#03-08

BOLDOG NŐNAPOT A NŐKNEK! Legyetek boldogok ma és minden napokon, azzal együtt, vagy annak ellenére, hogy fizikailag minek tűntök. :)

William Clarence Eckstine (July 8, 1914 – March 8, 1993) was an American jazz and pop singer, and a bandleader of the swing era. He was noted for his rich, resonant, almost operatic bass-baritone voice. Eckstine's recording of "I Apologize" (MGM, 1948) was awarded the Grammy Hall of Fame Award in 1999. 

The New York Times

 described him as an "influential band leader" whose "suave bass-baritone and "full-throated, sugary approach to popular songs inspired singers like Joe Williams, Arthur Prysock and Lou Rawls."

Biography

Eckstine's paternal grandparents were William F. Eckstein and Nannie Eckstein, a mixed-race, married couple who lived in Washington, D.C.; both were born in 1863. William F. was born in Prussia and Nannie in Virginia. His parents were William Eckstein, a chauffeur, and Charlotte Eckstein, a seamstress of note. Eckstine was born in Pittsburgh, Pennsylvania; a State Historical Marker is placed at 5913 Bryant St, Highland Park, Pittsburgh, Pennsylvania, to mark the house where he grew up.Billy's sister, Maxine (married name Whedbee), was a well-respected Spanish teacher at Taylor Allderdice High School in Pittsburgh.

He attended Peabody High School before moving to Washington, DC. He attended Armstrong High School, St. Paul Normal and Industrial School, and Howard University. He left Howard in 1933, after winning first place in an amateur talent contest. He married his first wife, June, in 1942. After their divorce in 1952, he remarried shortly after to actress and model Carolle Drake in 1953, and they remained married until his death. He was the father of four children by second marriage and two step-children, including Ed Eckstine, who was a president of Mercury Records, Guy Eckstine, who was a Columbia and Verve Records A&R executive and record producer, singer Gina Eckstine, and actor Ronnie Eckstine.

Heading to Chicago, Eckstine joined Earl Hines' Grand Terrace Orchestra in 1939, staying with the band as vocalist and trumpeter, until 1943. By that time, Eckstine had begun to make a name for himself through the Hines band's juke-box hits as "Stormy Monday Blues" and his own "Jelly Jelly."

In 1944, Eckstine formed his own big band and it became the finishing school for adventurous young musicians who would shape the future of jazz. Included in this group were Dizzy Gillespie, Dexter Gordon, Miles Davis, Art Blakey, Charlie Parker, and Fats Navarro, as well as vocalist Sarah Vaughan. Tadd Dameron, Gil Fuller and Jerry Valentine were among the band's arrangers. The Billy Eckstine Orchestra is considered to be the first bop big-band, and had Top Ten chart entries that included "A Cottage for Sale" and "Prisoner of Love". Both were awarded a gold disc by the RIAA.

Dizzy Gillespie, in reflecting on the band in his 1979 autobiography To Be or Not to Bop, gives this perspective: "There was no band that sounded like Billy Eckstine's. Our attack was strong, and we were playing bebop, the modern style. No other band like this one existed in the world."

Eckstine became a solo performer in 1947, with records featuring lush sophisticated orchestrations. Even before folding his band, Eckstine had recorded solo to support it, scoring two million-sellers in 1945 with "Cottage for Sale" and a revival of "Prisoner of Love". Far more successful than his band recordings, these prefigured Eckstine’s future career. Eckstine would go on to record over a dozen hits during the late 1940s. He signed with the newly established MGM Records, and had immediate hits with revivals of "Everything I Have Is Yours" (1947), Richard Rodgers and Lorenz Hart’s "Blue Moon" (1948), and Juan Tizol’s "Caravan" (1949).

Eckstine had further success in 1950 with Victor Young’s theme song to "My Foolish Heart," and the next year with a revival of the 1931 Bing Crosby hit, "I Apologize".

His 1950 appearance at the Paramount Theatre in New York City drew a larger audience than Frank Sinatra at his Paramount performance.

Eckstine was the subject of a three page profile in the 25 April 1950 issue of LIFE magazine, in which the photographer Martha Holmes accompanied Eckstine and his entourage during a week in New York City. One photograph taken by Holmes and published in LIFE showed Eckstine with a group of female admirers, one of whom had her hand on his shoulder and her head on his chest while she laughed. Eckstine's biographer Cary Ginell, wrote of the image that Holmes "...captured a moment of shared exuberance, joy, and affection, unblemished by racial tension." Holmes would later describe the photograph as the favorite of the many she had taken in her career as it "...told just what the world should be like". The photograph was considered so controversial that an editor at LIFE sought personal approval from Henry Luce, the magazine's publisher, who said it should be published. The publication of the image caused letters of protest to be written to the magazine, and singer Harry Belafonte subsequently said of the publication that "When that photo hit, in this national publication, it was if a barrier had been broken". The controversy that resulted from the photograph had a seminal effect on the trajectory of Eckstine's career. Tony Bennett would recall that "It changed everything...Before that, he had a tremendous following...and it just offended the white community", a sentiment shared by pianist Billy Taylor who said that the "coverage and that picture just slammed the door shut for him".

Among Eckstine's recordings of the 1950s was a 1957 duet with Sarah Vaughan, "Passing Strangers", a minor hit in 1957, but an initial No. 22 success in the UK Singles Chart.

The 1960 Las Vegas live album, No Cover, No Minimum, featured Eckstine taking a few trumpet solos and showcased his nightclub act. He recorded albums for Mercury and Roulette in the early 1960s, and appeared on Motown albums during the mid to late 1960s. After recording sparingly during the 1970s for Al Bell's Stax/Enterprise imprint, the international touring Eckstine made his last recording, the Grammy-nominated Billy Eckstine Sings with Benny Carter in 1986.

Eckstine made numerous appearances on television variety shows, including on The Ed Sullivan Show, The Nat King Cole Show, The Tonight Show with Steve Allen, Jack Paar, and Johnny Carson, The Merv Griffin Show, The Art Linkletter Show, The Joey Bishop Show, The Dean Martin Show, The Flip Wilson Show, and Playboy After Dark. He also performed as an actor in the TV sitcom Sanford and Son, and in such films as Skirts Ahoy, Let's Do It Again, and Jo Jo Dancer.

Culturally Eckstine was a fashion icon. He was famous for his "Mr. B. Collar"- a high roll collar that formed a "B" over a Windsor-knotted tie. The collars were worn by many a hipster in the late 1940s and early 1950s.

In 1984 Eckstine recorded his penultimate album, I Am a Singer, arranged and conducted by Angelo DiPippo and featuring Toots Thielemans on harmonica. Eckstine's final recordings were made in November 1986, with saxophonist Benny Carter and released on the 1987 album Billy Eckstine Sings with Benny Carter.

Illness & Death

Eckstine suffered a stroke while performing in Salina, Kansas, in April 1992, and never performed again. Though his speech improved in hospital, Eckstine later had a heart attack, and died a few months later on March 8, 1993, aged 78. Eckstine's final word was "Basie".

Tributes

His friend Duke Ellington recalled Eckstine's artistry in his 1973 autobiography Music is My Mistress: "Eckstine-style love songs opened new lines of communication for the man in the man-woman merry-go-round, and blues a la B were the essence of cool. When he made a recording of Caravan, I was happy and honored to watch one of our tunes help take him into the stratosphere of universal acclaim. And, of course, he hasn't looked back since. A remarkable artist, the sonorous B." ... "His style and technique have seen extensively copied by some of the neocommercial singers, but despite their efforts he remains out front to show how and what should have been done."

Sammy Davis, Jr. made several live appearances and impersonated Eckstine. Not just for comedy reasons, but because Eckstine was a close friend and a supporter of Martin Luther King. Eckstine was a pallbearer at Davis' Funeral in 1990.

Quincy Jones stated in Billboard: "I looked up to Mr. B as an idol. I wanted to dress like him, talk like him, pattern my whole life as a musician and as a complete person in the image of dignity that he projected.... As a black man, Eckstine was not immune to the prejudice that characterized the 1950s." Jones is quoted in The Pleasures of Jazz as also saying of Eckstine: "If he’d been white, the sky would have been the limit. As it was, he didn’t have his own radio or TV show, much less a movie career. He had to fight the system, so things never quite fell into place."

Lionel Hampton: "He was one of the greatest singers of all time.... We were proud of him because he was the first Black popular singer singing popular songs in our race. We, the whole music profession, were so happy to see him achieve what he was doing. He was one of the greatest singers of that era ... He was our singer."

The Title of a 1956 promotional movie by the C. G. Conn Company, Mr. B Natural, is derivative of Eckstine's nickname "Mr. B." (The title character bears no resemblance to Eckstine.)

Discography

Albums

With Howard McGhee

1948 Howard McGhee and Milt Jackson (Savoy [rel. 1955])

LP/CD releases/compilations of note

1960 Mr. B: The Great Billy Eckstine and His Orchestra (Audio Lab) – 12" LP reissue of The Great Mr. B from DeLuxe/King

1963 Billy & Sarah [with Sarah Vaughan] (Lion) – compilation

1971 Billy Eckstine Together (Spotlite) – 1945 live "radio broadcast" recordings

1979 Billy Eckstine Sings (Savoy Jazz) – compilation

1986 Mister B. and the Band: The Savoy Sessions (Savoy Jazz) – compilation

1986 I Want to Talk About You (Xanadu) – This compilation features Eckstine's earliest recordings, thirteen selections from his 1940–1942 Bluebird sides with the Earl Hines Orchestra; plus three ballads from a 1945 live "radio broadcast" with his big band.

1991 Everything I Have Is Yours: The Best of the MGM Years (Verve/PLG) – 2-CD anthology with 42 tracks (note: the original 2–LP set was issued in 1985 with 30 tracks)

1991 Compact Jazz: Billy Eckstine (Verve/PLG) – compilation

1994 Jazz 'Round Midnight: Billy Eckstine (Verve/PLG) – compilation

1994 Verve Jazz Masters (Volume 22): Billy Eckstine (Verve/PLG) – compilation

1996 Air Mail Special (Drive Archive) – reissue of the 1945 live "radio broadcast" recordings.

1996 The Magnificent Mr. B (Flapper/Pearl) – anthology/compilation of material recorded with Earl Hines (for the Bluebird label), and Eckstine's recordings with his orchestra (for the DeLuxe and National labels).

1997 The Chronological Billy Eckstine And His Orchestra 1944-1945 (Classics) - anthology/compilation

1999 The Chronological Billy Eckstine And His Orchestra 1946-1947 (Classics) - anthology/compilation

2001 Mr. B (ASV/Living Era) – anthology/compilation

2002 Timeless: Billy Eckstine (Savoy Jazz/Denon) – compilation

2002 The Legendary Big Band 1943–1947 (Savoy Jazz/Denon) – 2-CD anthology (all of Eckstine's recordings for the De Luxe and National labels).

2003 The Motown Years (Motown/UMe) – 2-CD anthology

2004 Love Songs (Savoy Jazz/Denon) – compilation

2004 A Proper Introduction to Billy Eckstine: Ballads, Blues and Bebop (Proper) – anthology/compilation

2005 Jukebox Hits 1943–1953 (Acrobat) – anthology/compilation

2005 Early Mr. B: 1940–1953 (Jazz Legends) – anthology/compilation of material recorded with Earl Hines (for the Bluebird label), and Eckstine's recordings with his orchestra (for the DeLuxe, National and MGM labels).

2006 Prisoner of Love: The Romantic Billy Eckstine (Savoy Jazz/Denon) – this is a reissue of Timeless: Billy Eckstine.

2008 All of My Life (Jasmine) – 2-CD anthology (contains 35 tracks recorded for MGM; includes all 10 of his 1956 RCA recordings; and 10 of his 1957–1958 Mercury recordings).

2013 Billy Eckstine: Seven Classic Albums (Real Gone Jazz) – 4-CD reissue package includes these 7 albums, Billy Eckstine's Imagination; Billy Eckstine & Sarah Vaughan Sing the Best of Irving Berlin; Billy's Best!; Basie-Eckstine Incorporated; No Cover, No Minimum; Once More With Feeling; At Basin Street East.

Meghívtak egy plasztikai sebészeti csoportba, merthogy ugye kitaláltam, hogy nem muszáj nekem utálnom magam, feladhatom a nehézkes küzdelmet, hogy elfogadjam az öregedést, pfff... nem megy, nem megy. Lehet kés alá feküdni. A csoport zárt és valódi információcsere folyik. Ki mit csináltatott, kinél, hogyan, hogy gyógyult, előtte és utána fotók. Az első döbbenet az volt, hogy szembesültem vele, hogy amit eddig irigyeltem, hogy másnak milyen szép ezt meg azt adott a jóisten, ott lehet, hogy sokszor azt kellett volna irigyelnem, hogy neki előbb volt rá pénze meg előbb gondolta azt, hogy miért ne. Nagyon, de tényleg nagyon fiatal nők csináltattak nagyobb vagy másabb cicit, de sok az arcplasztika, hasplasztika, stb, stb. 1-2 év alatt a hegek hajszál vékonnyá, szinte láthatatlanná válnak. Néha van olyan, hogy valakit a csoport igyekszik lebeszélni a műtétről. Gyönyörű vagy, szép a cicid, nem kell nagyobb! Azt nem tudom, hogy sikerül-e. Mert lehet valaki akármilyen gyönyörű, ha valami mást szeretne. Az kiderült, hogy a mellnagyobbítás az kurva macerás, és 7-10 év múlva tuti egy újabb műtétet jelent. Ezt nem is gondoltam volna, mindenesetre örülök, hogy nem a mellemet akarom növelni, mert szerintem eltántorítana, hogy eléggé lutri, hogy mi történik majd a behelyezett cuccal, illetve, hogy mindenképpen cserélni kell. Minimum 50% az esély, hogy a cici, amit egy fotón látsz, nem eredeti. Ez semmit nem von le az esztétikai élményből vagy az izgalomfaktorból egy pasinál, de azért motoszkál bennem valami. Hogy jó-e ez, hogy ilyesmiket vállalnak a nők? De pláne olyan nők, akik eredetileg is szépek, speciális fények, beállítás és retus nélkül. Aztán eszembe jut, hogy az őstörténet óta tele vagyunk bizonyítékokkal, hogy mi mindent vállalnak az emberek, hogy eladhatóbbak/dominánsabbak legyenek. Szexuálisan vagy a hierarchiában. Jó, a szájfeltöltést nem tudom megszokni, de még abból is volt olyan, akinek tényleg nagyon vékony volt a szája, és egy pici rásegítés bájosabbá tette. A többség amit láttam az feleslegesnek és nem valami szépnek tűnt. Volt viszont nagyon sok olyan beszámoló, amikor annyira bele tudtam élni magam, hogy ez a változás micsoda megkönnyebbülést, örömöt, önbizalmat adhatott. Ők is látják, hogy szebb, fiatalosabb, csinosabb, szimmetrikusabb lett, meg mi is. taps, elismerés, megérte. Hogy félek-e? Kurvára.

– Magának nincs rá szüksége, hogy kontrollálják vagy visszaigazolják. Vegye már végre tudomásul, hogy maga ki tudja találni és meg tudja csinálni egyedül!

– Maga sosem bántó. Zsigerileg kedves ember. Hogy más hogyan érzi magát, az az ő dolga, majd a saját terápiájában megoldja. Viszont magával néha tényleg elszalad a ló, szóval hagyja őket békén. Ha nem vesz részt benne, hagyja őket boldoguljanak ahogy tudnak. Fogadja el.

– Hagyta magát kihasználni. Sőt, tálcán kínálta magát, sőt könyörgött, hogy használják ki. Nem vetheti a szemére senkinek, hogy megtette.

– Nem tartozik hálával senkinek amiért az élete része volt, és maga ebből tudott épülni. Se az anyjának, se az apjának, se senkinek. Mert a maga érdeme, ha tudott épülni abból amit megélt.

– Ragyogóan néz ki!

Mondott még más dolgokat is, de azt nem írom le, mert... szóval itt van az a pont ahol abbahagyom Logan devalválását azért, hogy fel tudjam dolgozni a visszautasítást. Hogy mi lesz velem? Ki tudja... De ez a nap csodás, és bár kaptam jeget is a nyakamba, valahogy mégis beérett a sok év vissza-visszatérés az önismereti terápiába. Szeretem azt, ami az erősségem és ami leginkább vagyok, amikor úgy érzem önazonos vagyok. Szeretem azt az "olyan" embert. És nem baj, hogy hiszek benne, hogy végtelen szeretetem van. Nem baj ez se!

Nem tudom mi a fene van, de hagyom.