[Dixielandjazz] Julie London, "Cry Me a River"

[Robert Ringwald]

“Cry Me a River” – Julie London (1955)
Added to the National Registry: 2015
Essay by Michael Owen (guest post)*
Julie London
Julie London
An unknown song…an unknown singer…an unknown label. Not an ideal combination for
a hit
record.
Julie London was born Nancy Gayle Peck in Santa Rosa, California, in 1926. As a child,
London was surrounded by music. Her parents were singers who often performed on the
radio
and at nightclubs in San Bernardino, California, and she soaked up songs and a relaxed
vocal
style that matured into a uniquely throaty purr as she reached adulthood.
At the age of sixteen, London was discovered by an agent who spotted her running
an elevator at
an upscale men’s clothing store on Hollywood Boulevard. She appeared in 11 movies
during the
1940s and 1950s--among them supporting roles opposite Edward G. Robinson and Gary
Cooper
--but with little success, and retired at the age of 25 to raise a family with her
husband, actor Jack
Webb (“Dragnet”). After the couple’s divorce two years later, London intended to
resume her
acting career, when fate arrived in the person of songwriter Bobby Troup (“Route
66”).
Troup encouraged London to sing professionally from the moment they met. The natural,
unaffected qualities in her voice set her apart from other female vocalists of the
day, he reasoned,
and would help her regain a footing in show business. While London often sang around
the
house--she described herself as a “living room singer”--with friends who gathered
around her
piano at the end of the evening, she had no interest in singing for her supper. Undeterred
by her
fierce reluctance, Troup’s contacts in the music business soon brought London a booking--
without an audition--at a small Hollywood nightclub in the summer of 1955. Accompanied
solely by the influential jazz guitarist Barney Kessel and double-bassist Ray Leatherwood,
who
succeeded Ralph Peña midway through the engagement, London’s intimate performances
of
standards from the Great American Songbook were immediately successful among the
Hollywood cognoscenti.
Two weeks of shows became ten. One night, Troup sent Si Waronker, the owner of a
new Los
Angeles-based independent record label, to see London perform. Impressed by the uniquely-
individual sound London made with just guitar and bass, and the visceral effect her
physical
presence had on audiences, Waronker signed her as one of the first artists on Liberty
Records.
“Cry Me a River,” the song that cemented London’s reputation, came out of the blue
and was a
last-minute addition to her first recording sessions. Arthur Hamilton, a high school
boyfriend of
London’s, had been working as a songwriter for the production company of her ex-husband,
Jack
Webb. (She had helped Hamilton land the job.) In 1955, Webb was making “Pete Kelly’s
Blues,” a movie set in the 1920s with appearances by singers Peggy Lee and Ella Fitzgerald.
The lyrics for one of Hamilton’s songs intended for Fitzgerald included the word
“plebeian,”
which Webb told the songwriter no one would believe her singing. Hamilton was unwilling
to
change the word. Webb dropped the number from the picture.
A few nights later, Hamilton played the song for London at her house. She immediately
fell in
love with its haunting melody and coolly defiant lyrics, hearing echoes of her troubled
relationship with Webb. Hamilton said “yes” when London asked if she could record
it. As with
all of the arrangements for London’s early performances, “Cry Me a River” was very
quickly
sketched out in a head arrangement by the singer and her accompanists. Guitarist
Barney Kessel
and bass player Ray Leatherwood had never heard or seen the music to “Cry Me a River”
when
London suggested it in the last few minutes of a recording session at Western Recorders.
It
would be the one new song added to the collection of standards taken from her nightclub
act that
had already been laid down. Captured in just a few takes, Kessel’s chords and Leatherwood’s
descending bass introduction set the stage for London’s coolly-detached performance
that kept
the slow pace of Hamilton’s original and allowed his lyrics to come through with
the precision
they required.
Test pressings of the album were sent to disc jockeys around the country, and they
found “Cry
Me a River” as intriguing and unique as its singer did. The whispered, murmured sound
of “Cry
Me a River” was unlike anything they’d heard in recent years. London’s soft-sell
approach, and
the understated quality of the record, was a sharp contrast to contemporary hits
such as “Love Is
a Many-Splendored Thing” and “I Hear You Knockin’.”
Liberty Records released the song as a single in Fall of 1955. Aided by television
appearances
on Perry Como’s popular variety program and Steve Allen’s “Tonight” show, “Cry Me
a River”
began an unlikely five month run on the pop singles chart. It was Liberty’s first
hit and the
company had difficulty fulfilling the demand for orders from record distributors.
The release of
London’s first album, “Julie Is Her Name,” which topped industry charts, soon followed.
London had rejected the idea of recording her first record in front of a live audience,
rightly
judging that her “thimbleful of voice” would be drowned out by the clattering of
dishes and
conversation.
Audio engineer John Neal
recognized that London lacked the ability to project her
voice, and asked her to move in as closely as she could to the sensitive Telefunken
microphone,
which accurately captured the intimate sound of London’s breathing on the recording
tape. The
addition of a subtle echo gave a near three-dimensional presence to her voice that
encouraged
listeners to come ever closer to their speakers.
Shocked by her unexpected success, London’s New York nightclub debut in January 1956
was
another major milestone, and her appearance in the hit movie musical “The Girl Can’t
Help It,”
in which she sang “Cry Me a River” as an ethereal presence haunting actor Tom Ewell,
helped
cement her relationship to the song. London remade the song, complete with strings
and a
tinkling cocktail piano, for a 1959 single. For the remainder of a career that took
her around the
world, from nightclubs in Rio de Janeiro to Tokyo, to a long series of engagements
at the
Tropicana Hotel in Las Vegas, London sang to audiences that could never get enough
of her first
hit.
“Cry Me a River” is now a standard and has been covered by many artists in a wealth
of diverse
styles. Barbra Streisand included the song on her 1963 debut album, while Ray Charles
and Joe
Cocker delivered soulful renditions in 1964 and 1970, respectively. In 1993, it was
released as
the first single by the lounge revival act Combustible Edison, and was returned to
its roots by
Canadian jazz/pop vocalist Diana Krall eight years later.
But there can only be one first recording, one chance to make something of nothing.
Although
Julie London released more than 350 recordings during her career as a singer (1955-1981),
“Cry
Me a River”–-with its subtle, and uniquely-suitable, guitar and bass accompaniment--remains
her
most popular, a signature tune that set a standard few have ever equaled.
Michael Owen is an archivist, writer, researcher, and librarian. A Consulting Archivist
to the
Ira and Leonore Gershwin Trusts, he is also the webmaster at www.gershwin.com, and
the
Managing Editor of Words Without Music, a publication of the Trusts. He is a member
of the
Editorial Board of the George and Ira Gershwin Critical Edition. A historian of popular
music
and culture, he is currently completing a biography of Julie London. He lives in
the San
Francisco Bay Area with his wife and their cat.
*The views expressed in this essay are those of the author and do not necessarily
represent the views of the Library
of Congress.


Bob Ringwald piano, Solo, Duo, Trio, Quartet, Quintet 
Fulton Street Jazz Band (Dixieland/Swing)
916/ 806-9551
Amateur (ham) Radio Station K6YBV

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