armstrong- Bess, You is My Woman Now
Ella Fitzgerald & Louis Armstrong: Porgy & Bess (Verve)

Miles Davis- Gone, Gone, Gone
Miles Davis: Porgy & Bess (Columbia/Legacy)

Dave Van Ronk- It Ain’t Necessarily So
Hummin’ to Myself (Gazell)
Cleo Laine- What You Want Wid Bess?
Ray Charles & Cleo Laine: Porgy & Bess (RCA)
Harry Belafonte- A Woman is Sometime Thing
Harry Belafonte & Lena Horne: Porgy & Bess (RCA)
Ella Fitzgerald- Oh, Doctor Jesus
Ella Fitzgerald & Louis Armstrong: Porgy & Bess (Verve)
Ella Fitzgerald & Louis Armstrong- Medley: Here Comes de Honey Man/Crab Man/Oh, Dey’s So Fresh and Fine (Strawberry Woman)
Ella Fitzgerald & Louis Armstrong: Porgy & Bess (Verve)

Nina Simone- I Loves You, Porgy
Nina Simone With Strings (Colpix)
Harry Belafonte- Bess, Oh Where’s My Bess
Harry Belafonte & Lena Horne: Porgy & Bess (RCA)
Phoebe Snow- There’s a Boat That’s Leaving Soon for New York
Second Childhood (Columbia)
Louis Armstrong- Oh Lawd, I’m On My Way
Ella Fitzgerald & Louis Armstrong: Porgy & Bess (Verve)

Other Gershwin classics

Samoa Wilson with The Jim Kweskin Band- Our Love is Here to Stay
I Just Want to Be Horizontal (Kingswood)
Willie Nelson- I Got Rhythm
Summertime: Willie Nelson Sings Gershwin (Legacy)
Billie Holiday- Let’s Call the Whole Thing Off
Songs for Distingué Lovers (Verve)

Dave Van Ronk- Sweet and Lowdown
Sweet & Lowdown (Justin Time)
Scarlett, Washington & Whiteley- Lady Be Good
Sitting on a Rainbow (Borealis)
The Hot Club of Cowtown- Someone to Watch Over Me
Wishful Thinking (Gold Strike)

Oscar Peterson- Liza (The Clouds’ll Roll Away)
The Jazz Soul of Oscar Peterson (Verve)

Next week: The Folkways Legacy of Sam Gesser.

Find me on Facebook. facebook.com/mikeregenstreif

--Mike Regenstreif

Various artists -- Black Sabbath: The Secret Musical History of Black-Jewish Relations

Various Artists
Black Sabbath: The Secret Musical History of Black-Jewish Relations
Idelsohn Society for Musical Preservation
Idelsohnsociety.com

(This review is from the September 27, 2010 issue of the Ottawa Jewish Bulletin.)

This fascinating compilation was conceived when members of the Idelsohn Society for Musical Preservation – a group named for Abraham Zevi Idelsohn, the composer of “Hava Negila” – chanced upon a 1958 recording by Johnny Mathis, the African American singer mostly known for his romantic, smooth pop songs, of “Kol Nidre,” the prayer traditionally sung on Erev Yom Kippur.

Singing in the original Aramaic, Mathis, sounds like a veteran cantor on this powerfully stirring interpretation which provides the finale for Black Sabbath: The Secret Musical History of Black-Jewish Relations, an album that explores Jewish music, or music composed by Jews in non-Jewish styles or even by gentiles in Jewish styles (or with Jewish cultural references), and performed by African American artists between the 1930s and 1960s.

That there would be a history of musical interaction between Jews and African Americans is hardly surprising. There are examples that stretch across the entire history of 20th century popular, jazz and folk music.

A few of the 15 tracks included on the CD are well known, some are surprising.

Perhaps the most surprising is the version of “My Yiddishe Momme” by the great jazz singer Billie Holiday that opens the album. On this private recording made at the home of a friend in 1956, and accompanied just by pianist, Holiday strips the song of its usual nostalgic sentimentality instead offering it as a poignant, plaintive lament.

One of the most astounding tracks is Aretha Franklin’s 1966 recording of “Swanee,” a song written by Jewish songwriters George Gershwin and Irving Caeser, and made famous by Al Jolson who sang it in blackface, a performance style abandoned many decades ago in recognition of its inherent racism. Franklin – who was yet to record the soul classics that made her a huge star – turns in a soaring, powerful performance that makes Jolson’s version seem completely irrelevant.

Several numbers are guaranteed to put a smile on your face and a tap in your toes. Johnny Hartman’s 1966 version of “That Old Black Magic,” by Jewish composer Harold Arlen, incorporates verses from “Matilda,” the calypso song, and then, more relevantly for this compilation, the Yiddish song “Di Grine Kuzine.” There’s a 1939 version of “Utt Da Zay,” performed by Cab Calloway that Jewish songwriters Irving Mills (Calloway’s manager) and Buck Ram adapted from the traditional Yiddish folksong about a tailor. Calloway, one of the swing era’s great wits, sings the opening verses almost with reverence interspersing them with some scatting that almost sounds like a Chasidic nigun. Soon, though, the band is in full swing mode and his scats let us know that it’s all in fun. And, Slim Gaillard’s 1945 recording of “Dunkin’ Bagel,” is a musical hipster’s guide to such Jewish foods as bagels, matzo balls, gefilte fish, pickled herring, etc.

Fiddler on the Roof provides material for two tracks including a spiritual-sounding instrumental version of “Sabbath Prayer,” recorded in 1964 by jazz saxophonist Cannonball Adderley. Later in the CD, the Temptations do a 10-minute, Las Vegas-style medley drawing on many of the musical’s hits.

A most interesting combination of composer, lyricist and performer comes in African American singer Jimmy Scott’s 1969 version of “Exodus.” The music was composed in 1960 as the theme for Exodus, the film based on Leon Uris’ novel about the founding of the State of Israel. The lyrics Scott sings, easily interpreted as being from the perspective of a Jew in his homeland, were written later by American pop singer and religious Christian Pat Boone. Another fascinating combination of song, creators and performer is Lena Horne’s 1963 recording of “Now,” a civil rights song written by Jewish songwriters Adolph Green, Betty Comden and Jule Styne to the melody of “Hava Nagila.”

In a similar theme, “Where Can I Go,” translated by Leo Fuld from a Yiddish song that longs for a Jewish homeland, also became a civil rights anthem in its English-language version. It’s included here with Marlena Shaw’s 1969 recording.

Other highlights include “Sholem,” a wild version of “Hevenu Shalom Aleichem,” recorded in 1959 by Eartha Kitt; the Yiddish love song “Ich Hob Dich Tzufil Lieba,” performed by Alberta Hunter, a 1920s classic blues singer, on a 1982 album at age 87; a 1963 version of the Hebrew folksong, “Eretz Zavat Chalav,” by the great Nina Simone; and collaboration of Jewish singer Libby Holman and African American folk and blues legend Josh White on a 1942 recording of “Baby, Baby,” a variant of the traditional “See See Rider.”

These tracks just begin to illustrate the possibilities inherent in a musical history of black-Jewish relations. Let’s hope this is just the first in a series of volumes.

--Mike Regenstreif