6 - THE TORCH SINGER

By the 1920's, black music elements had crept into much of the popular music mainstream. One rather melodramatic music vein featuring blues overtones, blazed mostly by Tin Pan Alley composers and generally performed by female vocalists was the torch song.

A well defined melancholy ballad, usually crafted by the sophisticated songwriters of the period, fused with sultry blues accents was labelled the torch song in reference to "carrying a torch," an age old expression associated with unrequited love.

Lyrics were generally of the "my man has left me" or "my man treats me cruel" variety and although the melodies were often bluesy in design, they were much more complex than the blues proper. Arrangements could be quite elaborate, often centering around a pianist and sometimes augmented by a full orchestra featuring either brass and/or lush string accompaniment.

From the very moment Fanny Brice stepped onto the stage in "The Ziegfeld Follies Of 1921" to sing the plaintive "My Man," a pattern had been set. The torch singer was usually a female (although not always) vocalist of dramatic flair and exceptional song stylist ability. In attitude, she was essentially the white counterpart of the classic blues singer although her performance was much more given to affectation and theatrics.

The stereotypical image brought to mind when one hears the expression "torch singer" is that of a glamourous chanteuse perched atop a piano, fiddling with a scarf and trying her damndest to rip the audience's heart out with her execution of a well known standard. Presentations vary but the goal is always the same ...... sympathy.

The torch song was considerably easier to promote than the blues, its exponents for the most part being white. Strangely enough, like her black counterpart, the artist often lived the life she sang about. Helen Morgan, Ruth Etting and Libby Holman all experienced the tragic circumstances depicted in many of their classic songs. Actually Holman, less prone to histrionics, preferred to call her material "sin songs."

The expression "torch song" has been much used and misused. On Broadway, Bartlett Simmons introduced a number titled "The Torch Song" in the 1931 revue, "The Laugh Parade." Several early films also furthered the popularity of the genre such as "Torch Singer" (1933), featuring Claudette Colbert's remarkably authentic throaty rendition of "Give Me Liberty Or Give Me Love." Bing Crosby enjoyed a hit with the pretentious "I've Got To Sing A Torch Song"(Aug., 1933)#9 which was also recorded in 1933 by both Hal Kemp and Rudy Vallee. The number, originally introduced by Dick Powell in the film, "The Gold Diggers Of 1933" remains a curiosity of sorts since males rarely admitted to the term.

Another oddity was The Leo Reisman Orchestra's somewhat spirited version of the Dietz-Rainger classic, "Moanin' Low," executed by a male vocalist on the chorus. Although the song has been covered by numerous female artists throughout the century including Lee Morse, Kate Smith and Barbra Streisand, this is one of the scarce versions recorded by a male. However, the song belongs undeniably to the outrageous Libby Holman who introduced it in Broadway's "The Little Show"(1929).

Judy Garland's spectacular rendition of Harold Arlen and Ira Gershwin's glorious "The Man That Got Away"(Aug., 1954)#22, from the much touted film, "A Star Is Born"(1954) is probably one of the prime examples of torch at its best. Another great recording is Ella Mae Morse's "Tess' Torch Song (I Had A Man)"(April, 1944)#11, written by Johnny Mercer and Harold Arlen.

As the torch song aged, it became much more defined and streamlined. By the 1950's, fine vocalists such as Eydie Gorme, Polly Bergen and Julie London helped keep the genre alive, each stamping it with their own distinctive personality and individual interpretation. Polly Bergen and Gogi Grant both furthered their careers by recording Helen Morgan material. In fact, Bergan played Morgan in a television movie and Grant supplied the vocals for Ann Blyth in the film, "The Helen Morgan Story" (1957).

The classic torch song, vocal style and attitude originated in the 1920's and continues to crop up in one form or another to this very day, sometimes unmercifully portrayed in campy fashion. During the 1980's, Carly Simon, Linda Ronstadt and Toni Tennille all released torch oriented material. In 1989, k.d. lang followed suit with the country flavoured "Absolute Torch And Twang" album, her highly successful "Ingenue" album (1992) which featured modern day torch material co-written by the singer, and a completely ignored treasure called "Drag"(1997) featuring torch standards with a smoke theme. By 2002, the torch song was being once again revived with the emergence of Ravi Shankar's daughter Nora Jones whose album featuring the hit, "Don't Know Why" hit the jackpot with multiple Grammy Awards.

Many great vocalists including Doris Day and Barbra Streisand have successfully tackled the style, but the following select group of artists were instrumental in laying its ground rules, creating a rich, sensual, much imitated genre.

HELEN MORGAN

• Helen Riggins (Aug. 2, 1900 - Oct. 8, 1941)
• Singer/actress born in Toronto, Ontario, Canada.
• Contrary to popular belief, Morgan was not born in Danville, Illinois.
• As a child, moved with her mother to Danville, Illinois and later Chicago.
• 1912 - Auditioned at The French Trocadero in Montreal, Quebec, returning to Chicago in 1913 because Canadian laws concerning child performers forbade her working.
• 1918 - Became "Miss Illinois" and in Canada, "Miss Mount Royal."
• Dec. 21, 1920 - Morgan worked in the chorus of the Ziegfeld musical, "Sally," starring Marilyn Miller.
• 1922 - Worked for songwriter/impresario Billy Rose, furthering her legend by hoisting herself atop a piano to sing at his famous Backstage Club in New York City.
• Hers was a fragile, somewhat shaky voice, capable of drawing tears from a stone.
• Appeared in "The George White Scandals Of 1925"(1925) and the Broadway revue, "Americana"(1926).
• Jan., 1927 - Operated her own speakeasy, Helen Morgan's 54th Street Club.
• Dec. 27, 1927 - Began her legendary run as Julie in the original Broadway production of "Showboat."
• Beautiful raven-haired Helen was nicknamed "The Grand Gal On The Grand Piano."
• 1928 - Opened another speakeasy, Helen Morgan's Summer House. These clubs were all eventually shut down in spectacular raids for violation of the Volstead Act.
• 1929 - Successfully portrayed an aging burlesque queen in the early talkie classic, "Applause."
• 1936 - Her remarkable performance in the film version of "Showboat" attests to her charisma.
• Although successful professionally, her personal life was not particularly happy. By the late 1930's, she was drifting dangerously through a haze of Hennessy's Three-Star Brandy, later resulting in cirrhosis of the liver.
• Oct. 8, 1941 - The woman who remains the epitome of the torch singer died forgotten in Chicago, Illinois.
• 1957 - Ann Blyth starred in a rather hokey biopic called "The Helen Morgan Story" with vocals provided by Gogi Grant.
• Hits include "A Tree In The Park"(Sept., 1927)#9, "Bill"(April, 1928)#4, "Can't Help Lovin' Dat Man"(May, 1928)#7, "Mean To Me" (June, 1929)#11, "Why Was I Born"(Jan., 1930)#8 and "Body And Soul"(Nov., 1930)#16.

FANNY BRICE

• See Vaudeville, Music Hall And Cabaret

RUTH ETTING

• (Nov. 23, 1897 - Sept. 24, 1978)
• Singer/actress born in David City, Nebraska.
• Originally began as a chorine at The Rainbow Gardens in Chicago, Illinois.
• 1922 - Married her manager, a well known underground character called Martin "Moe" Schneider (also known as "The Gimp"). It was a turbulent relationship, well documented in the scandal sheets.
• 1925 - Beautiful honey-haired Ruth began performing solo at the Terrace Room of The Hotel Morrison in Chicago.
• 1926 - Signed with Columbia Records, first as the featured vocalist with Art Kahn's orchestra on their recording of "Hello Baby."
• Became known as "Chicago's Sweetheart," later "The Queen Of The Torch Singers."
• 1927 - Went to New York City and was immediately signed for "The Ziegfeld Follies Of 1927" without singing a note, her beauty was so stunning. She remained with Ziegfeld for 5 years.
• 1930 - Appeared with Ed Wynn in the Broadway show, "Simple Simon," introducing the classic torch song, "Ten Cents A Dance" (May, 1930)#5. The number concerned with the plight of the "taxi- dancers" of the 1920's, had originally been intended for Lee Morse.
• 1933 - Appeared in the film, "Roman Scandals."
• Recorded many sides featuring jazz greats such as guitarist Eddie Lang, violinist Joe Venuti and pianist Rube Bloom.
• Etting was the closest thing to a jazz singer.
• Oct. 15, 1938 - Schneider shot her pianist, Myral Alderman. Two months later, divorced Schneider and married Alderman.
• Etting retired to a ranch in Colorado Springs, Colorado to escape publicity.
• 1955 - Doris Day starred in the excellent biopic, "Love Me Or Leave Me" which chronicled Etting's relationship with Schneider, played brilliantly by James Cagney.
• Hits include "Deed I Do"(April, 1927)#2, "Shaking The Blues Away" (Nov.,1927)#4, "Love Me Or Leave Me"(Feb., 1929)#2, "I'll Get By" (April, 1929)#3, "Mean To Me"(May, 1929)#3, "Guilty"(Oct., 1931) #4 and "Life Is A Song"(April, 1935)#1-2 wks.

LIBBY HOLMAN

• Elizabeth Lloyd Holzman (May 23, 1904 - June 18, 1971)
• Singer/actress born in Cincinnati, Ohio.
• 1925 - Began appearing professionally as Elspeth Holman with a bit part in a Broadway play called "The Fool." Later, she was allowed to sing the song, "Black And White" in "The Garrick Gaieties."
• Changed her name to Libby Holman.
• 1929 - Starred on Broadway with Clifton Webb in "The Little Show" where she introduced her sultry show stopping rendition of the classic "Moanin' Low"(Sept., 1929)#5 and "Can't We Be Friends."
• Holman, a notorious bisexual, was nicknamed "The Dark Purple Menace" because of her tempestuous personality and smouldering, throaty female baritone.
• She pioneered the wearing of men’s' suits in public and was famous for her golden gowns and cocktail pajamas.
• 1930 - Introduced "Body And Soul"(Oct., 1930)#3 and "Something To Remember You By"(Dec., 1930)#6 in the show, "Three's A Crowd."
• 1932 - Became the subject of a scandal when her millionaire husband tobacco mogul Smith Reynolds was found murdered at their home.
• 1934 - Introduced "You And The Night And The Music"(Jan., 1935) #11 in the show, "Revenge With Music."
• 1941 - Appeared in the off Broadway revue, "Mexican Mural" and began performing joint recitals with black folk singer Josh White.
• 1954 - Took her one woman show, "Blues, Ballads And Sin Songs" on tour.
• Holman was an early champion of black rights and one of the first white females to perform regularly with black artists.
• June 18, 1971 - Found dead of a suspected suicide, leaving a $12 million estate.
• Hits include "Am I Blue"(Sept., 1929)#4 and "Love For Sale"(Feb., 1931)#5.

ALSO SEE

• Chapter 5: The Blues
• Chapter 7: Swing
• Chapter 9: The Sing Era
• Chapter 11: Tin Pan Alley
• Chapter 12: The Musical - Stage And Film
• Chapter 13: Vaudeville, Music Hall And Cabaret
• Chapter 19: The Great 1950'S Pop Stars

BIBLIOGRAPHY