"A New York Treasure" --Village Voice
Category: Music

Everything Is Not Enough

From the Texas Monthly archives here’s Michael Hall’s 1998 piece on Townes Van Zant:

Townes Van Zandt perched on a chair in the little nightclub in Berlin and sang for an hour and a half. It was October 1990. He was sober, which was a surprise; he was soulful and funny, which wasn’t. The adoring audience sat transfixed through his entire set: the precise playing, the weary singing, the apt covers like “Fraulein,” the country chestnut. The Germans loved him. They knew his lyrics by heart, though most of his jokes sailed over their heads.

Two and a half years later, Townes played at La Zona Rosa in Austin. He was so drunk he couldn’t finish a single song during the entire abbreviated set. Embarrassed fans started filing out after fifteen minutes as he fumbled with chords and slurred his words into gibberish. Some stuck it out to the end, feeling guilty for watching, but—well, you never knew what might happen when Townes Van Zandt was onstage. After the show, he collapsed.

Townes was a holy mess, his life a mix of the sublime and the horrific. By the time he died of a heart attack at 52 on New Year’s Day, 1997, the Fort Worth native had written a large batch of enduring songs and become the subject of colorful tales—many of them even true. They will be retold on March 28 when Austin City Limits airs “A Celebration of Townes Van Zandt,” during which Emmylou Harris, Willie Nelson, Lyle Lovett, Nanci Griffith, Steve Earle, Guy Clark, and others reminisce about their friend and play his songs. At the taping of the show on December 7, Nelson and Harris did “Pancho and Lefty,” which he and Merle Haggard took to number one on the country charts in 1983. Harris and Earle sang “If I Needed You,” which she and Don Williams took to number three in 1981. Griffith sang “Tecumseh Valley” and Lovett “Flyin’ Shoes,” as each had been doing in concert for years. Griffith called Townes “one of our greatest native folk songwriters.”

And here is an exclusive: “Heavenly Houseboat Blues.”

Shotgun Willie

Last year, Texas Monthly ran a terrific oral history on the outlaw country music scene in Austin during the 1970s. John Spong did the work. And it’s well-worth your time for sure:

Halfway between the coasts sat Texas, where hundreds of honky-tonks functioned as Nashville’s farm system. But that music belonged to the old guard. Texas kids were more interested in the state’s thriving folkie circuit. The hub was a Dallas listening room called the Rubaiyat, from which young singer-songwriters like Steve Fromholz and B. W. Stevenson sallied forth to coffeehouses around the state. The music they played was distinct from the protest songs of Greenwich Village. Texas folk was rooted in cowboy, Tejano, and Cajun songs, in Czech dance halls and East Texas blues joints. It was dance music. And when the Texas folkies started gigging with their rock-minded peers, they found a truer sound than the L.A. country rockers. There was nothing ironic about the fiddle on Fromholz’s epic “Texas Trilogy.”

It’s impossible to pinpoint the exact moment when that sound and scene coalesced into something cohesive enough to merit a name, but then again none of the labels people came up with—cosmic cowboy, progressive country, redneck rock, and, ultimately, outlaw country—made everyone happy. Still, the pivotal year was 1972, and the place was Austin. Liquor by the drink had finally become legal in Texas, which prompted the folkies to migrate from coffeehouses to bars, turning their music into something you drank to. Songwriters moved to town, like Michael Murphey, a good-looking Dallas kid who’d written for performers such as the Monkees and Kenny Rogers in L.A. He was soon joined by Jerry Jeff Walker, a folkie from New York who’d had a radio hit when the Nitty Gritty Dirt Band covered his song “Mr. Bojangles.” In March, Willie played a three-day country festival outside town, the Dripping Springs Reunion, that would grow into his Fourth of July Picnics. Then he too moved to Austin and started building an audience that didn’t look like or care about any Nashville ideal. By the time the scene started to wind down, in 1976, Willie and Austin were known worldwide.

My Style is Tricky, like Spellin’ Mississippi

Finesse…

But I Like It

Here’s a good piece on Keith Richards’ memoir by Rich Cohen:

Life is not a standard addiction memoir, because Richards sees his addiction as anything but standard. It’s not a weakness, not a disease. It’s martyrdom. “They imagined me, they made me, the folks out there created this hero,” he writes. “Bless their hearts. I’ll do the best I can to fulfill their needs. They’re wishing me to do things that they can’t. They’ve got this job, they’ve got this life . . . but at the same time, inside them, is a raging Keith Richards. When you talk of a folk hero, they’ve written the script for you and you better fulfill it. And I did my best.” In other words, Richards taunts death so that we can be free.

Much of the trouble between Jagger and Richards must come from the simple fact of longevity. They are locked in a partnership that started when they were too young to make lifelong commitments. How would you get along with your high school friends if you still had to depend on them today? Richards, a sentimentalist, cannot help but compare how it was then to how it is now with sadness. “Mick has changed tremendously,” he writes, “only thinking [back] do I remember with regret how completely tight we were in the early years of the Stones. First off, we never had to question aims. We were unerring in where we wanted to go, what it should sound like, so we didn’t have to discuss it.”

In the end, it does not matter that Richards is unfair to Jagger or that Richards sees the world through a coke-addled lens. In this book, as in his music, Richards’ real obligation belongs not to Jagger or anyone else. It belongs to the reader, and to the art. At this, Richards succeeds brilliantly. The result is a classic book of rock & roll.

While you are at it, check out Cohen’s 1994 Rolling Stone cover story on the band.

Frank’s Wild Years

Alex Harvey on Tom Waits in L.A.

[Photograph by Phillip Gould]

Her Thing

Belated, I know, but: Rest in Peace, Marva Whitney.

BGS: The Strange and Mysterious Death of Mrs. Jerry Lee Lewis

Here is Richard Ben Cramer’s chilling Jerry Lee Lewis story. It originally appeared in Rolling Stone (March 1, 1984) and is reprinted here with the author’s permission.

First up, a brief introduction from Cramer:

How was I out to lunch? Let me count the ways. I was new to magazines, never having written for a national publication, much less for ROLLING STONE. I was a newspaperman, just returned from the Middle East—a bit unsteady, still, in America. The provenance of rock & roll I had traced as far back as the record store. Past that lay a great sea of unknowing.

All of a sudden, I was in Hernando, Mississippi, where no restaurant order was complete until the waitress asked, “You wan’ gravy?” Where the leading candidate for sheriff was known as Big Dog Riley. Where Jerry Lee Lewis was a legend and a power, not to mention the spendingest man in the county, which spending had bought for almost a decade the quiet cooperation of local authorities who would perform all kinds of “community service,” like towing the Killer’s car out of a ditch without checking his blood for alcohol, or bargaining his drug charge down to a simple hoe, or shipping off the bruised body of his dead fifth bride for a private autopsy, with no coroner’s jury and little public inquiry into the cause of her death.

And I was proposing to penetrate this long-closed world, to find out how that girl died?

Truly, I was out to lunch.

But God looks after his children who were tardy on brain day. He introduced me to a splendid couple of folks who owned the local weekly newspaper, and then to the local prosecutor, who wanted to help me honorably, even though the resulting story could not reflect well on his grand-jury presentation. And then there were the ambulance drivers, the local cops, local merchants and matrons, meetings at midnight, anonymous notes left at my motel. Bit by bit, they made a picture of life where Jerry Lee lived.

Then, too, I was led to Hernando’s Hide-A-Way, the Killer’s favorite nightclub, fifteen miles north in Memphis, Tennessee, and to the lubricious owner of that nightclub, Kenny Rodgers; in Memphis, too, there was Elvis’s old doctor chum, Dr. Nick; there was Jerry Lee’s manager, J.W. Whitten, and Whitten’s little dogs, Nickie and Kai; there was J.W.’s former wife; and there were former band members, club bartenders, former girlfriends, bouncers, strippers, whores. . . .

Quickly, it became apparent that this unexpected, inexplicable death was not out of the ordinary in the world of Jerry Lee. And not long after, it would become equally clear that the official version of events diverged early and often from the facts. Something went violently wrong at the Killer’s mansion on the night of Shawn Lewis’s death. And as soon as that death was disclosed, everything went wrong with the investigation. A grand jury was quickly led to conclude that no crime had occurred. But I was sure Shawn’s death was no suicide, no mistaken handful of pills. No one would ever prove what happened: Only two people were in the house that night. One was dead and buried before the appropriate tests could be made. The other was Jerry Lee Lewis.

First, I had to learn something about where Jerry Lee’s music came from—and about the stark choices presented to a boy at the Assembly of God church in Ferriday, Louisiana. In a hundred times of trouble, he had vowed he would dedicate his soul and his music to the Lord’s work, forevermore, but he never could make that stick. And then the millions of miles and the thousands of nightclub dates—the rage they required, the drinks and drugs—took their toll. He ate away at himself. By the terms of his church, Jerry Lee made his living with the devil’s dance on his piano. “Great Balls of Fire” was his anthem not by happenstance.

And he ate through the lives of his women. His third wife, his cousin Myra Gale Brown, won divorce with horrific tales of how Jerry Lee beat her up in view of their little daughter. His fourth wife, Jaren Gunn, also won divorce, but she ended up dead, mysteriously drowned in a Memphis swimming pool, just before her settlement came through. Shawn Michelle Stephens was the fifth. A sharp and spunky twenty-five-year-old from Garden City, Michigan, she thought Jerry Lee was her ticket to the good life. They married on June 7th, 1983, and seventy-seven days later, she was dead.

It seemed to me unlikely that the magazine of rock & roll would greet this harsh story with enthusiasm. I thought, in fact, that if I meant to question Jerry Lee’s clean escape from this case, I’d have to possess a ton of stone-hard facts and present them as a wall, every stone immovable. It took weeks in Mississippi, Memphis and Detroit—more weeks in New York. It seemed to me a miracle that I never heard a discouraging word from my editor, Susan Murcko. I thought perhaps I hadn’t made exactly clear what it was I thought I’d found. I wrote with trepidation. I saw every word raising a wall that might fall back on me. It was months after the assignment when, at last, I presented to Murcko a thick sheaf of pages.

Too thick!

Murcko started thinning the wall. She worked with the infinite patience of a medieval mason. Thousands of words were chiseled to dust. And nothing was lost. Murcko, God bless her, was all dogged delicacy.

Then Jann Wenner looked it over. Too thick!

To hell with delicacy! More thousands of words, whole interviews, whole characters, were dust, mere dust. Murcko brushed the wall smooth again.

Then fact checkers . . .

Then copy editors . . .

Then lawyers!

I was unprepared for this woe. I was a newspaperman. The way I was brought up, you wrote the thing, you sent it in, it ran that night. Next day, it was over. This was months. This was murder.

February 1984, finally, the story was in type. Ten pages in the magazine. I looked it over as if it were some strange geode, compressed as it was by time and tread. I was shocked to discover that it said what I meant.

The county’s inquiry into Shawn’s death never was reopened. The feds took up the scent for a while, but they never made a case on the death of Jerry Lee’s wife. They put all their eggs into the Internal Revenue basket and actually charged Lewis under the tax laws. But as far as I know, nothing much came of it. Some bargaining went on—more judgments against Jerry Lee, more liens. What the hell, he already had enough judgments against him to pave the road to Tupelo.

Jerry Lee got married again—to a cute young thing. The tabloids attended and wrote about her ring.

The Killer’s only reaction to my story came through his manager, J.W. Whitten. He said Jerry Lee was “just surprised . . . that ROLLING STONE would do that kind of thing on us.”

Well, so was I.

“The Strange And Mysterious Death of Mrs. Jerry Lee Lewis”

By Richard Ben Cramer

The killer was in his bedroom, behind the door of iron bars, as Sonny Daniels, the first ambulance man, moved down the long hall to the guest bed- room to check the report: “Unconscious party at the Jerry Lee Lewis residence.”

Lottie Jackson, the housekeeper, showed Sonny into a spotless room: Gauzy drapes filtered the noonday light; there was nothing on the tables, no clothes strewn about, no dust; just a body on the bed, turned away slightly toward the wall, with the covers drawn up to the neck. Sonny probed with his big, blunt fingers at a slender wrist: it was cold. “It’s Miz Lewis,” Lottie said. “I came in…I couldn’t wake her up….” Sonny already had the covers back, his thick hand on the woman’s neck where the carotid pulse should be: The neck retained its body warmth, but no pulse. Now he bent his pink moon-face with its sandy fuzz of first beard over her pale lips: no breath. He checked the eyes. “Her eyes were all dilated. That’s an automatic sign that her brain has done died completely.”

Matthew Snyder, the second ambulance man, had barely finished Emergency Medical Technician school. He was twenty, blond, beefy, even younger than Sonny, and just starting with the Hernando, Mississippi, ambulance team. Even rookies knew there wasn’t anything uncommon about a run to Jerry Lee’s to wake up some passed-out person. But Matthew saw there was something uncommonly wrong now, as he caught the look of worry and excitement from Sonny over at the bed. “Go ahead and check her over,” said Sonny, and Matthew restarted the process With the woman’s delicate wrist. He saw, up on her forearm, the row of angry little bruises, like someone had grabbed her hard. He saw the little stain of dried blood on the web of her hand. He shook his head at Sonny: no pulse.

Lottie knew It was wrong, too. She was a stolid, hard-working black woman who’d taken care of Jerry Lee since before he moved down here from Memphis—more than ten years, that made it. She was crying as she moved down the hall and knocked at the door with the iron bars.

The Killer was there within seconds. If he’d been sleeping on the big canopied bed, he must have been sleeping in his bathrobe. For now, he came into the hall, with the white terrycloth lapels pulled right across his skinny chest, and he looked surprised to find Lottie in tears. Then he looked a silent question into Sonny Daniels’ eyes.

“Mr. Lewis, your wife….” Sonny averred his gaze. He said: “I just checked her over in there….”

Still, he didn’t meet the question in Jerry Lee’s hard eyes. He saw the two bright red scratches on the back of Jerry Lee’s hand, like a car had gouged him from the wrist to the knuckles. When Sonny looked up at last, his own eyes grew, his whole face seemed to grow larger, rounder, younger.

“Mr. Lewis,” he said. “I’m sorry. Miz Lewis is dead.”

***

The autopsy that cleared Jerry Lee Lewis called Shawn Michelle Lewis, 25, “a well-developed, well-nourished, white female, measuring sixty-four inches in length, weighing 107 pounds. The hair is brown, the eyes are green….” It hardly did her justice. She was a honey blond with a tan, small and full of bounce, with a grin that made everybody smile and had turned male heads since junior high.

“Everybody liked her. She was like the stepchild of the club. Everybody looked out for her,” says Mike DeFour, the manager of DB’s, a fancy nightclub in the Hyatt Regency Hotel in Dearborn, Michigan, where Shawn Michelle Stephens worked as a cocktail waitress. DeFour treated his waitresses, “the DB’s girls,” like family—he loved them all, took care of them, saw to it that they made good money—even the new girls, like Shawn, who had started part time about four years ago. “Some of the girls I gave nicknames to. Shawn was ‘Little Buzz” because she was always buzzing around, you know, half buzzed….

“No, not like that. Drugs weren’t a big problem. You know, a hit on a joint or two, no problem. It was around. Or a shot from a bottle of schnapps—okay, I’d look the other way.”

Shawn loved working there. The money was great—sometimes $150 a night. But it wasn’t just that: It was upscale, crowded with people who dressed and threw money around. It was something more for a girl from Garden City, a suburb of little boxes built for the auto workers of the Fifties. There, more was the stuff of dreams.

But somehow, in Garden City, Shawn never seemed to get much more. Her mother’s divorce had only made it harder. Shawn had been in and out of jobs, mostly waitressing, since she graduated in 1975. She dreamed of marrying Scott, her boyfriend, but his parents were strict, and they never thought much of Shawn. So DB’s was fine for the moment—great, in fact. She loved the people. It almost wasn’t like work. The musicians took them to parries after hours—great parties.

One DB’s girl, Pam Brewer, took up with J.W. Whitten, the wiry bantam of a road manager for the Jerry Lee Lewis band. Pam flew off to Memphis, and when she came back the next year, she was soon to be Mrs. J.W. Whitten, traveling with the band, flying in Learjets and shopping from a limo! That’s when it happened to Shawn.

Jerry Lee, performing for a week at the Dearborn Hyatt, picked Shawn out from among the girls. Pam Brewer set it up: She told Shawn that Jerry Lee wanted to take her to a party in his suite. It wasn’t like Shawn had been looking for it. In fact, the first time she’d seen Jerry Lee, she’d told her mother: “Mom, he’s a lone man, and he’s about your age. You ought to come and try to meet him….” Instead, It was Shawn who went. ” I always thought Shawn’d be good for Jerry,” says Pam. “She was so cute, petite, and he likes little women. And she was so much fun to be with. I introduced them. I thought she was flexible enough to understand his moods.”

Jerry Lee wasn’t showing his moods the night of that first party. A great party, Shawn told her friends. actually, it was just a few drinks in his suite. A couple of other women were already up there. Jerry Lee played piano and sang, while Pam’s little Chinese Shih Tzu dog sat up with him on the stool. Shawn knew she was looking good, in her jeans, cowboy boots and a huggy little white rabbit jacket. And Jerry Lee treated her so nice! He’d turn away from the keyboard as he’d slow down his rhythm for a snatch of a love song. She felt him sing straight to her. It was February 1981. Shawn was twenty-three.

***

“Dead. you sure?” said the Killer, as he crossed the hall to the guest room. He grabbed Shawn’s wrist, as if to feel her pulse, then dropped it and just stood staring at her.

“Anything you can do?” Jerry Lee said, mostly to Sonny. “In the hospital?”

“No, sir, we woulda took her already,” said Sonny. He was real polite.

Jade McCauley, a deputy sheriff came into the room at that moment. By happenstance, he said, he’d been patrolling on Malone Road as the ambulance made the turn for Jerry Lee’s house. Of course, his ordinary patrol area was miles away, but nothing about Jack McCauley seemed to fit the ordinary. McCauley, 48, certainly was the sharpest deputy in DeSoto County: a college man, a Yankee transplanted to Mississippi, a man who said he’d made a small fortune on developments like the industrial park in the northeast comer of the county. John Burgess McCauley lived in a hideaway house that made Jerry Lee’s look modest—it must have been worth $200,000, according to realtors who’d seen it. Nobody quite knew what Jack was doing, fooling around in patrol cars with a deputy’s job that paid $12,000 a year. And the way he’d take your head off for the smallest little thing, start shouting and get red all the way up to his crewcut, no one asked Jack.

Sonny was going to explain to Jerry Lee the need for an inquest, but Jack McCauley took over from there. He had that air of command about him. McCauley announced he was going to clear the room. He wasn’t real polite like Sonny—more familiar. “Come to think of it,” says Sonny, “I don’t recall Jack introducing himself. Maybe he knew Jerry Lee.”

Maybe, but it’s hard to tell now. McCauley won’t talk about the case. And Jerry Lee never said much of anything about it, except that day, when he had a long talk with McCauley. They were alone in Jerry Lee’s little den for more than an hour before the state investigators or anybody else arrived at the house. McCauley never filed any report on that long conversation. He did write a report that told how he came in the wake of the ambulance, just after 12:30 p.m., August 24th, 1983, and how he got delayed in the driveway by two employees of Goldsmith’s department store, who’d come to the house to hang drapes, and then how Matthew Snyder told him “that a female subject was dead in one of the bedrooms.” His report continues:

Upon entering a small bedroom on the east side of the residence, Mr. Lewis was bending over the bed where a white female was lying partially covered by a bedspread. She was clad in a negligee….When I first arrived, Mr. Lewis’ speech was heavily slurred, but he was alert and coherent. I telephoned the sheriff’s office and requested a justice of the peace if the coroner could not be located, and an investigator. The latter was requested because there were no visible causes of death and because Mr. Lewis’ bathrobe contained apparent bloodstains and he had a cut on his wrist.

At 13:51 hours I advised Mr. Lewis that his manager J.W. Whitten had arrived but would not be allowed to enter the residence until the investigation was completed. Mr. Lewis commented we need to “find out who killed—how she died,” so funeral arrangements can be made.

So McCauley was the first to report that Jerry Lee’s robe was spotted with blood. Surely, McCauley must have seen, as well, the blood on Shawn Lewis, on her hand, on her hair, on clothes and a bra in another room, on a lamp, in a spot on the carpet. He must have seen the film of dirt on her, and the bruises on her arms and hip, maybe her broken fingernails with something that looked like dried blood underneath. None of this was in his report. But it didn’t matter much. For McCauley’s report never made it into the investigative file, never left the sheriff’s department until after the grand jury had decided no crime had occurred.

***

Shawn hadn’t been a great fan of the Killer’s, not until that first night in his suite. She was tiny in her mother’s womb when his “Whole Lotta Shakin’ Goin’ On” threatened to knock Elvis himself off the throne of rock & roll. At forty- five, Jerry Lee was still riveting—a star, and he seemed to like her. He’d make funny faces and twist his head around, trying to understand her funny Yankee way of talking. Then he’d understand and try to mimic, and everybody’d laugh—Jerry, too. Of course, girls were never a problem for the Killer. They were always around. Often, Jerry left the details of his trysting to others; now, in February 1981, it was Pam who issued another invitation, this time with a free ticket to Memphis: “Jerry was gettin’ ready to go to Europe, and I figured it was a good time to bring Shawn down. Because I figured he’d take her with him. Which he did….”

Clever girl! Pam Brewer is twenty-six now, and although she’s split up with J.W. Whitten, she still lives in Memphis. She talks in a molasses drawl (well, a girl’s got to fit in!) about Shawn’s springtime trip to Europe.

“He bought a beautiful gold watch for her. I don’t know how many thousands he spent on it. It was his first gift to her….They’d send her out, and she’d get herself a bunch of beautiful suits, and she’d come back and just look at herself in the mirror, because she couldn’t believe that was her in all those beautiful things….

“How could you not get taken by it? I was in heaven all the time I was, uh, involved.”

It was heaven–most of the time. Then there were the times Jerry was speeding so bad after a show: He couldn’t come down, and he’d bully Shawn to stay up with him. God, they never slept. And then it was kind of disgusting when Jerry would stick that big needle with the Talwin narcotic right into his stomach. He said his stomach was killing him, and no wonder, the way he lived.

It was better, sort of, back in Nesbit, Mississippi, in the big brick house—at least you could relax. There was the pool shaped like a piano, and the lake out back with the Jet Ski, a sort of kicky little snowmobile for the water. Shawn loved the sun, and she’d be out there all afternoon, before Jerry woke up. Then at night, they’d go to Hernando’s Hide-A-Way, Jerry’s home club, fifteen miles north, up in Memphis. They’d roll in about midnight, and Jerry Lee would sort of dance to his table, announcing: “The Killer is here.” They’d always drink, or have a pipe or two back in a little office by the bandstand. Sometimes, Hernando’s owner, Kenny Rodgers, would get up to the mike, straighten his pearly tie under the vest of his gray business suit and announce: “Ladies an’ gennlemen! The greates’ ennataina inna worl’…the Killa…Jerra Lee!” And then Jerry’d screw around for hours, while the house band wilted behind him, and Jerry would work to his own private rhythms, singing a snatch of this or that, cutting off songs in midverse, making the whole club dance to his tune. That could get ugly, too, like the time some patrons left the floor in disgust when Jerry Lee cut off another song. “You stupid ignorant sonsabitches,”Jerry Lee screamed from the piano bench. “You got a $20,000 show here, and y’all walkin’ offf rom the Killer!”

Shawn said she knew how to handle him. For one thing, you just had to pay attention. Shawn said she knew, too, how to handle other women. A friend and former DB’s girl, Beverly Lithgow, says: “Shawn told about one of the first times they went out to dinner down there near Memphis, and this girl came over to the table and asked for Jerry Lee’s autograph. So he gave it to her. She came back again and started talking with him. So the third time she came back, Shawn finally just grabbed her by the hair and pulled her down, and said, ‘He’s with me tonight. Leave him alone.’ Shawn said Jerry Lee loved it because she was so forceful.”

She had spunk—”She wasn’t a pansy,” says Bev—enough to leave him when her younger sister, Shelley, came down to visit, and Jerry started showing his moods. Shelley, 20, drove down with their brother, Thomas, and his friend, Dave Lipke. Jerry Lee got jealous; he thought Shelley was bringing a young man for Shawn. Then he got mad, according to Shelley, and started knocking Shawn around. Shelley says the real problem was Jerry Lee’s insistence that she and Shawn have sex with him.

“Iknew what he wanted, and I wouldn’t do it,” Shelley says.

“He made us leave, but he didn’t actually tell us to go. He made Shawn tell us. So she said, ‘Well, if you’re leaving, so am I.’

“It was really crazy. Jerry Lee was wild. He ended up accusing us of stealing his Jet Ski. But the Jet Ski is big, like a snowmobile. I mean, I only had a Camaro. And he saw us drive away. He parted the curtains. We saw him looking through the bars on his window. I kept saying, ‘Duck! Duck!’ We all thought he was going to shoot us.”

Later, Shawn called Jerry Lee to calm him. But Jerry wouldn’t be pacified. Shawn said he sounded “jealous, sort of sick….” As it turned out, it was more than sort of: Within weeks, by July 4th, 1981, the Killer was in a hospital bed with most of his stomach gone and a less than even chance of living. The jealousy was real, too: Shawn had called Jerry Lee from Texas, where she and Shelley wound up living with the love of Shawn’s young life, Scott.

***

Charlie Ward, the Hernando, Mississippi, city policeman who drove the ambulance truck, already had used the radio once to try to call in the coroner. But Jack McCauley said things might get too public. He decreed radio silence. McCauley used the phone from Jerry Lee’s kitchen to start planning with Sheriff Dink Sowell, who was just as eager to keep matters at a decorous hush. His first order of the day: a deputy to man the gates at the base of the driveway to keep the damn press away.

Sheriff Sowell didn’t need any noise while he was trying to retire in peace and keep a hand on the department with the election of his chosen successor, his chief deputy, James Albert “Big Dog” Riley. There were too many rumors already about James Albert and that Hernando’s Hide-A-Way crowd. You could talk to any of Big Dogs opponents in the hot Democratic primary and collect hellacious stones about James with drugs, and sang gospel songs to the crowds who greeted his return. And with more determination, he sought out the love of a woman, “a different kind of girl,” a woman who might have the strength to change him: Jerry Lee got out of the hospital and started calling Shawn.

***

Texas hadn’t turned out so well for Shawn, Shelley and Scott, and by the end of summer 1981, all three were heading for home.

At first Jerry Lee’s calls seemed funny to her, like a card from someone she’d met traveling—they didn’t seem part of real life. But as fall gave way to hard Michigan winter, the calls seemed to grow more important. After all, she was back in the same tired circle: the icy, gray streets of Detroit, back and forth to work at a secretarial job. Even Scott and his precious parents! What did his family have against her? And what did they have over him? Why didn’t he want her? Jerry Lee wanted her. He said he’d give her anything. H e wanted to send a ticket—a ticket to anywhere.

As it turned out, she met him close to home. In 1982, Jerry Lee was booked for a show in Michigan. Shawn, her mother, her brother and her sisters met the Killer’s plane, and suddenly, there it all was again: the jet, the limos, the big men holding the doors….Mother, brother and sisters rode with the band. Shawn rode with Jerry in the limousine.

And so it was that Jerry Lee came back into her life with that vision of something more. The Killer said he wanted to marry her, just as soon as he got free of Jaren. The girls from DB’s were so jealous!

Still, there was Scott. “The one thing she wanted out of life,” says her mother, “was to marry Scott and have his baby.”

Scott, now a factory worker in Livonia, Michigan, says: “Shawn just could never get over me and her. We had a lot in common, and we had fun together….But I never could forgive her for going off with Jerry Lee Lewis. That’s the bottom line. Everybody knew about it, and there was no way I could take her back.”

Jerry Lee kept pressing her. Jaren was dead and Jerry was free, and he wanted Shawn to be his. He demanded an answer by the tune he carne back from Europe in the spring of 1983. Shawn stayed behind in Michigan, savoring her dilemma.

Shelley remembers: “I guess we all just said, ‘Yeah, go ahead, try it. If you don’t like it, you can always get divorced.’ I feel so guilty about that….But it was flattering.”

After yet another transatlantic phone call, Shawn announced: “Mom, I’m going to Europe…I’m going to marry him.” Shawn put everything she wanted in her mother’s two suitcases. Except for her family, there was nothing more for her in Garden City. Even her tawny cat, Scottie, had run away.

In a beery bachelorette party at Henry’s, Bev Lithgow asked Shawn why she was marrying Jerry Lee. Shawn laughed: “Because he has a big dick and a lot of money.” Janice Quesenberry, another DB’s girl, says: “Shawn gave me a big hug and kiss and said, ‘Well, I’m going to go for it. I’m not crazy about the man, but I’ve never had this kind of life.’ I told her, ‘You know, you’re going to have his kids.’ Shawn told me: ‘There’s no way I’m having kids with that old creep. I’m just going to stay married for as long as I can, and then I’m getting the hell out.”‘

Still, down to the very last, she wasn’t sure. Scott says she called two days before the wedding to tell him: “If you’d just say the words, I’d come back….”

And still, she was asking Mike DeFour, DB’s manager: “Mike, what should I do?” DeFour shakes his head and remembers: “I told her, ‘You’re free, white and twenty. Go for it. Just make sure you got some money and a plane ticket home.’

“See, none of us ever gave the marriage more than six months to a year. But none of us ever expected her to wind up in a pine box.”

***

Bill Ballard was in his office when he got the call from Sheriff Sowell, about tw0 hours after Shawn was found. The sheriff told Ballard, the county attorney, that he wanted a legal paper authorizing an autopsy. Once again, there wasn’t much explaining required. William W. Ballard, 40, was likely the smartest man in Hernando. He was the kind of Ole Miss graduate who came out so studiedly tweedy that he made Harvard Law men look flamboyant.

The sheriff knew Ballard was just the man for the job: He had used Ballard as his private attorney. Ballard’s county post was part time—it only paid $14,800. Even Ballard didn’t have much explanation why he kept on with it, but he had, since 1968, and no one ever ran against him. It sort of came with the territory, as a Ballard: His father had been vice-president of the Bank of Hernando; now his brother was bank president. DeSoto County was Ballard country.

By the time Dink Sowell came to see him, Ballard had drafted an agreement insuring that all autopsy information be provided to County Attorney William W. Ballard. Both men headed out to the house on Malone Road.

The state police investigators already had been called there, and the scene was orderly—McCauley had seen to that. The only unofficial personage who had entered the guest room since it was cleared for pictures was Lottie Jackson. Jerry Lee stayed in his den, talking to McCauley. The Killer only emerged once, when the body was being removed from the house.

Sonny Daniels, Matthew Snyder and Charlie Ward were wheeling the body on a stretcher down the hall, when Jerry Lee popped out and asked if he could look. They took down the sheet, and he stared at Shawn. He turned away after a few seconds. He didn’t say anything. “He looked normal,” Charlie Ward recalled. “He seemed to be in good shape.”

Ballard and Sowell knew exactly what would happen to the body. The sheriff explained that he’d already contracted for an autopsy with Dr. Jerry Francisco, the medical examiner up in Memphis. Dr. J.T. Francisco was the man who had staunchly maintained to the world that Elvis Presley died of heart failure.

Of course, Francisco would cost a bundle—far more than the county’s $260 limit for autopsies. But McCauley had taken care of that. He and Jerry Lee had agreed that the Killer would pay. And that was good news, too. For it meant the autopsy was a private report; it need never be placed on public file.

Ballard tried to review these details with Jerry Lee in the big brick house. He needn’t have bothered. The Killer was in his recliner chair. He looked like he was just waiting for all this to be over. He wasn’t weepy. He seemed altogether without emotion, without energy, crashed, like a storm had passed and knocked him dull. When Ballard squatted next to the big recliner and showed Jerry Lee the authorization, the Killer seemed barely to look at the words. He just asked where to sign.

Ballard asked him, “Is there anything we can get for you, or anybody we can call?” He just said his manager, J.W. Whitten, was down at the gate, and he couldn’t get in. “So I told the sheriff, and the sheriff had him let in.”

Just as well, for the state men wanted to get Jerry Lee out of the house. Jay Clark, the chief investigator, really wasn’t that anxious about it. Clark was a bag, easygoing fellow, a plodder, a fifteen-year man with the highway patrol. Very little excited Jay, not even his own hair-raising habit of reading while he drove. But Creekmore Wright, the second man on the job, sure hadn’t seen any case this hot. Wright was younger than Clark, dark-haired, fresh-faced and square-jawed. Of course, Creekmore knew the tales about the Killer, and frankly, the house gave him the creeps. There were those bars on the doors and windows, the bullet holes in the windows and walls, the guns that kept turning up in strange corners of the house. The next day, when Creekmore was to make his second trip to the house, he showed up at the sheriff’s office with his own Magnum prominently holstered. He took some ribbing about it, but he was dead serious. He said he wasn’t going back there without some iron on his side. Now, as Wright and Clark were picking through some bloody clothes in the master bathroom, Creekmore nervously whispered: “Man, if we could just get him outta the house….”

“C’mon Jerry,” J.W. Whitten said, as he walked into the den. “Put some clothes on. Sheriff Sowell wants me to take you away from here.” Jerry Lee rose from the recliner.

Jay and Creekmore had moved into the master bedroom by the time Jerry Lee came in to dress. Ballard also had wandered in, his eyes shifting slowly around the room; he regarded the high, king-size bed, with its four heavy posters and canopy; he glanced at a tray of dirty dishes on the floor, with leavings of streak bones and vegetables, and broken glass on the floor, too, with no large pieces to show where it came from; he noticed the 9-mm pistol Jerry Lee kept on the bed table, and mentally, he tracked the line of fire from Jerry Lee’s expanse of mattress to the bullet holes in the wall.

“It seemed like somehow, we all ended up in the kitchen,” Ballard says. “He was fixin’ to leave. And he was lookin’ for a pair of sunglasses, just lookin’ around for a pair. And then someone went out to the car and brought in a box with what looked to me like twenty-five or thirty pairs of sunglasses. It was the manager, or maybe the manager’s brother, selected a pair and wiped ’em off, cleaned the lenses, you know, doin’ all his thinking for him. And then Jerry Lee stood there, and I can just see him. It was like somebody lookin’ for what kind of reaction he should have. He looked at us and said, ‘Sorry. Sorry. I don’t know what to say.’ He put on his glasses and went on. It was pathetic. If I’ve ever seen a tragic figure, I saw one then.”

As Jerry Lee made for the door, he carried a metal strongbox, two feet by two feet, and almost as deep. Creekmore Wright asked politely if he could check the contents. Jerry Lee reluctantly opened the lid to reveal diamond jewelry, a few papers and tens of thousands of dollars in cash. Creekmore got a look in the box and nodded. Jerry Lee took his hoard and departed in a black Cadillac.

***

The Killer wore a white tuxedo and a red, ruffled shirt to his wedding on the patio of the big Nesbit house. Shawn shone in ivory-colored silk, and she spoke her vows bravely to Justice of the Peace Bill Bailey, who presided. In the rush, they hadn’t been able to find a preacher to do the honors. (Well, J.W. Whitten found one, but he was black and Jerry might not have liked that, so J.W. got the judge.) In the rush, no one thought about the blood test for the license and the three days’ wait required by Mississippi law, until Lottie Jackson brought it up on the morning of the wedding. For a while, it looked like Jerry Lee would have to pack the whole parry off to Tennessee, where things could be done with less wait and bother. But J.W. fixed the license, too. “I made a phone call,” he says, with evident pride. “Just somebody I knew down there.” J.W. winks. “In the business, it’s called ‘juice.'”

Shelley arrived in Mississippi in the first days of June, driving a brand-new red Corvette that Shawn had asked her to deliver for her.

Shelley’s mother said the family would drive down, too, but Shawn insisted that they spring for one-way air fare. No problem, Shawn said: Jerry Lee could send them home in the Learjet.

When at last they got it together, it didn’t seem to want to start. Shawn’s mother walked down the hall to find out what was keeping Jerry. He was almost ready: He was sitting in the master bedroom with his friend, Dr. George Nichopoulos. Dr. Nick had his medical license suspended in 1980 for overprescribing addictive drugs. He was Elvis’ personal physician on part of the King’s long slide into drug oblivion. Dr. Nick testified at hearings that he also wrote narcotic prescriptions for Jerry Lee Lewis. Dr. Nick was still a frequent guest at the Nesbit house. On the wedding day, Shawn’s mother says, she found Jerry regarding three pairs of pills, laid out neatly on a bed table: two of each, three different colors. Jerry Lee said he’d be up in a moment.

J.W. Whitten had invited the National Enquirer, which supplied this account of the big day, June 7th, 1983:

Despite Jerry’s experience at saying, “I do,” he was a bundle of nerves during the ceremony….And three times the nervous groom flubbed the line “according to God’s holy ordinance.” Eventually, Jerry held up his hand to the judge and said, “Just a minute, sir. I’m going to get that right,” and went on to complete his vows perfectly.

Then he slipped a ring on the finger of the honey-blonde bride….The magnificent $6000 ring glittered with a two-carat diamond surrounded by smaller diamonds, all set in silver.

“Oh, Lord, was I nervous,” laughed the legendary hell-raiser, known to friends and fans as the Killer….

“It was love at first sight,” Jerry recalled. ”I’ve never believed in that sort of thing, but there it was: The Killer fell in love.”

There it was…and Shawn, was it there for her, too?

Well, she clipped the Enquirer’s story and sent it to friends and family. On each copy, she crossed out “$6000” and wrote in the margin, “$7000.”

***

Her father stood in the hallway shouting: “What’s the deal here? You marry my daughter, then you can’t even come out and see us? Thomas Stephens was steamed; the morning after the wedding, he’d arrived with the rest of the family at the house at eleven. They’d sat outside the locked doors at the pool for more than an hour, before Shawn could emerge from the bedroom to let them in the house. Now, after another hour, Jerry Lee still hadn’t made an appearance.

Jerry Lee showed a half-hour later, with a mumbled apology. He was buzzed. They couldn’t understand him. He wasn’t in a very good mood. “l went into the kitchen,” says Shelley, “and he yelled at me, ‘What do you want?’ I said, ‘I just came in for a couple of beers.’ He started pounding his fist on the counter, screaming: ‘You scared of me? You should be. Why do you think they call me the Killer? How’d I get that name, huh?’ Then he slapped my face. I was trying nor to cry. I couldn’t tell my father. Shawn took us to a hotel there, near the airport, and dropped us off.”

The family didn’t have tickets home, and they didn’t have the money to buy them. Gone was the easy promise of the Learjet. Shawn’s mother, Janice Kleinhans, says there weren’t any rental cars available at the airport that day. At last, she had to call Jerry Lee. “I said, ‘I don’t know where this mix-up come from, but if you can get us home, you’ll have this money back right away.'”

Jerry Lee said: “I don’t want no money back from you.” He and Shawn came by a couple of hours later. Shawn was crying as she met her mother in the airport and laid $1000 cash in her hand. Jerry Lee kept the motor running.

In phone calls back to Michigan, Shawn seldom spoke of troubles. Still, at one point, she told a friend chat her life with the Killer was just like jail—she couldn’t stand his jealousy, she felt like she was watched all the time. Once, she called home all excited about her new Lhasa apso—a $500 dog! In her next call, she sadly reported that she had to give up the pet because Jerry Lee got jealous. Later in the seventy-seven-day marriage, most of the calls were about a homecoming, a Jerry Lee concert Sunday, August 28th, in Nashville, Michigan. The family planned to convene—even Shawn’s grandfather, who’d been too infirm to make it to the wedding, was planning to go. “Don’t forget that Sunday,” Shawn reminded them a dozen times.

She couldn’t wait to see her sister Shelley and called in the middle of August to invite her down for a visit. Shelley, who had left her apartment and had to wait a month before moving into her new one, delightedly agreed to a long vacation. “Perfect,” said Shawn. “I’ll send you a ticket.”

Her first night there, they went to Hernando’s Hide-A-Way. Jerry was in a good mood, joking and dancing with Shawn, trying to charm Shelley. When they left at four in the morning, Jerry Lee was still flying. He played some piano back at the house, then put on the cassette of his new, unreleased album. “No one has ever heard any of these before,” the Killer told Shelley and Shawn. When the song “One and Only You” started playing on the tape, Jerry Lee smiled and murmured, “This is dedicated to you.”

He said it to both the sisters, but Shelley felt he was pressuring her. She didn’t want him coming on. She didn’t go for group sex. She said she’d better get to bed. Shawn said: “Oh, stay up a little longer.” Shelley didn’t want to be put on the spot. She said good night and went to bed.

When she got up at two the next afternoon, Jerry Lee was still up, drinking in his den. His sister, Linda Gail, and her children were over at the house for a visit. Shawn and Shelley sat in the sun at the pool until Jerry Lee came out, looking mean and slurring his words. “He said something like, ‘I think you girls better get your shit together,’ and then he hit-me on the thigh and slapped me across the face. Shawn sat up to say something, and he hauled off and backhanded her across the face. He hit her hard, too. Then he just looked at us really crazy and walked off into the house again.

“I just looked at Shawn, and she asked me, ‘Did he hit you hard? Did it hurt?’ I said, ‘You’re damn right it hurt!’ I said, ‘I’m leaving. I don’t care who he is. Nobody can….’ And then I started to cry. ‘He can’t hit me like that….’ I said I was going to the police.

“Shawn said It wouldn’t be a good idea to go to the police down there, because they were with Jerry, and they’d be trying to find a way to get me for trying to cause trouble for him. So I just said I was going. I was really upset. And she said, ‘Just wait a little, Shel, ’cause I’m leaving, too. I’m not staying if you don’t. I know what he’ll do to me if I go back in that house.’ I said, ‘Get your stuff, ’cause I’m leaving, with you or without you.'”

They passed through the den on their way in, and Shelley said, trying not to cry, “I think I’m going to go now.”

Jerry Lee said, “Go. Get your ass outta here. Get walkin’.” He mumbled something about her being trouble.

“Then Shawn said, ‘Shelley’s been as quiet as a mouse since she’s been here.’ Jerry didn’t hear her. She was over by the record shelf He started yelling: ‘Speak up! Whaddya say about me?’ He grabbed some albums out from under her hands, and he smashed them on the floor. Then he knocked her across the room. Linda Gail grabbed up her two kids and left.

“Shawn was, like, whimpering: ‘You’re so mean. What’s wrong with you?’ She was sunk down into the big brown chair. He picked up a set of keys and whipped ’em at her, hit her in the forehead. She bent down to get the keys, and she told him: ‘I’m leavin’ with Shel. I’m not stayin’ here with you.’ So he tells her, ‘I’ll show ya leavin’. He grabs her by the front of her robe, and he hauls her off down the hall. He says, ‘You’re my wife. I’ll kill you before you leave me.'”

Shelley left the house on foot. She hitched a ride to the nearest store and called her father.

Back in Detroit, Shelley called her mother to recount the fight, but she omitted any mention of group sex. “Well, there may be things you didn’t know about,” her mother said. “Maybe she was making him mad somehow. There’s two sides to everything. One night, when you’re over here, we’ll call her together and all talk about lt.” But before they made that call, Shawn wakened her mother with a phone call at 3:30 a.m., August 23rd.

“She said, ‘I’m leaving him:” her mother recalls, “‘if and when I can get away from him….’

“I said, ‘Shawn, it’s three o’clock in the morning. Call me tomorrow.’

“She said, ‘I don’t know if l can. Whatever you do, make sure nobody calls for me here.’

“‘Honey, call me tomorrow, okay?’

“‘I don’t know if I can, but I’ll be in touch, Mom.’

“‘Okay, talk to you later….'”

The next day, Shawn was dead.

***

In the quiet house, after Jerry Lee left, Jay Clark and Creekmore Wright, Sheriff Sowell and Bill Ballard drafted a report for Dr. Francisco, who’d requested a description of the scene. Jay Clark did the writing. Jay and Creekmore did the talking, since they were the ones who’d seen the body. Later, Ballard would seem very upset when the funeral director, Danny Phillips, fed the statement to reporters. Ballard needn’t have worried; the description they drafted was mild enough:

Ambulance arrived on the seen approx. 12:52 p.m. Victim was located in front bedroom lying in the bed with cover up to neck. The bed was very neat and did not appear to have been slept in.

There was by visual inspection blood, or what appeared to be blood, on the web of the left hand. There were also bruises on the lower left arm and the upper right thigh. Victim was clothed in a blue nightgown. There were no other items near the victim’s body. . . .

They decided that should wrap it up.

By that time, they knew about the blood on Jerry Lee’s robe and on his slippers. They knew, or had reason to assume, that the body was moved to the guest bed and reclothed in the nightgown. They knew someone had tried to clean up the house after a disturbance. They saw bloody clothes in the bathroom, blood in a rivulet on a door, blood in a spot on the carpet; they could see a bloody piece of gauze on a cabinet in the billiard room where they were writing the report. Why did they omit these facts? “It wasn’t my report,” says Ballard. “I was just watching.” None of the others will talk, including Lottie.

Ballard and Sowell left for the Brantley-Phillips funeral home to attach the report to Shawn’s body for the trip to the morgue in Memphis. On the way out, Sowell paused to tell the reporters that Jerry Lee had been wakened just after noon, by the drapers from Goldsmith’s. Jerry Lee talked with them and then told Lottie Jackson to go wake up Shawn. Sowell declined to offer a theory on the cause of Shawn Lewis’ death. The sheriff said a search had turned up no nonprescription drugs, and no unusual amounts of prescription medicines.

In the big brick house fifty feet away, state investigators and crime lab technicians would work for another full day, collecting enough drugs to fill three single-spaced pages on a crime-lab list, and at least one hypodermic syringe. There was no way to tell if they were illegal drugs or prescription medicines: The job of analysis wasn’t finished for months, and the job wasn’t even started when Bill Ballard and a county grand jury wrapped up the case with a pronouncement that no crime had occurred.

Fifteen miles north, in Memphis, the Killer was resting at the house of J.W. Whitten, who told reporters that Jerry Lee wouldn’t be able to come to the phone: He was “in shock” and “heavily sedated.” But Jerry Lee soon made it to the phone: That evening he would call Shawn’s mother; he would calk to Shawn’s sister Denise. He would call Hernando’s Hide- A-Way, in a late-night search for hypodermic needles. A witness said the Killer asked, “You got any rigs? Goddamn cops cleaned me out.”

In the county sear of Hernando, at the Brantley-Phillips Funeral Home, the morticians, Danny Phillips and his father, John Phillips, had time for a good look at the corpse. It was Danny, the independent-minded thirty-year old, who first released the description that Jay Clark and Creekmore Wright had written up. It was Danny who first reported that Shawn Lewis had traces of blood in her hair, and under her broken fingernails. It was Danny who told reporters that the bruises on Shawn Lewis’ arm had fingernail indentations above them, showing that someone had grabbed her roughly. Danny told reporters, too, that her neck had discoloration. Perhaps someone had exerted pressure there. Bill Ballard came down hard on Danny for releasing the description of the body, and John Phillips had a talk with his son about the firm’s reputation and their “stake in this community.” So Danny grew more careful when he talked about Shawn Lewis. But he wasn’t going to shut up altogether:

“It’s like Charlie Ward said—he drove the ambulance that day, you know. He brought her from the house, and he was standin’ right here, and he said: ‘You know, somethin’ don’t seem right.’

“I’d never say Jerry Lee killed that girl,” Danny says, when he gets going on it. “It might be innocent as a train wreck. But I’d like to see it investigated. To me, I just can’t believe that girl just got to that bed and lay down and died. You just can’t make me believe it.”

***

“Jan? This is Pam’s friend…” Shawn’s mother had just gotten home from work. It was six p.m., August 24th. “…I called to tell you that Shawn didn’t wake up this morning.”

Shawn’s mother screamed and dropped the phone. Her husband, Robert Kleinhans, took the receiver and the scant information Pam could supply.

In the little Garden City house, the rest of the night was spent on the phone, calling relatives, the funeral home, Sheriff Sowell, Dr. Jerry Francisco, Bill Ballard, the funeral home, then a lawyer nearby in Michigan, then the funeral home again.

Sowell told Mr. and Mrs. Kleinhans to direct all inquiries to Ballard. Francisco called back the next morning to say: “If you’ve got any further communication, call Sheriff Sowell.” Danny Phillips, at the funeral home, told Shawn’s mother how the body looked when he carted it up to Memphis. It flashed on Mrs. Kleinhans that her daughter would be cut up and buried before she could even see her. “But I told her,” Danny remembers, “there wasn’t anything she could do about it, because It was private. It wasn’t DeSoto County orderin’ the autopsy.”

Mrs. Kleinhans called Bill Ballard, protesting the quick autopsy. She was too late, he told her. The autopsy was under way. Later, he recalled that he must have misspoken; the autopsy wasn’t begun until the next day. Shawn’s mother might have stopped it, or at least held It up. But she didn’t find out in time.

Mrs. Kleinhans picked up the phone again just after nine p.m. “This is Jerry,” she heard, and her breath caught. She says Jerry Lee told her: “I can’t understand why this happened, we were gettin’ along so well.”

“I said, ‘Wait a minute, Jerry. I know different. Shelley told me about the fight when you slapped them and dragged Shawn off to me bedroom…’

“He said, ‘I mighta slapped ’em, but I never drug Shawn off anywhere.’

“‘Well, that’s not what I heard.’

“‘Well, how would you like to wake up with your wife dead next to you?'”

Mrs. Kleinhans stared at the phone for a second. She answered with a quake in her voice: “They told me she was in another room.”

She says Jerry Lee snarled back, “Well, she’s dead. And I’m alive.”

Shawn’s mother says: “I didn’t know what, I couldn’t…I just told him, ‘I don’t think I want to continue this,’ and hung up. I didn’t know what to think.”

A girlfriend of Shawn’s put the family in touch with a lawyer, Michael Blake, who runs a plain-spoken practice, mostly drunk-driving and negligence cases, from a small office in a shopping mall a few miles from Garden City. He knew that the family couldn’t pay much; that was always Blake’s first question. But he thought he might bulldog the case for a while and find a wedge for a lawsuit. He, too, started calling Mississippi.

The night was nearly over when Blake got a call back from Jay Clark, who agreed to take statements from Shawn’s mother and sister. Blake also got through to Ballard, who promised, calmly, evenly—one legal man to another—to keep Blake fully apprised.

Just before midnight, Denise spoke to Jerry Lee for the last time. His speech was slurred. She could barely understand him: “‘Jesus Christ, Jerry, what happened?’

‘”Denise sisser’s daid an’ she ‘uz a bad girl.’

“‘What? What do you mean? Jerry! What do you mean?’

“‘Sheuzza baggirl. . . anshe daid. . . .’

Jerry mumbled on until Denise thought she would cry, then she hung up.

***

“No foul play,” Francisco reported to Ballard early the next day. “It’s pulmonary edema. Fluid in the lungs. Due to causes unknown.”

Ballard says: “He told me it was consistent with a drug overdose, but he said it’d be some time before all the drug scans would be completed.

“I asked him, ‘What’s your impression from what you’ve been able to do? Foul play doesn’t seem likely?’

“He said, ‘No likely about it. There is no indication of foul play.'”

Francisco’s chipper certainty took a weight off Ballard. The Memphis medical examiner might have looked like a fool or a liar in the Elvis Presley case; he had also been criticized by a congressional committee reviewing the autopsy of Martin Luther King Jr. Ballard knew the stories, but he knew Francisco couldn’t be shaken.

“He’s very good that way. He doesn’t talk down to a jury. he likes to tell you exactly what it is, and he likes to defend his position. Lawyers know with Francisco: Unless you can rake him apart, you don’t even question him in front of a jury. If he gets annoyed, he’s going to drive the nails right into your coffin.”

Francisco got Shawn’s body out of the lab within hours, back to the funeral home in Hernando. The embalming had to be hurried. The body was due in Jerry Lee Lewis country, Ferriday, Louisiana, Friday night. And Shawn had better look good.

The technicians from the state crime lab headed back toward Batesville, Mississippi, with their van full of stuff from the house on Malone Road. The state investigators, Jay Clark and Creekmore Wright, were out at the house again Thursday, but they assured all comers they had a good work-up on the scene; It should be smooth sailing from that point.

Sheriff Sowell also said he already had most of the mystery cleared up. In the days ahead, Sowell would release his account of the Shawn Lewis death. The Memphis metropolitan daily, the aptly named Commercial Appeal, took a swan dive on the story. The Hernando weekly, the DeSoto Times, was first and fullest with Sowell’s best stuff.

Sherriff Sowell said, “Jerry Lee had cut his finger on some glass,” and that this was probably responsible for the blood on Shawn Lewis’ hand. The bruises were described by Sowell as superficial, the kind that anybody might have. “She had been up during the day,” noted Sowell in explanation of how she might have lain down on a neat bed. Sowell noted that there was nothing to indicate that anybody had been attacked. “There were no marks of any violence.”

AIthough Sowell said he did not know when the autopsy would be completed, he did not see that there was any emergency now, since the autopsy had removed much of the urgency: “A lot of questions have been answered at this time.”

This sanguine confidence would last for a week, until the Detroit Free Press interviewed Shawn’s family, and the threats, abuse and violence of the marriage became public for the first time.

***

Shawn’s family bought round-trip tickets to Memphis and got to the funeral home in Hernando for the viewing late Friday afternoon. Thomas Stephens, Shawn’s father, a Catholic, requested some privacy with the body so he could recite the rosary for Shawn. Danny Phillips wasn’t taking chances. He called J.W. Whitten for permission, then fetched the local priest. When the prayers were said, Shawn’s father tucked a cross into her folded hands, and the casket was closed for the trip to Ferriday. Jerry Lee didn’t come to the viewing.

Shawn’s casket was opened for another viewing at one a.m. in Ferriday’s Comer Funeral Home. This time, the Killer came to look, and he said she wasn’t exactly right, something about the hair. Danny Phillips says they told him it never comes right after they open up the head for an autopsy. “Well, she was a pretty girl and I loved her,” Jerry Lee said. Then he saw the cross. “What’s that doin’ in there?”

The Ferriday funeral director said: “That is a symbol of the Catholic faith.” Jerry Lee took the cross from her hands. He was mad.

“How’d that get in there?” Danny Phillips told him about the family’s private prayer in Hernando. “‘That wasn’t right,” Jerry Lee said. He turned to J.W. Whitten, pointing: “You fucked up.”

J.W. protested: “I didn’t tell ’em to do it.”

The Killer waggled a finger between Whitten and Phillips:

“You fucked up. And you fucked up.” He ordered the casket dosed. There’d be no viewing that night.

The funeral went off at 2:30 Saturday. Some of Jerry Lee’s kin played piano and sang hymns from the front of the church. Jerry Lee’s cousin, Gerald, spoke the oration. It was all about Jerry Lee’s troubles. It slowly dawned on Shawn’s family, sitting in their third-row pew, that they were the only strangers in the Assembly of God church. This was Jerry Lee’s service. No one would say anything about Shawn. lt started to sink in on Shawn’s mother after the hymns, about ten minutes into the service, when Jerry Lee walked into the church and everything paused while he made his way up to the front pew. The Killer wore a white tuxedo and a red ruffled shirt.

Shawn was buried in the Lewis family graveyard, where Jerry Lee had played as a child. The Yankee strangers left as soon as they could. They barely talked on the long ride north to Memphis and the airport. They didn’t even pause in DeSoto County. There was nothing for them there.

The Killer, too, barely paused in DeSoto County. The next night, he was back in Memphis, back at Hernando’s Hide-A- Way, with two girls at his side; one witness said they were dancers from a strip joint called Gigi’s Angels. The Killer was singing through a lopsided grin; he was making up a little ditty as he moved to his table: “Ah tol’ her when she lef’ me. . .Ah’d have anothuh in her bed. . . .”

***

Interview: James Albert Riley, sheriff-to-be. He sat before a wall full of badges, in a big swivel chair, his bovine features set in mistrustful concentration. It was midnight, and no one except his campaign manager, David Camp, was in the sheriff’s office to hear him. Big Dog had picked the time.

A: I’ma tell ya the truth now…Jerry Lee Lewis don’ mean shit to me. I don’t even know ‘im.

A: Now, shit. I know y’all come to tie me up in this Jerry Lee Lewis shit….Now I’ll be straight with y’all now, I don’t know if Jerry Lee even knew about those checks. Shit. I’ll tell you this is gonna cost me the sheriff’s election. I don’t even know ‘im.

A: Now what the hell does Hernando’s Hide-A-Way have to do with anythin’? [Riley rocketed back in his chair, hit the wall, staring. He didn’t speak for a minute. His elbow started hammering on the padded arm of the chair.]

A: I’ll be hones’ with y’all, now. B’lieve it or not, Jerry Lee hardly even talked to me…I was only up oncet, aw, twicet, to Hernando’s….

A: I don’ know a damn thing about gamblin’ machines.

A: Now I don’t know shit about drugs. They couldn’t stack enough money in this room to make me put that stuff in my body.

A: You work an’ bust your ass and you try to be straight, and where the hell does it get you? It gets you in a damn magazine with this Jerry Lee Lewis shit to fuck up your whole damn life. Now, y’all got a man’s life in your hands! l’ll be hones’ with y’all now….

***

Interview: Roger Jones, County Coroner. He tucked at the waist carefully, to slide the solid slab of his chest behind a Formica table at Coleman’s Barbecue; he folded before him two hands the size of good dictionaries. “Them hands for pullin’ cow tits,” he said. He wasn’t always a coroner. He was a deputy sheriff. Meant to be sheriff someday, too.

Q: You signed the death certificate, but you never saw the body?

A: Well, in this case, an autopsy was performed by Dr. Jerry Francisco. So I just put on the certificate, “See autopsy.”

A: See, what I do, normally, is I get six people, bring ’em to where the body’s at. We investigate….Now, strange deaths, you know, twenty-five-, twenty-six-year-old people, bruises on the body, something like that, that’s a strange death. There’s no reason a twenty-five-, twenty-six-year-old person should be dead. But unless you have an autopsy, you can’t determine no cause of death….That takes the pressure offa everybody.

A: The death certificate signed, that don’t mean nothin’. Death certificate just shows the people dead.

A: No, I never done it like this before.

A: I’m still in the dark. Far as I know, there was two people there—him and her. You gotta ask him or her. Hell, no witnesses, nothin’. You gotta take a man at his word.

A: Well, I asked Bill Ballard. I tol’ him, I said, “I can’t sign the death certificate without a coroner’s inquest.” So he called down to Jackson, and he call me back, tol’ me: “Here’s how you could do it. You just say, ‘See autopsy?’ So that’s what I did.

A: No, I didn’t see it. Tuesday, I took the certificate over to Ballard. He showed me some paper, showed me he was gonna clip it together. He said, “You want me to send it for you?” I said, “That’d be fine.”

***

[Photo Credit: Jim Herrington]

J.W. Whitten squeezed the sleep from his eyes. He slowly adjusted to the afternoon sunlight filtering into his Memphis house. His little dogs greeted him, yapping and licking, climbing up the front of his bathrobe. J.W. said he wanted the dogs’ names in the story. They are Nickie and Kai.

Then J.W. got right to business: “I can see how her family’d be concerned. But they’re tryin’ to make Jerry into some kind of scapegoat or somethin’. You know they just liked the money. Some of the family’s constantly poppin’ in and out . One time they all of’ em came down and they went to the airport, called up, and they didn’t even have no money to get home. I told him, ‘Jerry, tell ’em all to get me hell out. You married Shawn, not all the rest of ’em.

“It’s my opinion this Shelley came around, an’ every time she’d come around, she’d cause trouble. She was connivin’. She’d always have Shawn off to the side, talkin’. Jerry’d think they were talkin’ about him. I’d tell him, ‘Those Yankee people ain’t the same as us. They don’t mean nothin’ by it.’…But if it wasn’t for the family, none of this woulda ever happened.”

J.W. Whitten has been taking care of the Killer’s business for twelve years. He got with him just by hanging around, being the biggest Jerry Lee fan in town. J.W. likes to tell how he and his daddy were riding in a pickup, down a farm road of Tennessee dirt one day in 1957, when the radio started playing “Great Balls of Fire.” J.W.s daddy told him: “Now, son, there’s your real talent.” J.W. never forgot.

Now, Jerry Lee is his life. On tour 200 days a year, it’s Jerry, twenty-four hours a day. J.W. writes all the checks. He confides, with something like pride, that the feds are planning to indict him, along with Jerry, on a tax charge. When J.W. talked of Shawn’s death, his story was Jerry’s, his reactions were Jerry’s, his feelings….

“No, it was really a shock. But, you know, you stumble into the bathroom, you know, take some pills, it’s easy to make a mistake. Hell, if you don’t know what you’re doing…

“No, they were just talkin’, watchin’ TV. She went to the bathroom. She said, ‘I took some sleepin’ pills.’ He said, ‘Well, how many? You didn’t take too many, or I’m gonna call the ambulance.’ She said, ‘No, It wasn’t that many.’

“People come out to hang the drapes, wake him up. That’s when he tried to wake her up because it was her project. That’s a woman’s job. He noticed her lips were blue. He couldn’t wake her. He smashed the wall with his hand. Cut his thumb. That’s where the blood come from. He walked her up and down the hall, carryin’ her, shakin’ her. Finally laid her on the other bed. That’s how she got to the other bed, see? She had that gown on….Called out to Lottie: ‘Lottie, I can’t get Shawn awake. Call the ambulance.'”

Lottie called J.W., too. He was at the gate in twenty minutes. A couple of hours later, Sheriff Sowell called him into the house, told him about the autopsy plan.

“No, Jerry picked him. Jerry wanted the autopsy and he wanted it in Memphis. He just wanted the best, and Francisco is the best in this part of the country. Sure, it cost us. I can tell you, $2800, but Jerry wanted the best.

“The sheriffs? Number one, as far as I’m concerned. They did their job, but they were very, very nice. Very understanding. Very sympathetic.

“Yeah, I gave the money for the campaign. Now, understand, now. I gave those contributions, but I did it for Jerry, of course. It was just my concern for Jerry, livin’ there and wantin’ the best man for sheriff.

“Well, a friend of mine in Memphis told me he was the best man in the race….No, not one particular friend….Oh, yeah, I checked it out and felt he was the best qualified.”

J.W. said Jerry Lee spent two days “in shock…right in this livin’ room, right where you’re sittin’…We talked, watched some TV, mostly talked. You know. things goin’ on, or business, workin’, things like that. He’d try to stray from the subject of death. He was tryin’ to push the death away from him.

“He’s the greatest,” J.W. said. “He’II come back from this. The first two days, you could tell he was really bothered, but after that, he got it together….”

J.W. picked up one of his dogs. “He talked to Nickie, didn’t he?” he goo-gooed in the dog’s little face. “You talked to the Killer, dincha, dincha?

“Put the dogs in the story, man. Nickie and Kai. They were very understanding. Jerry couldn’t believe how they sympathized with him.

“But you understand, Kai, doncha, doncha?”

***

Ballard said he’d take the case to the grand jury, just to allay all the doubt. “I’ve tried to make it clear,” he said, “that the only reason for the grand-jury inquiry is to try to dispel some of the suspicion. There is still no indication of foul play.”

With the drug scans after the autopsy, Francisco found what he sought. He phoned Ballard with glad tidings: fluid in the lungs resulted from an overdose of methadone, the synthetic narcotic most commonly used to wean junkies off heroin. Ballard had the cornerstone of his case: a precise and non-violent cause of death. It might have been a suicide, or an accident. It didn’t matter which. As long as it wasn’t a killing.

Ballard put out the news: AUTOPSY LINKS SHAWN LEWIS’ DEATH TO METHADONE, the headlines said. And for the evening paper: LEWIS’ WIFE KILLED HERSELF, OFFICIAL FEELS. Ballard later said his quote—”I believe it was suicide. She was no stranger to drugs…”—was supposed to be off the record.

He still didn’t have a written autopsy report. (He said he didn’t want to rush Francisco.) But Ballard and Jay Clark went to the morgue in Memphis for a meeting. As a courtesy, they took along Jimmy Radford, the district attorney’s investigator, although It was pretty clear there wasn’t going to be any prosecution. Francisco insisted at the meeting that Shawn herself must have taken the methadone. He said he could find ”no mechanism” by which it could have been forced on her.

“No indication of foul play,” Ballard told the Commercial Appeal that evening.” I think we made a thorough investigation of this case and nothing has pointed to homicide.”

How thorough?

There were basic forensic procedures incomplete:

There were drugs by the scoopful in the big brick house on Malone Road. No one knew which drugs Shawn used, or even what all the drugs were. The Mississippi state crime lab did not finish the testing for months. The tests were nowhere near complete by the time the case went to the grand jury.

There was blood on Shawn, blood on Jerry Lee’s robe and slippers, blood on a door, on the carpet, on a lamp, on gauze, on a towel, on bedding, on Shawn’s clothes found in the bathroom….No one knew whose blood It was. Once again, the crime lab did not finish the tests for months.

There was evidence still accruing from the investigation:

Jay Clark had gotten to the drapers from Goldsmith’s. They told him they never talked to Jerry Lee. Instead, they’d stood outside the house knocking for a half-hour. It was Lottie who tried to let them in, when she drove up at about 12:20. As she fiddled with her key in the lock, the Killer opened the door from within. Lottie went to the master bedroom to wake Shawn. Then Lottie came back and told the crew chief from Goldsmith’s: “I have something I have to take care of right now. Why don’t you wait in the den?” Lottie and the Killer were closeted in the master bedroom for a half-hour before the ambulance came, and for about fifteen minutes before the ambulance was called. What did Lottie find in the bedroom? And what was going on in the house while the drapers were stuck outside?

Jay Clark also found two girls Jerry Lee had picked up at Hernando’s Hide-A-Way three nights before Shawn’s death. After dawn, according to one of the girls’ statements, the Killer took them to his house for group sex with Shawn; it led to an argument. The girls ran out of the house across Malone Road and begged the neighbors to take them to Memphis. Did Shawn also try to escape?

There was evidence that the investigators didn’t turn up, or didn’t want to know:

For example, the married couple who rode the girls back to Memphis tried to deny the incident when a couple of reporters showed up at their door. Although they’d complained about the Killer for years, on this occasion. they launched into a loud panegyric on his neighborly virtues. When the reporters mentioned that the incident was covered in the investigative reports. the husband started snarling, “Thassa buncha shit.” Angrily, he dialed the sheriff’s office. asked by name for Deputy McCauley and shouted: “It ain’t s’posed to be in there. I never signed anythin’ like that!” Did McCauley cut some deal with the neighbors?

A night before Shawn died. Jerry Lee was spotted sitting alone in his Cadillac. stuck in a ditch off the exit ramp of the freeway leading to Memphis. The sheriff’s office was called; two deputies arrived at the scene. (The Killer ordered the deputies to fetch his tow-truck man, David Camp, campaign manager to James Albert Riley.) When Jerry Lee was taken home and his car was towed from the ditch, the deputies forgot to administer a test for intoxication. The incident was not recorded in the sheriff’s department logs. “I knew not to log it or nothin’,” said the dispatcher, John Crawford. “When I heard it was Jerry Lee Lewis, I knew is was just a community service.”

That same night, after Shawn called her mother to announce she was leaving Jerry Lee, she made another call, which Ballard & Co. might have known about if they’d pulled the Killer’s telephone bills. In Michigan, Scott’s sister was wakened by the call from Shawn. who asked about Scott: Did he still love her? She asked Scott’s sister to meet her, alone, at Jerry Lee’s August 28th concert in Nashville, Michigan. Shawn asked about seven times: You’re going to come now, aren’t you?” Shawn said she’d call back the next day to make sure about the meeting. She was in midsentence when the phone went dead. Was that the call of a woman planning suicide? And who cut the line?

Certainly, there was a fight at the Jerry Lee Lewis house on the night the Killer’s young bride died. And certainly, evidence was altered. Broken glass was still on the floor, but the big pieces had been removed. Shawn’s garments, with substantial bloodstains, were found stuffed in a paper sack in the master bathroom. Who tried to clean her up? Who reclothed her in the negligee? How did she get to the guest bedroom? Who stripped the sheets and pillowcases in the master bedroom?

Lottie Jackson stripped those sheers. Shortly after he took control of the scene, McCauley found her locked in the master bedroom. He knocked and she wouldn’t respond. He called, and still she wouldn’t open up. Lottie finally came to the door, and McCauley saw the cleanup in progress. McCauley revealed that episode in a “supplemental” report, dated nearly a month after the grand-jury verdict.

But no one needed more reports to shatter the Killers fragile story. lf Shawn went to bed after a quiet night, how did she get dirty? lf he shook her and dragged her up and down the long hall, why didn’t her feet show the contact with the carpet? lf he laid her atop the guest bed when he could carry her and shake her no longer, how did she get under the covers? Why did he say he sent Lottie there to wake her? Why did he say he’d just woken up?

Why would a stripped woman, “no pansy,” scheme to leave her husband, call for news of an ex-lover, make elaborate plans to meet family and friends, promise to telephone them soon…and the next day give it up and kill herself?

Or how did a canny twenty-five-year-old, “no stranger to drugs,” a woman who knew what sleeping pills were, who had used them one at a time with success, grow so careless as to swallow what Francisco described as “ten to twenty tablets” of a drug she’d never been known to use?

How did Shawn Lewis die?

“We may never have an entirely logical sequence,” Ballard said, very quietly, almost sadly, two days before the grand jury met. “You have to get your scenario of what happened and why. And sometimes, the why just lingers sometimes.”

But now he had a ten-page report from Francisco. He had his cause of death. He had an expert who’d testify surely that it was an accident, or suicide.

Ballard brightened: “I think that as time passes, I’ll feel better knowing that we let a grand jury see everything we had….The last thing I want to do is have anybody think I was putting a lid on this thing.”

***

The grand jury met for about three hours. The only witnesses were McCauley, Clark and Francisco. Ballard Francisco. Ballard had Lottie Jackson and the ambulance crew “on standby,” in case the jury wanted them. It didn’t. Jerry Lee wasn’t even on standby.

Ballard wouldn’t say what evidence was presented. The only witness to comment was Francisco, who brushed past reporters on the way out, after forty-five minutes in the jury room—the entire afternoon session. Francisco was asked to characterize his testimony.

“Painless,” he said.

Michael Blake, the Detroit lawyer, came down to witness the jury process. He wasn’t allowed to, so he spent his time in the courthouse records. He soon learned It wouldn’t be worth the time or trouble to sue Jerry Lee. The Killer already had a half-million dollars in judgments against him, and none of the plaintiffs could collect. They couldn’t even reach his possessions, because the IRS already had two liens on the house and its contents.

Blake did get from Ballard a copy of the autopsy which he showed to a medical examiner back in Detroit. “It seems incomplete,” said the examiner, Greg Kauffman. “It simply does nor answer a lot of questions—questions that should have come up.” He said: “Pulmonary edema is a totally nonspecific finding. It could be caused by a drug overdose, or it could be caused by drowning, strangulation, suffocation, asphyxiation, by trauma to the head or other parts of the body. “These possibilities can be tested, but the tests were either nor performed or nor reported.

Francisco’s autopsy does not even list the bruises and bloodstains evident to untrained eyes. There is no analysis of the blood observed on Shawn’s body. There is no mention of the bruises on her arm and hip. There’s no mention of the condition of her fingernails, nor analysis of the blood that appeared to be clotted beneath them.

There is no mention of any residue of the tablets that Shawn is supposed to have taken. “If they were ten-milligram tablets, she would have taken ten to twenty of them,” Ballard quoted Francisco. Bur the Killer’s prescription for methadone specified five-milligram tablets. Did Shawn gulp twenty to forty pills? And was there nothing left of them?

Francisco’s report shows only: “The stomach contents measures 725 cc’s.” That is a tremendous amount to find in a slender woman’s stomach. But the autopsy doesn’t say what It is. Could it be lake water or swimming-pool water gulped in extremis? Impossible to know. Could it be just a big dinner, or liquid that she drank herself? Once again, hard to say. But methadone hits the bloodstream within a half-hour of oral ingestion. It peaks at four hours. How could Shawn eat a big meal when she should have been already comatose? Or did the methadone enter her body with the meal? It would be soluble in liquids. Once again, Impossible to know. There was a tray of food remains visible in the master bedroom, but collection and analysts of the food seems to have been neglected.

Or could the methadone have entered via some route other than her mouth and her stomach, perhaps after she’d eaten? “Come to think of it,” says Danny Phillips, the funeral director, “it looked like there was a hypodermic mark on the inside of her right arm, just under the armpit. I’m sure of that. l’d hate to say it was a hypodermic mark, but It looked like a puncture wound.” Francisco’s autopsy notes: “There are two small abrasions on the anterior aspect of the right arm, adjacent to the arm pit measuring three millimeters in diameter each.” There is no further description of the “abrasions.”

There was at least one hypodermic picked up at the house that day. By January, Ballard said he still didn’t have an analysis of traces in the syringe. Ballard said he wasn’t qualified to discuss omissions or questions from the autopsy. Sowell refused to discuss any aspect of the case (although in a carefully worded leak to the Commercial Appeal, Sowell admitted that the private, out-of-state autopsy was illegal). And Francisco refused repeated calls for more information about his report. “Fran­cisco may be taking the position that I find myself in,” said Ballard. “When you don’t have a homicide, you don’t have an investigation, and when you don’t have an investigation, what right do I have to release information?”

On the day the grand jury met, Ballard refused to release the autopsy, “at the family’s request….” He meant husband Jerry Lee Lewis. Ballard refused to release investigative reports. “No sir, no reason. I just don’t make snap decisions like that.” He said no record of testimony was taken. The witnesses and jurors were sworn to silence.

To reporters who filled his office, Ballard announced that afternoon: “The grand jury was of the opinion of no probable cause of a crime being committed. There was still no indication of foul play….I don’t think the jury missed anything.”

Does that mean that he and the jury came to know how Shawn Lewis died?

Ballard came forward at his desk. His words grew more pronounced and even rose a notch in volume. “What ii still comes down to is there is no reason to suspect foul play. And whether I know what happened in the last twelve hours or the last two days before the death of Shawn Lewis, there is…still…no…reason…to…suspect…foul…play.”

Ballard serried back in his seat.

“That’s it, as far as I’m concerned.”

***

The Killer had a party at Hernando’s Hide-a-Way to celebrate his forty-eighth birthday. It was four days after the grand-jury session. Jerry Lee’s friends were happy.

They convened at about nine—record producers and independent truckers, ex-girlfriends of singers, Memphis matrons and off-duty cops, all bunching up at the door, flashing their printed invitations at a big black man in leather, whose eyes drifted unhurriedly from their faces, over their clothes to their shoes, with a detour toward the left armpit for men who might be packing guns.

Inside, the best tables went fast, staked out with bourbon bottles clumped in the center of the tablecloths. Late arrivals had to stand along the walls, leaning against the juke box or the poker machines. The men did a lot of back-pounding. Their women stood by, posing. There was a man in a suit and a smile, pounding every back and shaking the ladies’ hands. A campaign button on his lapel showed him in a smile and a suit, and advertised his name and lever. Owner Kenny Rodgers slid through the swelling crowd.

The noise from the crowd barely diminished as an inaudible introduction gave way to a wobbly country song by Webb Pierce, another Louisiana hell-raiser who was singing hits while Jerry Lee Lewis was learning to shave in Ferriday. Now nearly sixty, a drinker, thirty years past his prime, Pierce finished his song, and the crowd gave him a big hand for who he used to be. Pierce bowed and beamed like they meant it. Funny how they just don’t know.

And then he was there! Kenny Rodgers got up on the stage, took a mike and announced with wheezy emotion: “He’s here, folks. Here is Jerra. Jerra, you’re still the greatess. Ain’ nobody to touch ya.” The crowd cheered and whooped for Jerry Lee, who raised a hand and pulled his face in a taut grin.

They had a long table for him, set up to one side of the dance floor: a pile of gifts and a forest of bottles. Jerry drank from a glass of whiskey. Everybody tried to crowd around to the back of the table, to shake his hand, kiss him or whisper something. Jerry didn’t know most of them—especially the women, who bullied their way to the spot just behind him. One girl in a loose flowered shirt left her seat for a fifteen-minute struggle to Jerry Lee’s right ear. She whispered something and he answered, and she worked her way back through the crowd, beaming. “I told him, ‘You know, I came all the way from Kentucky to see you.’ And he said, ‘Oh, did you?’ That was all I had time for, cause Blondie next to him was goosin’ me.”

There was Blondie on has right and a lovely ltalianate brunette on the other side. There were a half-dozen other young women ringing the table. They took turns pouring or talking for him, if no one had his ear. Jerry Lee looked, without change of expression, from one to the other, as if they were so many TV sets. The lnstamatic flashes etched cruel skeletal shadows on his sagging face. The flesh seemed to have worn away with the millions of miles, millions of photos, millions of whispers. His eyes stared, flat black spots, unmoving, unblinking, giving out nothing. Now the Killer reached over toward the pile of gifts, lifted a gold paper crown and put it on his head. The flashes started popping off like crazy. The King was all bones and coal eyes under the shiny gold headband. The girls at the table all threw their heads back, threw their faces into bright young smiles…Oh, Jerry! Oh, Killer!

“It’s just some friends of ours, you know, some girls I put there, just to talk to him, you know,” J.W. Whitten said, looking on in approval, hovering at a corner of the dance floor. “Yeah, some of ’em he knows, some of ’em he don’t.” The dark-haired beauty at Jerry Lee’s left had her hands on his cheek and chin, her face right behind them. She was wiping lipstick off him. Kenny Rodgers was at the mike: “Folks, the mos’ greates’ ennataina in the worl’…y’all know him, so less givem a big han’….” Jerry Lee stood stiffly to work his way to his piano. He was holding up a hand, smiling, acknowledging cheers.

“Yeah, he looks good, don’t he?” J.W. said. “He’s okay now. That’s all over. You know the grand-jury vote? Sure I got it. Was 14-2, or somethin’, only two against us.

“Listen,” J.W. said, and he even turned away from the stage for a moment. They’ll never bust him in DeSoto County. That’s like bustin’ Elvis in Memphis. Never. Never. And you can quote me on that.”

 

The Banter Gold Standard: Furry’s Blues

“By now there must be in the world a million guitar virtuosos; but there are very few real blues players. The reason for this is that the blues–not the form but the blues–demands such dedication. This dedication lies beyond technique; it makes being a blues player something like being a priest. Virtuosity in playing blues licks is like virtuosity in celebrating the Mass, it is empty, it means nothing. Skill–competence–is a necessity, but a true blues player’s virtue lies in his acceptance of his life, a life for which he is only partly responsible.”–Stanley Booth, 1968

Another gem from Mr. Booth. Originally published in Playboy (1970) it appears here with the author’s permission.

“Furry’s Blues”

By Stanley Booth

When we cam into the alley, the children stopped playing. They stood poised, watching us. There were two-story brick buildings on both sides, with wooden stairways that shut out all but a thin blue strip of sky. Filthy rags and broken bottles lay on the concrete pavement. There were women sitting on the doorsteps, some of them together, talking, but most of them alone, sitting still, ignoring the heat and the buzzing flies.

“How are you?” Charley Brown spoke to one of them.

“I ain’t doin’ no good,” she said. She did not look up. The children’s gaze followed us as we walked on. The women talking would stop as we came near and then, as we went past, would start again.

Close by, a fat woman was holding a small brown-and-white dog to her bosom. “What you got there?” Charley asked her.

“Little spitz,” she said. “Look how dirty he is. He pretty when he clean.”

“Nice dog,” he said. ‘‘Is Furry home?”

“Dey up deah. Dey ain’t been long gone up.” We climbed the back stairs of the building on our left and went down a bare, dusty hall to a door with a metal number three over the cloth-patched screen. Charley started to knock, and then we heard the music and he waited. “ ‘Got a new way of spellin’,’ ” a quiet, musing voice sang, “ ‘Memphis, Tennessee.’ ” A run of guitar chords followed, skeptical, brief; “ ‘Double M, double E, great God, A Y Z.’ ” Then two closing chords, like a low shout of laughter, and Charley knocked.

The door swung open. There, sitting next to a double bed, holding a guitar, was Furry Lewis. During the hey­ day of Beale Street, when the great Negro blues artists played and sang in the crowded, evil blocks between Fourth and Main, Furry, a protégé of W. C. Handy, was one of the most highly respected musicians. He was also one of the most popular, not only in the saloons and gambling dives of Memphis but in the medicine shows and on the riverboats all along the Mississippi. In Chicago, at the old Vocalion studios on Wabash Avenue, he made the first of many recordings he was to make, both for Vocalion and for RCA Victor’s Bluebird label. But Beale Street’s great era ended at the close of the 1920s; since then, Furry has had only one album of his own—a 1959 Folkways LP.

Nor, since the Depression, has he performed regularly, even in his home town. He makes his living as a street sweeper. When he does play, it is usually at the Bitter Lem­on, a coffeehouse that caters mainly to the affluent East Memphis teenaged set, but whose manager, Charley Brown, is a blues enthusiast and occasionally hires Furry between rock-’n’-roll groups.

Charley, a tall, blond young man, bent to shake hands with Furry. Furry did not stand. One leg of his green pajamas hung limp, empty below the knee.

The boy wearing gold-rimmed spectacles who had got up from a chair to let us in said, “I’m Jerry Finberg. Furry’s been giving me a little guitar lesson.” We shook his hand, then Charley introduced me to Furry and we all sat down. The room held a sizable amount of old, worn furniture: the bed, a studio couch, three stuffed chairs, a chifforobe and a dresser. Beside the bed, there was a table made from a small wooden crate.

“It’s good to see you, Furry,” Charley said.

“You, too,” said Furry. “You hadn’t been here in so long. I thought you had just about throwed me down.”

Charley said that he could never do that and asked Furry if he would come out to the coffeehouse for a couple of nights in the coming week. Furry picked up a pair of glasses from the bedside table, put them on, then took them off again. He would like to, he said, but his guitar was at Nathan’s. “This here one belongs to this boy, Jerry.” He put the glasses back on the table. It held aspirin, Sal Hepatica, cigarette papers and a Mason jar full of tobacco. Charley said not to worry, he’d get the guitar.

“Will you, sure ’nough?” Furry asked, looking at Charley with serious, businesslike gray eyes.

“I’ll get it tomorrow. What’s the ticket on it?”

“Sixteen dollars.”

“I’ll get it tomorrow.”

“All right,” Furry said, “and I’ll come play for you.” He reached out and shook hands solemnly with Charley.

“Could you play something now, or don’t you feel like it?” Charley asked.

Furry smiled. “I may be weak, but I’m willing,” he said. He took a small metal cylinder from his pajama pocket and picked up the guitar. “I believe I’ll take you to Brownsville.” He slipped the cylinder over the little finger of his left hand and started to play, his short leg crossed over the longer one, his bare narrow foot patting softly the plain brown boards as he sang. “ ‘Well, I’m goin’ to Brownsville, I’m goin’ take that right-hand road’ ” ; the cylinder slid, whining, over the treble strings.

“I was in Brownsville, Tennessee,” Furry said, “working on a doctor show, and I met a little girl I liked; but her parents wouldn’t let me come around to see her, ’cause I was showfolks, and they was respectable. So I wrote this: ‘And the woman I love’s got great long curly hair.’ ” The guitar repeated the line, added a delicate, punctuating bass figure, and then, as if it were another voice, sang the next line with Furry; staying just behind or slightly ahead of the beat: “ ‘But her mother and father do not allow me there.’ ”

As he played, I looked around the room. The brown-spotted wallpaper was covered with decorations: Over the bed were a few sprigs of artificial holly, an American flag, hanging with the stripes vertical and the stars at the bottom left, three brightly colored picture postcards and an ink sketch of Furry. On the wall behind the couch, there was a child’s crayon drawing in which Jesus, dressed in handsome red-and-blue robes, held out his arms to an enormous white rabbit. Furry’s right hand swooped and glided over the guitar, striking notes and chords in what looked but did not sound like complete random. At times, he slapped the guitar box with two fingers or the heel of his hand as, in the same motion, he brushed the strings. ‘‘Call that spank the baby,” he said. The guitar was both an echo of his voice and a source of complex and subtle accents. He sang, “ ‘Don’t you wish your woman was long and tall like mine?’ ” then repeated the line, leaving out, or letting the guitar speak, half the words. “ ‘Well, she ain’t good-lookin’, but I ’clare, she takes her time.’” The bass figure followed, then one amused final chord. Furry laid the guitar down.

“You play beautiful guitar,” Charley said.

“Yes, it is,” Furry said, holding up the instrument. ‘‘Believe I’ll be buried in this one.”

“Was that Spanish tuning?” asked Jerry, who had been leaning forward, elbows on his knees, listening intently.

“They some beer in the icebox,” Furry said.

Jerry sighed and stood up. “Come on,” he said to me. “Help bring the glasses.” We went into the kitchen. It was almost as large as the front room, with a stove, a refrigerator, a good-sized table and, in one corner, another double bed. A cabinet held gallon jars of flour, sugar, lima beans and an assortment of canned goods: Pride of Illinois white sweet corn, School Day June peas, Showboat pork and beans, Lyke’s beef tripe, Pride of Virginia herring, Bush’s Best black-eyed peas and turnip greens.

Jerry took a quart of Pfeiffer’s beer out of the refrigerator. I found four glasses on a newspaper-lined shelf, rinsed them at the square metal sink (“They clean,” Furry called, “but no tellin’ what’s been runnin’ over ’em”) and we went back into the other room. We had just finished pouring when there was a knock at the door.

“That’s my wife,” Furry said, sliding the latch open. “Come in, Versie.” She came in, a compact, handsome woman. I introduced myself and the others said hello. Versie, in a pleasantly hoarse voice, told us that only that morning, she had been asking Furry what he had done to make his boyfriends stay away so long.

“They all throwed me down,” Furry said, then laughed and told Versie he was going out to play at the Bitter Lemon. She smiled and asked if she could get us anything to eat. We all said no, thank you, and she sat down.

“My wife loves to see after folks,” Furry said. “Do anything in the world for people. Feed ’em, give ’em something to drink; if they get too drunk to go home, got a bed in there to put you to sleep on. And I’m the same way. But you know, there’s one old boy, I see him every day at work, and every time I see him, he bum a cigarette from me. Now, it ain’t much, but it come so regular. So the other day, I told him, ‘Boy, ain’t but one difference ’tween you and a blind man.’ And he said, ‘What’s that?’ And I told him, ‘Blind man beg from everybody he hear, you beg from everybody you see.’ ”

“Well,” Versie said, from her chair on the other side of the room, “it’s a pleasure to do things for people who are so nice to us. We tried and tried to find out Furry’s age, so he could get this Medicare, and Jerry went out to Furry’s old school and made them look through the records and find out when he was born. He spent several days, just to help us.”

“Found out I was born 1893,” Furry said. “March the sixth, in Greenwood, Mississippi. But I moved to Memphis, with my mother and two sisters, when I was six. My mother and father were sharecroppers and they separated before I was born. I never saw my father, never even knew what he looked like.” He took a drink of beer.

“Where did you live when you came here?” I asked.

“My mother had a sister lived on Brinkley Avenue,” he said. “Call it Decatur now. We stayed with her. They a housing project there now, but I could still show you the spot.” He took another drink, looked at the glass, then emptied it. “I was raised right there and walked a few blocks to the Carnes Avenue School. Went to the fifth and that’s as far as I got. Started going about, place to place, catching the freights. That’s how I lost my leg. Goin’ down a grade outside Du Quoin, Illinois, I caught my foot in a coupling. They took me to a hospital in Carbondale. I could look right out my window and see the ice-cream factory.”

He took a cigarette from a pack of Pall Malls on the bedside table. “That was 1916,” he said. “I had two or three hundred dollars in my pocket when that happened, too; I had just caught a freight ’cause I didn’t feel like spending the money for a ticket.” He struck a match, but the breeze from the window fan blew it out. Charley took the cigarette, lit it and handed it back. “Love you,” Furry said. “Goin’ put you in the Bible.”

He stuck the cigarette in the corner of his mouth, picked up the guitar and played a succession of slow, blues-drenched chords that seemed to fill the room. “I’m doing all right,” he said. “What you want to hear?”

“Do you remember Stagolee?” I asked.

“What song?”

“One you recorded a long time ago, called Stagolee.”

“Long time ago—I wasn’t born then, was I?” He quickly changed tunings and started to sing the song. He did one chorus, but it went off after the second, which began, “ ‘When you lose your money, learn to lose.’ ”

“What was the last?” Charley asked.

Furry repeated the line. “That means, don’t be no hard loser. That’s what this song is about.” He began again, but after a few bars, he lost the tune. He was tired.

Charley stood up. “We’ve got to go, Furry.”

“No,” Furry said. “You just got here.”

“Got to go to work. I’ll pick you up Tuesday night.”

“I’m so glad you came by,” Versie told Charley, in the hall. “Sometimes Furry thinks everybody has forgotten him.”

It had rained while we were inside and the air in the alley smelled almost fresh. The women were gone now and only a few of the children were still out. It was nearly dark. We walked back to the car and drove down Beale Street, past the faded blocks of pawnshops, liquor stores and poolrooms. The lights were coming on for the evening.

THE BEALE Street that Furry Lewis knew as a boy had its beginnings when, after the Battle of Memphis in 1862, the Federal Army made its headquarters in the area. The Negro population of the city consisted mainly of former slaves, who felt they had good reason to fear the local citizenry and, therefore, stayed as close to Federal headquarters as possible. After the War, many Negroes came in from the country, trying to find their families. There were only about 4000 Negroes in Memphis in 1860, but by 1870, there were 15,000. Beale Street drew them, it has been said, “like a lodestone.”

The music the country Negroes brought, with its thumping rhythms, unorthodox harmonies and earthy lyrics, combined with the city’s musicians’ more polished techniques and regular forms to produce, as all the world knows, the Beale Street blues. Furry cannot remember when he first heard the blues, nor is he certain when he started trying to play them.

“I was eight or nine, I believe,” he said, “when I got the idea I wanted to have me a guitar.” We were at the Bitter Lemon now, Furry, Versie, Charley and I, waiting for the crowd to arrive. The waitresses, pretty girls with long, straight hair, were lighting candles on the small, round tables. We sat in the shadows, drinking bourbon brought from the liquor store on the corner, listening to Furry talk about the old days.

He was coatless, wearing a white shirt with a dark-blue tie, and he was smoking a wood-tipped cigar. “I taken a cigar box, cut a hole in the top and nailed a piece of two-by-four on there for a neck. Then I got some screen wire for the strings and I tacked them to the box and twisted them around some bent nails on the end of the two-by-four. I could turn the nails and tune the strings like that, you see. I fooled around with it, got so I could make notes, but just on one string. Couldn’t make no chords. The first real guitar I had, Mr. Cham Fields, who owned a roadhouse, gambling house, and W. C. Handy gave it to me. They brought it out to my mother’s and I was so proud to get it, I cried for a week. Them days, children wasn’t like they are now.” His cigar had gone out; he relit it from the candle on our table, puffing great gray clouds of smoke. “It was a Martin and I kept it twenty years.”

“What happened to it?” Charley asked.

“It died.”

Furry put the candle down and leaned back in his chair. “When I was eighteen, nineteen years old,” he said, “I was good. And when I was twenty, I had my own band, and we could all play. Had a boy named Ham, played jug. Willie Polk played the fiddle and another boy, call him Shoefus, played the guitar, like I did. All of us North Memphis boys. We’d meet at my house and walk down Brinkley to Poplar and go up Poplar to Dunlap or maybe all the way down to Main. People would stop us on the street and say, ‘Do you know so-and-so?’ And we’d play it and they’d give us a little something. Sometimes we’d pick up fifteen or twenty dollars before we got to Beale. Wouldn’t take no streetcar. Long as you walked, you’s making money; but if you took the streetcar, you didn’t make nothing and you’d be out the nickel for the ride.”

“That was Furry’s wild days,” Versie said. “Drinking, staying out all night. He’d still do that way, if I let him.”

Furry smiled. “We used leave maybe noon Saturday and not get back home till Monday night. All the places we played—Pee Wee’s, Big Grundy’s, Cham Fields’s, B. B. Anderson’s—when they opened up, they took the keys and tied them to a rabbit’s neck, told him to run off to the woods, ’cause they never meant to close.”

I asked Furry whether he had done much traveling.

“A right smart,” he said. “But that was later on, when I was working with Gus Cannon, the banjo player, and Will Shade. Beale Street was commencing to change then. Had to go looking for work.” He rolled his cigar’s ash off against the side of an ashtray. “In the good times, though, you could find anything you could name on Beale. Gambling, girls; you could buy a pint of moonshine for a dime, store-bought whiskey for a quarter. We’d go from place to place, making music, and everywhere we’d go, they’d be glad to see us. We’d play awhile and then somebody would pass the hat. We didn’t make too much, but we didn’t need much back then. In them days, you could get two loaves of bread for a nickel. And some nights, when the people from down on the river came up, we’d make a batch of money. The roustabouts from the steamboats, the Kate Adams, the Idlewild, the Viney Swing—I’ve taken trips on all them boats, played up the river to St. Louis, down to New Orleans—white and colored, they’d all come to Beale. Got along fine, too, just like we doing now. ’Course, folks had they squabbles, like they will, you know. I saw two or three get killed.”

There were enough squabbles to make Memphis the murder capital of the country. In the first decade of the century, 556 homicides occurred, most of them involving Negroes. Appeals for reform were taken seriously only by those who made them. When E. H. Crump ran for mayor on a reform ticket, W. C. Handy recorded the Beale Streeters’ reaction: ‘‘We don’t care what Mr. Crump don’t allow, we goin’ barrel-house anyhow.”

But as the righteous Crump machine gained power, the street slowly began to change. Each year, the red-light district grew smaller; each year, there were fewer gambling houses, fewer saloons, fewer places for musicians to play.

Then came the Depression. Local newspapers carried accounts of starving Negroes swarming over garbage dumps, even eating the clay from the river bluffs. Many people left town, but Furry stayed. “Nothing else to do,” he said. “The Depression wasn’t just in Memphis, it was all over the country. A lot of my friends left, didn’t know what they was goin’ to. The boy we called Ham, from our band, he left, and nobody ever knew what became of him. I did have a little job with the city and I stuck with that. I had been working with them off and on, when there wasn’t anyplace to play. They didn’t even have no trucks at that time. Just had mules to pull the garbage carts. Didn’t have no incinerator; used to take the garbage down to the end of High Street, across the rail­road tracks, and burn it.”

Before Beale Street could recover from the Depression, World War Two brought hundreds of boys in uniform into Memphis; and, for their protection, Boss Crump closed the last of the saloons and whorehouses. It was the final blow.

Furry sat staring at the end of his cigar. “Beale Street really went down,” he said after a moment. “You know, old folks say, it’s a long lane don’t have no end and a bad wind don’t never change. But one day, back when Hoover was President, I was driving my cart down Beale Street and I seen a rat, sitting on top of a garbage can, eating a onion, crying.”

FURRY HAS been working for the city of Memphis, sanitation department, since 1923. Shortly after two o ’clock each weekday morning, he gets out of bed, straps on his artificial leg, dresses and makes a fresh pot of coffee, which he drinks while reading the Memphis Press-Scimitar. The newspaper arrives in the afternoon, but Furry does not open it until morning. Versie is still asleep and the paper is company for him as he sits in the kitchen under the harsh light of the ceiling bulb, drinking the hot, sweet coffee. He does not eat breakfast; when the coffee is gone, he leaves for work.

The sky is black. The alley is quiet, the apartments dark. A morning-glory vine hanging from a guy wire stirs, like a heavy curtain, in the cool morning breeze. Cars in the cross alley are covered with a silver glaze of dew. A cat flashes between shadows.

Linden Avenue is bright and empty in the blue glare of the street lamps. Down the street, St. Patrick’s looms, a sign, 100 YEARS WITH CHRIST, over its wide red doors. Furry, turning right, walks past the faded, green-glowing bay windows of an apartment house to the corner. A moving van rolls past. There is no other traffic. When the light changes, Furry crosses, heading down Hernando. The clock at Carodine’s Fruit Stand and Auto Service reads 2:49.

The cafés, taverns, laundries, shoe-repair shops and liquor stores are all closed. The houses, under shading trees, seem drawn into themselves. At the Clayborn Temple African Methodist Episcopal Church, the stained-glass windows gleam, jewellike against the mass of blackened stone. A woman wearing a maid’s uniform passes on the other side of the street. Furry says good morning and she says good morning, their voices patiently weary. Beside the Scola Brothers Grocery is a sycamore, its brandies silhouetted against the white wall. Furry walks slowly, hunched forward, as if sleep were a weight on his shoulders. Hand­ printed posters at the Vance Avenue Market: CHICKEN BACKS, 12½¢ lb.; HOC MAWS, 15¢: RUMPS, 19¢.

Behind Bertha’s Beauty Nook, under a large, pale-leafed elm, there are 12 garbage cans and two carts. Furry lifts one of the cans onto a cart, rolls the cart out into the street and, taking the wide broom from its slot, begins to sweep the gutter. A large woman with her head tied in a kerchief, wearing a purple wrapper and gold house slippers, passes by on the sidewalk. Furry tells her good morning and she nods hello.

When he has swept back to Vance, Furry leaves the trash in a pile at the corner and pushes the cart, with its empty can, to Beale Street. The sky is gray. The stiff brass figure of W. C. Handy stands, one foot slightly forward, the bell of his horn pointing down, under the manicured trees of his deserted park. The gutter is thick with debris: empty wine bottles, torn racing forms from the West Memphis dog track, flattened cigarette packs, scraps of paper and one small die, white with black spots, which Furry puts into his pocket. An old bus, on the back of which is written, in yellow paint, LET NOT YOUR HEART BE TROUBLED, rumbles past: it is full of cotton choppers: Their dark, solemn faces peer out the grimy windows. The bottles clink at the end of Furry’s broom. In a room above the Club Handy, two men are standing at an open window, looking down at the street. One of them is smoking; the glowing end of his cigarette can be seen in the darkness. On the door to the club, there is a handbill: BLUES SPECTACULAR, CITY AUDITORIUM: JIMMY REED, JOHN LEE HOOKER, HOWLIN’ WOLF.

Furry pushes the garbage onto a flat scoop at the front of the cart, then goes to the rear and pulls a jointed metal handle, causing the scoop to rise and dump its contents into tire can. The scoop is heavy; when he lets it down, it sends a shock from his right arm through his body, raising his left leg, the artificial one, off the ground. Across the street, in a chinaberry tree, a gang of sparrows are making a racket. Furry sweeps past two night clubs and then a restaurant, where, through the front window, large brown rats can be seen scurrying across the kitchen floor. A dirty red dog stands at the corner of Beale and Hernando, sniffing the air. A soldier runs past, head­ing toward Main. The street lamps go off.

When Furry has cleaned the rest of the block, the garbage can is full and he goes back to Bertha’s for another. The other cart is gone and there is a black Buick parked at the curb. Furry wheels to the corner and picks up the mound of trash he left there. A city bus rolls past; the driver gives a greeting honk and Furry waves. He crosses the street and begins sweeping in front of the Sanitary Bedding Company. A woman’s high-heeled shoe is lying on the sidewalk. Furry throws it into the can. ‘‘First one-legged woman I see, I’ll give her that,” he says and, for the first time that day, he smiles.

At Butler, the next cross street, there is a row of large, old-fashioned houses, set behind picket fences and broad, thickly leafed trees. The sky is pale-blue now, with pink-edged clouds, and old men and women have come out to sit on the porches. Some speak to Furry, some do not. Cars are becoming more frequent along the street. Furry reaches out quickly with his broom to catch a windblown scrap of paper. When he gets to Calhoun, he swaps cans again and walks a block—past Tina’s Beauty Shop, a tavern called the Section Playhouse and another named Soul Heaven—to Fourth Street. He places his cart at the corner and starts pushing the trash toward it.

From a second-story window of a rooming house covered with red brick-patterned tarpaper comes the sound of a blues harmonica. Two old men are sitting on the steps in front of the open door. Furry tells them good morning. “When you goin’ make another record?” one of them asks.

“Record?” the other man, in a straw hat, says.

“That’s right,” says the first one. “He makes them big-time records. Used to.”

Furry dumps a load into the cart, then leans against it, wiping his face and the back of his neck with a blue bandanna handkerchief.

Down the stairs and through the door (the old men on the steps leaning out of his way, for he does not slow down) comes the harmonica player. He stands in the middle of the sidewalk, eyes closed, head tilted to one side, the harmonica cupped in his hands. A man wearing dark glasses and carrying a white cane before him like a divining rod turns the corner, aims at the music, says cheerfully, “Get out the way! Get off the sidewalk!” and bumps into the harmonica player, who spins away, like a good quarterback, and goes on playing.

Furry puts the bandanna in his pocket and moves on, walking behind the cart. Past Mrs. Kelly’s Homemade Hot Ta­males stand, the air is filled with a strong odor. Over a shop door, a sign reads: FRESH FISH DAILY.

Now the sky is a hot, empty blue, and cars line the curb from Butler to Vance. Furry sweeps around them. Across the street, at the housing project, children are playing outside the great blocks of apartments. One little girl is lying face down on the grass, quite still. Furry watches her. She has not moved. Two dogs are barking nearby. One of them, a small black cocker spaniel, trots up to the little girl and sniffs at her head; she grabs its forelegs and together they roll over and over. Furry starts sweeping and does not stop or look up again until he has reached the corner. He piles the trash into the can and stands in the gutter, waiting for the light to change.

For the morning, his work is done. He rolls the cart down Fourth, across Pontotoc and Linden, to his own block, where he parks it at the curb, between two cars. Then he heads across the street toward Rothschild’s grocery, to try to get some beer on credit.

WHILE WE were talking, people were coming in, and now the tables were nearly filled. Charley looked at his watch, then at Furry. “Feel like play­ing?” he asked.

Furry nodded abruptly, the way Indians do in movies. “I always feel like playing,” he said. He drank the last of the bourbon in his glass. “Yes, sir. Al­ways feel like that.”

“I’ll announce you,” Charley said. He carried a chair onto the stage, sat down and repeated the lecture he uses when­ ever he hires an old-time musician. It be­gins, “Without the tradition of American Negro music, there would be no rock music.” The lecture’s purpose is to in­spire the rock generation with love and respect for the blues. However, this audience, none of whom looks older than 20, seems more interested in each other than in anything else.

When the speech ended, with “I am proud to present . . . ” Furry, carrying his battered Epiphone guitar, limped onto the stage. The applause was polite. Furry smiled and waved. “Ladies and gentlemen,” he began, “I’m very pleased to be here tonight to play for you all. I’ve been around Memphis, playing and sing­ing for many years. My wife is with me tonight; we’ve been married many years. When we got married, I only had fifteen cents and she had a quarter.” I looked at Charley. He avoided my eyes.

“And then one day,” Furry went on, his tone altering slightly, “she upped and quit me, said I had married her for her money.”

Furry laughed, Versie laughed, the crowd laughed, and Charley and I looked at each other and laughed and laughed, shaking our heads. “I love him, the old bastard,” Charley said. “Sorry, Versie.”

But Versie, watching Furry proudly, had not heard.

He had begun to play a slow, sad blues, one that none of us had ever heard, a song without a name: “ ‘My mother’s dead,’ ” he sang, the guitar softly following, “ ‘my father just as well’s to be. Ain’t got nobody to say one kind word for me.’ ”

The room, which had been filled with noise, was now quiet. “ ‘People holler mercy,’ ” Furry sang, “ ‘don’t know what mercy mean. People . . . ‘ ”—and the guitar finished the line. “ ‘Well, if it mean any good, Lord, have mercy on me.’ ”

When, after nearly an hour, Furry left the stage, the applause was considerably more than polite. But I knew that it was only the third time Furry had heard public applause during the year and that in this year, as in most of the years of his life, his music would probably bring him less than $100. Soon, we would take him home and he would change clothes and go out to sweep the streets. I wondered, as Charley and Versie were congratulating him and pouring fresh drinks, how he had managed to last, to retain his skill.

Furry was sitting back in his chair, holding a drink in one hand and a new cigar in the other, smiling slightly, his eyes nearly closed. I asked him if he had ever been tempted to give up, to stop playing. “Give out but don’t give up,” he said. He tasted his drink and sat straighter in the chair. “No,” he said, “all these years, I kept working for the city, thinking things might change, Beale Street might go back like it was. But it never did.”

“But you went on playing.”

“Oh, yes, I played at home. Sometimes, nothing to do, no place to play, I’d hock the guitar and get me something to drink. And then I’d wish I had it, so I could play, even just for myself. I never quit playing, but I didn’t play out enough for people to know who I was. Sometimes I’d see a man, a beggar, you know, playing guitar on the sidewalk, and I’d drop something in his cup, and he wouldn’t even know who I was. He’d think I was just a street sweeper.”

[Painting by Kai Zomei]

Doin’ it to Death


The True Adventures of the Rolling Stones is Stanley Booth’s account of the Rolling Stones’ 1969 US tour. Keith Richards said, “Stanley Booth’s book is the only one I can read and say, ‘Yeah, that’s how it was.’ Stanley is a lovely guy–he’s got an eye. That book took longer to write than the Bible.”

We’ve got a Stanley Booth two-fer today, starting with this excerpt from The True Adventures. Here’s Booth on the Stones at Madison Square Garden.

 

I went down the hall to the Stones’ dressing room, where for a moment I was alone with the concrete block walls and hard benches. I heard voices and in came the Stones with Jimi Hendrix. They were followed by the Maysles brothers, tape and film rolling.

Jagger took off his shirt and walked around; Albert followed him, filming. Mick Taylor and I sat on a bench with Hendrix, who seemed subdued but pleasant. I told him about seeing Little Richard, and he said, smiling as if it cheered him up to think about it, that once when he was with Richard, he and the bass player bought ruffled shirts to wear onstage, and Richard made them change: “I am the beauty! Nobody spoze to wear ruffles but Richard!”

Mick Taylor handed his guitar to Hendrix and asked him to play. “Oh, I can’t,” he said. “I have to string it different.” Hendrix was left-handed, but he went ahead and played the guitar upside down, a wizard he was.

As Hendrix played I went into the bathroom, where Jagger was putting mascara on his lashes. Hendrix had tried to take Marianne Faithfull away from Mick, who wasn’t about to stand around and listen to him play, upside-down or sideways. I told him about my afternoon with Wexler. He seemed distracted, I figured because he was about to go onstage. I didn’t know that in the distance a black girl was telling him she was going to have his baby, and a blond girl (who two weeks ago had been threatening to join the tour) was telling him goodbye. Back at the Plaza in a few hours, Jo would write in her notebook, “Tried talk Mick imposs—concert fantastic—Mick better but must keep his mind on necessary things.” He listened politely, or appeared to, till I finished talking about Atlantic and the Magrittes; then, with the Stones changing into their stage drag, I went out to see the show.

In the hall I saw another of the next year’s ghosts, Janis Joplin, heading for the Stones’ dressing room. Because I’d heard that something I had written about her had made her angry, I avoided her. The next day, when I came into the Garden for the afternoon show, Bill Belmont told me that Janis, being stopped at the Stones’ door—because, as nobody got a chance to tell her, they were mostly naked—stuck her head in and gave the middle-finger salute to what must have been a surprised bunch of Rolling Stones. I think she was drunk, not an unusual state for her. Later tonight, when Jagger, onstage, sang “Don’t you want to live with me?” Janis would yell, “You don’t have the balls!”

It was cold in the Garden, under the high arches and giant mushroom spines. Terry Reid and B. B. King had already played and Tina Turner was onstage singing the Otis Redding song, “I’ve Been Loving You Too Long,” her sleek red beauty shimmering in a black dress, back arched, legs bowed, one arm thrust out, testifying as she had been for years to drunks in juke joints and cuttin’ parlors. Ike was standing back from the spotlight, small and black and nasty, eyeballs glowing under his shiny processed Beatie cut, chopping chords as if in anger. This afternoon Wexler, who often saw the Turners when they were in New York, said, “He’s really got the fear of God in her.” As you watched them, you couldn’t help wondering if Mother Nature were married to the Devil.

“Come Together”–Ike and Tina Turner

Tina sang “Respect” and “Come Together,” eyes bleached out in the spotlight, her pupils swimming white slits. When the band geared up for “Land of 1000 Dances,” Janis Joplin stepped onto the rear of the stage, stomping with delight, and Tina called her to the front.

“Land of 1000 Dances”–Ike and Tina Turner

Janis looked for once in her life completely happy; it was plain that she would love to nose around in Tina’s crotch all night long. “Roll over on your back—y’know I like it like that,” they sang together, Ike’s guitar whipping them, and Janis pulled off her little crocheted cap and threw it into the air.

After Tina and Janis finished there was a delay during which the audience had contact flashes from what they had seen and the recording equipment was prepared for the Stones. How can they follow this, I asked myself, as I did at almost every show. After watching Tina in Oakland, Mick had said that he wasn’t cocky anymore; but he was still following her. I went backstage, and Mick was wandering among the Coke bottles and folding chairs, looking rather lost and forlorn. The others kept their distance. He was about to be consumed, and there was a reverent silence between them. With his blue-beaded moccasins and black pants with silver leg buttons (only back here you can see they’re not silver, just shiny in the spotlight), little black jersey, his scarf dragging, hair hanging limp, chin slumped over gold-medallioned choker, Uncle Sam hat in hand, Mick seemed not bored but not comfortable, making little sounds under his breath as if to say, What a dumb thing this is, waiting.

As time passed and nothing happened, I went out front again into the smoky darkness. No one seemed to mind the wait. “Ain’t nothin’ any good without it has some grease on it,” Tina (the former Annie Mae Bullock, of Brownsville, Tennessee) had said, and she and Janis had left the audience greased and pleased. There were guards, but they weren’t wearing togas, and the few police didn’t seem intent on ruining a good time. The atmosphere was, if not relaxed, at least secure-perhaps because we were on an island in a giant tin can, concrete and metal shell, and no apparent threat to anybody.

Stu, walking across the stage to check a microphone, dressed in his pale-yellow tuxedo with shiny satin lapels, caused a ripple of applause, which he answered with a V-sign—very satirical, Stu. Then the stage was deserted and out of the stillness a disembodied cockney voice mused, “Everyone seems to be ready, are you ready?”

Yesss, the crowd answered in a snow-slide’s whisper-roar, Yesss.

“For the first time in three years,” Sam Cutler said, getting louder, “the greatest rock and roll band in the world, the Rolling Stones!”

The big yellow-blue-white spot bleached out Jagger as he came onstage, twirling overhead his Uncle Sam hat, not smiling, gaze fixed on fate. In a breathless rush of silence the Stones came out, Charlie settling onto the drums, the others, quick and businesslike, plugging their guitars into the amplifiers, twisting dials, setting levels, until Keith hit the opening chords of “Jumpin’ Jack Flash,” Mick started to howl about being born in a crossfire hurricane, and the kids all stood up and screamed. Glyn Johns stopped me in the corridor at the Plaza the next day to say that he had been backstage in a sound truck and the truck was jumping on its springs. “So I got out to see who was shaking it—I thought there might be some kids on top of it—but there was nobody there, the truck was just picking up the vibrations from the house, the whole bloody building was shaking.”

Jumpin’ Jack Flash

As “Jack Flash” ended, Mick, buttoning his trousers, said by way of greeting, “Think I busted a button on me trousers, hope they don’t fall down. You don’t want me trousers to fall down, now do ya?”

Yesss, the crowd answered, as Keith started “Carol,” standing beside Mick in the spotlight, surrounded by a glimmering halo of rhinestones on his Nudie shirt.

Carol

“We are making our own statement,” Brian had said in one of the interviews the publicity office arranged to keep him from feeling left out. “Others are making more intellectual ones.”

What message would you get if you were fifteen years old, standing in a cloud of marijuana smoke inside a crowded, cavernous hall, face reflecting the red and blue and yellow lights, watching Charlie hit the drums as hard as he was able, Bill slide his tiny hands over the skinny neck of his erect light-blue bass causing a sound like booming thunder, little Mick stare with wide eyes as if he were hearing an earthquake’s faint premonitory quiverings, Keith bend over his guitar like a bird of prey, Jagger swoop and glide like some faggot vampire banshee, all of them elevated and illuminated and larger and louder than life? A few years later, a New Yorker writer would observe, “The Stones present a theatrical-musical performance that has no equal in our culture. Thousands and thousands of people go into a room and focus energy on one point and something happens. The group’s musicianship is of a high order, but listening to Mick Jagger is not like listening to Jascha Heifetz. Mick Jagger is coming in on more circuits than Jascha Heifetz. He is dealing in total, undefined sensual experience of the most ecstatic sort.”

By the time that was written, Mick had sung “Midnight Rambler” in pink top hat and tails; after Altamont, the Stones would for reasons of self-preservation turn toward comedy. But in 1969, few people at Madison Square Garden on Thanksgiving Day thought that what the Stones were doing was a performance.

The Stones had first come to the United States in 1964, fewer than six years before. They had done five U.S. tours in three years, then were stopped for almost three years. Since then they had become world-famous idols, outlaws, legends, relics, and one was now a corpse. They had been more than lucky to find a guitarist who was docile and played, though not as Brian once had, excellent bottleneck. One problem they’d had preparing to tour was choosing songs that Keith and Mick Taylor could play. Hence “Carol” and “Little Queenie,” Keith’s Chuck Berry specialties, and hence the difficulty Jagger had mentioned of getting the old things together. The old things had featured, as Stu said, “two guitar players that were like somebody’s right and left hand.”

The people inside Madison Square Garden on this Thanksgiving had, most of them, lived through a time of cold war, hot war, race riots, student riots, police riots, assassinations, rapes, murders, trials, waking nightmares. But Keith, Mick, Charlie, Bill, and the new guitar player were impersonating the Rolling Stones, and the audience were impersonating their audience, both of them at the moment a great success. Dancing under the circumstances (“Oh, Carol! Don’t ever steal your heart away—I’m gonna learn to dance if it takes me all night and day!”) seemed to have a transcendent value. Many people thought then that dancing and music could have a major role in changing the structure of society. They may have been naive, but they were much more interesting than the sensible people who came along later. The Stones would tour the United States every three years for a long time to come, and the value of dancing would never be less than transcendent, but at Woodstock, only a few months before and a few miles away, music had seemed to create an actual community. There was—at this time, for many members of this generation—a sense of power, of possibility, that after Altamont would not return.

Here’s a nice piece on Booth by John Scanlan (which features a link to this excellent article on Booth’s career by James Calemine).

Books by Stanley Booth:

The True Adventures of the Rolling Stones (also available for the Kindle)

Keith: Standing in the Shadows (Kindle edition)

Rythm Oil: A Journey Through the Music of the American South

 

The author pictured with Keith Richards.

What Becomes a Legend Most?

Rest in Peace, Ravi Shankar.

New York Minute

I was downtown on Fifth Avenue. The first bit of news I got, I thought, “He’ll make it.” You know, “It’s just a flesh wound.” And then, later on, the news really came. He wasn’t just a mate of mine, he was a mate of everybody’s, really. He was a funny guy. And you realize that you’re stunned. You really don’t believe it. And you think, “God, why can’t I do anything about it?” I got well drunk on it. And I had another one for John. Then there was the confusion, the phone calls, trying to find out if Yoko was OK. There were the Beatles, and there was John. As a band, they were a great unit. But John, he was his own man. We got along very well. We didn’t see each other very often, but he would sort of turn up at your hotel. Usually, if I was in the city, I’d stay at the Plaza. If John turned up, that meant John wanted to party. He didn’t come there to discuss, you know, philosophy – although it would end up like that. I would just get into town, and there’d be a knock at the door: “Hey, man, what is going on around here?” We would get the guitars down and sing. And, in our spare time, discuss world domination. He’s rubbed off on me as much as anybody. A bit of me rubbed off on John, too, you know. He took it with him. My father just passed away, and he winked at me just before he died. I really feel a lot better about death now. I’m getting off on that wink. I’d give the wink to John.
-Keith Richards

I was nine-and-a-half when John was murdered. Funny, but at the time I thought of him as a New Yorker–an Upper West Sider, to be precise–first and a Beatle, second.

[Quote Via; photo by Ted Barron]

The Minor Fall, the Major Lift

My mother’s father died in the spring of 1995. I went to Belgium for the funeral with my brother and sister, mother and step father. We stayed at my uncle’s house and for the three days we were there he played Jeff Buckley’s Grace constantly. It was a mournful soundtrack and the songs are inseparable from the mental pictures and emotions I keep with me from that trip.

I don’t imagine I would have heard the Buckley record, let alone be so moved by it, unless it had been such an indelible part of saying goodbye to my grandfather, staying in the home of his only son, a man with whom I shared little language but ardent feeling.

That trip and Buckley’s album came to mind today.

Here is Janet Maslin in the Times on The Holy or the Broken: Leonard Cohen, Jeff Buckley, & The Unlikely Ascent of ‘Hallelujah’:

The album containing “Hallelujah” came out on an independent label in 1984, and then it languished. See Ms. Simmons’s account for an understanding of why, by 1991, the world was nonetheless ready for a Leonard Cohen tribute album: “I’m Your Fan,” put together by the French music magazine Les Inrockuptibles. This album prompted a major overhaul of “Hallelujah” by John Cale, once of the Velvet Underground, who re-edited the lyrics, coming up with a version that has proved more enduring than Mr. Cohen’s. Mr. Cale’s stark, exquisitely pure rendition, with an emphasis on the song’s eroticism, is by some lights (like this one) the best “Hallelujah” ever recorded.

A remarkable stroke of fate sent Jeff Buckley, then an aspiring young troubadour, to stay in a New York apartment that happened to contain a copy of “I’m Your Fan.” Buckley heard the song and, like many who have heard it, claimed he had no idea who had written it. But he included an intensely, beautifully ethereal version of it on his 1994 album, “Grace,” giving it a young man’s hypercharged sensibility rather than the Cohen-Cale seasoned one. When Buckley died young (as his doppelgänger father, the singer Tim Buckley, had), “Hallelujah” developed a cult following. “Leonard penned it, but Jeff owned it,” Mr. Light writes.

[Photo Credit: jucanlis]

Neon Love

From My Modern Met

A Real Ambassador

I spoke to a lot of friends yesterday about Dave Brubeck. The hardcore Jazz guys I know don’t care much for his music while other friends were really broken up about Brubeck’s death.

From my friend Alan, a record engineer:

My dad passed when I was five, making me prone to attach great significance to any object of his that was left is his absence. Through these various collections of books, paintings, and my personal obsessive favorite, records, I hoped to get a semblance of what it might have been like to actually hang out with him. Among the mostly classical records he had, there were a couple of notable exceptions, one of which was Dave Brubeck’s Jazz Goes To College, which was easily the first jazz record I had ever seen. I say “seen” because it was probably some time before I actually listened to it, as I seemed to enjoy collecting records even more than listening to them at the time. As years went on, and as I actually began to appreciate all the music I had accumulated, I always had a special place for Dave Brubeck’s music, as something that I could have enjoyed with my dad.

I never felt Brubeck sought to provide a puzzlement, in the same way Monk did so beautifully, or challenge beyond the point of pleasure, like another one my musical heroes, Frank Zappa. His music, specifically “Time Out”, plays out like lovely complex equations, in which you are being given the question and the answer simultaneously. Like he was walking you through a wonderful garden maze with neatly trimmed hedges that were not over your head, but revealed intricate patterns to you the further you went in. You never get the sense that you were hearing something that hadn’t been attempted to that point, but seemed to make perfect sense, both emotionally and mathematically.

And our pal Eric Sanders:

My father is a folk musician. The only classical music I heard in the house was Rossini’s William Tell Overture, but I played classical in school band my entire childhood and ending going to university to study classical music. The only jazz record my pop had was Dave Brubeck’s Time Out. I played in jazz band for my entire childhood, went for a masters in jazz music and have co-lead a successful jazz trio in Atlanta for a decade.

The “odd time” stuff is what I like best. Most is in 4 beats to a bar, with a 1/4 note pulse. Think a simple rock tune. 1-2-3-4. Boom-bap, boom-boom bap. This is “common time.” The other main time signature is 3. Think a waltz. Boom-bap-bap, boom-bap-bap. along with this, there is the lilting 6/8 feel. think a slow blues/ballad.

Brubeck mixed odd meter in jazz. The most famous piece is “Take 5”, in 5 of course. Odd meter wasn’t in swing, odd metered tunes weren’t hits, jazz songs weren’t hits, songs with long unaccompanied drum solos were not hits–yet Brubeck and his magical quartet covered this all with one tune.

Tunes in 5 started popping up everywhere, including on my beloved Blue Note label. Brubeck has many other tunes in 5. The lead track on Time Out–“Blue Rondo a la Turk”–is in 9, not grouped in even 3’s, but phrased: 2-2-2-3 and other permutations. He has jazz pieces in 11 beats and one in 13, that is mostly phrased 3-3-3-4 and they’re all *swingin’. Not easy to do.

The father connection is a compelling one. Here’s Andrew Cohen at The Atlantic:

It wasn’t the music, at first, that I loved. It was the way my dad so clearly enjoyed the music and how much reverence he showed for men like Brubeck and Oscar Peterson and many other jazz legends who had come to Montreal and played there. It was only later, after I had heard these pieces over and over, that I came to appreciate the sound. Looking back, I suppose what I really appreciate is both the music, and the loving memories of hearing that music, of my life when it first washed over me as a child, which is why I was so sad to learn of Brubeck’s death.

We grieve of course when we lose a loved one. But we may grieve again years later when we lose someone, even a stranger, who we know meant something special to the loved one we have lost. The new death reminds us anew of what the old death took from us. I feel that way about Dave Brubeck. His death today makes me think of all those Sunday mornings, and the joy my dad shared with us, a joy which now is gone from this earth. I suppose I could look at it that way. Or I suppose I could see the vivid memory of it all as just another blessing the two men, strangers but collaborators, each in his own way, bestowed upon my life. And I suppose I could make sure that I play “Blue Rondo” this Sunday for my own son.

For more on Brubeck, check this out from Ted Gioia’s The History of Jazz:

Dave Brubeck was achieving even more dramatic popularity with his Time Out recording. “Take Five,” the Paul Desmond composition included on this album, achieved unprecedented sales for a modern jazz instrumental performance and did much to legitimize unusual time signatures. But this represented no sudden rise to fame for Brubeck. Rather, the building blocks of this success had been slowly put in place during the course of the prior decade. In the late 1940s, Brubeck started drawing attention for his advocacy of the new and unusual, initially through the work of his Octet. This ensemble, which drew on the most progressive strains in both jazz and classical music, was formed during Brubeck’s stint at Mills College, where he and many of his colleagues in the Octet were studying with modernist composer Darius Milhaud. Subsequently, Brubeck broadened his following while leading a piano trio that mostly showcased his adventurous reworkings of jazz standards. But Brubeck’s greatest popularity came with the formation of his quartet, where his thick harmonies and strident rhythms were set off by the smooth alto work of saxophonist Paul Desmond. The Quartet recorded a number of outstanding live performances for the Fantasy label, in which the dictates of modernism and melodicism were artfully balanced. In 1954, Brubeck left Fantasy for the Columbia label and, that same year, his photo graced the cover of Time magazine. His gradual building of a mass market audience, and the growing polish of the quartet, aided by the addition of the exceptional drummer Joe Morello (in 1956) and journeyman bassist Eugene Wright (in 1958)—to form what many consider the “classic” Brubeck quartet—set the stage for the Time Out success.

The fame and enormous record sales that Brubeck enjoyed were all the more remarkable given the uncompromising nature of his piano work. His approach to the keyboard was almost totally purged of the sentimental and romantic trappings or the oh-so-hip funkiness that characterized most crossover hits. His chord voicings were dense and often dissonant. His touch at the piano was heavy and ponderous—anything but the cocktail bar tinkling fancied by the general public. His music tended to be rhythmically complex, but seldom broached the finger-popping swing of a Peterson or Garner. Only in his choice of repertoire, which was populist to an extreme with its mix of pop songs, show tunes, traditional music—indeed anything from “Camptown Races” to “The Trolley Song” might show up on a Brubeck album—did he make a deferential gesture to the tastes of the mass audience. But even these familiar songs were apt to take on an unfamiliar guise under Brubeck’s hands. He may have put aside the twelve-tone row in favor of “Tea for Two,” but by the time he had finished with the Vincent Youmans standard it could sound like Schoenberg had tampered with the sheet music.

And here’s Scott Yanow from All Music Guide to Jazz, 2nd edition.

Dave Brubeck has long served as proof that creative jazz and popular success can go together. Although critics who had championed him when he was unknown seemed to scorn him when the Dave Brubeck Quartet became a surprise success, in reality Brubeck never watered down or altered his music in order to gain a wide audience. Creative booking (being one of the first groups to play regularly on college campuses) and a bit of luck resulted in great popularity and Dave Brubeck today remains as one of the few household names in jazz.

From nearly the start Brubeck enjoyed utilizing polyrhythms and polytonality (playing in two keys at once). He had classical training from his mother but fooled her for a long period by memorizing his lessons and not learning to read music. Dave studied music at the College of the Pacific during 1938–42. Brubeck led a service band in General Patton’s Army during World War II, and then in 1946 he started studying at Mills College with the classical composer Darius Milhaud, who encouraged his students to play jazz. Brubeck led a group mostly consisting of fellow classmates and they recorded as the Dave Brubeck Octet; their music (released on Fantasy in 1951) still sounds advanced today with complex time signatures and some polytonality. The octet was too radical to get much work so Brubeck formed a trio with drummer Cal Tjader (who doubled on vibes) and bassist Ron Crotty. The trio’s Fantasy recordings of 1949–51 were quite popular in the Bay Area but the group came to an end when Brubeck hurt his back during a serious swimming accident and was put out of action for months.

Upon his return in 1951, Brubeck was persuaded by altoist Paul Desmond to make the group a quartet. Within two years the band had become surprisingly popular. Desmond’s cool-toned alto and quick wit fit in well with Brubeck’s often heavy chording and experimental playing; both Brubeck and Desmond had original sounds and styles that owed little to their predecessors. Joe Dodge was the band’s early drummer but after he tired of the road the virtuosic Joe Morello took his place in 1956 while the revolving bass chair finally settled on Eugene Wright in 1958. By then Brubeck had followed his popular series of Fantasy recordings with some big sellers on Columbia and had appeared on the cover of Time (1954). The huge success of Paul Desmond’s “Take Five” (1960) was followed by many songs played in “odd” time signatures such as 7/4 and 9/8; the high-quality soloing of the musicians kept these experiments from sounding like gimmicks. Dave and Iola Brubeck (his wife and lyricist) put together an anti-racism show featuring Louis Armstrong (The Real Ambassadors) which was recorded, but its only public appearance was at the Monterey Jazz Festival in the early ’60s.

The Dave Brubeck Quartet constantly travelled around the world until its breakup in 1967. After some time off during which he wrote religious works, Brubeck came back the following year with a new quartet featuring Gerry Mulligan, although he would have several reunions with Desmond before the altoist’s death in 1977. Brubeck joined with his sons Darius (keyboards), Chris (electric bass and bass trombone) and Danny (drums) in Two Generations of Brubeck in the 1970s. In the early ’80s tenor saxophonist Jerry Bergonzi was in the Brubeck Quartet and since the mid-’80s clarinetist Bill Smith (who was in the original Octet) has alternated with altoist Bobby Militello.

There is no shortage of Dave Brubeck records currently available, practically everything he has cut for Fantasy, Columbia, Concord and Telarc (his most recent label) are easy to locate. Brubeck, whose compositions “In Your Own Sweet Way, “The Duke” and “Blue Rondo a La Turk” have become standards, has remained very busy (despite some bouts of bad health) into the mid-’90s.

There’s some background. Now, here’s some music.

Two-Part Contention

Three To Get Ready

Strange Meadow Lark

The Real Ambassador

Jump For Joy

The Duke

Charles Matthew Hallelujah

Bossa Nova U.S.A.

Blue Rondo A La Turk

 

Gentle Giant

Rest in Peace, Dave Brubeck.

Listen to this.

What Becomes a Legend Most?

Rest in Peace, Ken Regan. He was a star. Check out his site.

Listen Up

The Library of Congress presents the following audio interviews that Joe Smith conducted with the likes of Mick Jagger, Dave Brubeck, Ray Charles, Ahmet Ertegun, B.B. King, George Harrison and much more.

Hey, this is Gold, good people. Diggum Smack.

Electric Boogaloo

Over at GQ, here’s Gideon Lewis-Kraus behind-the-scenes at the Electric Daisy Carnival:

The only really crucial thing to note here about the music is that the whole thing is about the bass. People who know a lot about electronic music will disagree with me, but knowing a lot about electronic music is, these days, entirely beside the point. The progression of a house track, and one plausible reason for house’s ascendancy, goes like this: There’s some twinkly pirouetting melody in the higher registers, then some bass for a while, and then the introduction of a soaring, optimistic vocal track about saving the world or, for the slightly less ambitious, having a feeling re tonight’s bestness, then the simultaneous near-crescendo of the twinkles and the all-out vocal redemption, and then, right at the moment of presumed climax, the bass goes away for a few beats, everybody misses the bass so much and can’t wait for it to come back, maybe the snare reintroduces itself after a few seconds to remind you to get excited for the prodigal bass’s triumphal homecoming, a good DJ takes just longer than expected to bring the bass back, 20,000 or 50,000 hearts stop as one, lever arms hanging anxiously in midair, and then, when the bass kicks back in, the crowd goes out of their motherfucking minds, just like they did the time the bass disappeared and came back four minutes ago, pumping their right arms in genuinely exhilarated unison, survivors all of the briefly yet catastrophically lost bass.

[Photo Via: All You Can Love]

Look, Up in the Sky

Dig this over at Creative Review: When Billboards Rocked.

All About the Music

There is a long appreciation of The Grateful Dead by Nick Paumgarten in the current issue of The New Yorker. There’s some regrettable prose, like this description of Jerry Garcia in concert: “But he played in long, convoluted paragraphs and snappy banjo blurts. Torrents of melody poured out of his stubby, tarred hands, chiming and snarling into the night.”

Mostly, though, it is an intriguing read.

“Our audience is like people who like licorice,” Jerry Garcia said. “Not everybody likes licorice, but the people who like licorice really like licorice.” Well, I don’t care for licorice or the Dead and this passage helps to explain why:

It is very easy, and in many circles compulsory, to make fun of the Dead. “What does a Deadhead say when the drugs wear off? ‘This music sucks.’ ” The Dead, more than any band of their stature, have legions of haters—real hostility—as typified by Dave Marsh’s remark, in Playboy, that they were “the worst band in creation.”

What’s to hate? Even the fanatic can admit to a few things. The Dead were musically self-indulgent, and yet, to some ears, harmonically shallow. They played one- and two-chord jams that went on for twenty or thirty minutes. One live version of “Dark Star,” a modal vamp based on the A mixolydian scale, with two short verses and no bridge, clocked in at forty-eight minutes. (Oh, to have been in Rotterdam!) Even their straightforward songs could go on for ten or twelve minutes. Pop-craft buffs, punkers, and anyone steeped in the orthodoxy of concision tend to plug their ears to the noodling, while jazz buffs often find it unsophisticated and aimless. The Dead’s sense of time was not always crisp. It’s been said that the two drummers, in the eighties, sounded like sneakers in a dryer. For those attracted to the showy side of rock, the Dead were always an unsightly ensemble, whose ugliness went undiminished in middle age—which happened to coincide with the dawn of MTV. They were generally without sex appeal. Bob Weir, their showman and heartthrob, might be said to be an exception, but he spent much of the eighties performing in short cutoff jean shorts and lavender tank tops—a sight even more troubling, I’d submit, than that of Garcia circa 1984, drooling on his microphone as he fought off the nods. Even the high-tech light shows of later years and the spaceship twinkle of their amplifiers could not compensate for a lumpy stage presence. They could be sloppy, unrehearsed. They forgot lyrics, sang out of key, delivered rank harmonies, missed notes, blew takeoffs and landings, and laid down clams by the dozen. Their lyrics were often fruity—hippie poetry about roses and bells and dew. They resisted irony. They were apolitical. They bombed at the big gigs. They unleashed those multicolored dancing bears.

Most objectionable, perhaps, were the Deadheads, that travelling gang of phony vagabonds. As unironic as the Dead may have been, Deadheads were more so. Not for them the arch framings and jagged epiphanies of punk. They dispensed bromides about peace and fellowship as they laid waste to parking lots and town squares. Many came by the stereotypes honestly: airheads and druggies, smelling of patchouli and pot, hairy, hypocritical, pious, ingenuous, and uncritical in the extreme. They danced their flappy Snoopy dance and foisted their hissy bootlegs on roommates and friends, clearing dance floors and common rooms. The obnoxious ones came in many varieties: The frat boys in their Teva sandals and tie-dyed T-shirts, rolling their shoulders to the easy lilt of “Franklin’s Tower.” The so-called spinners, dervishes in prairie skirts and bare feet. The earnest acoustic strummers of “Uncle John’s Band,” the school-bus collective known as the Rainbow Family, the gaunt junkies shuffling around their vans like the Sleestaks in “Land of the Lost”—they came for the party, more than for the band. Sometimes they didn’t even bother to go in to the show. They bought into the idea, which grew flimsier each year, that following a rock band from football stadium to football stadium, fairground to fairground, constituted adventure of the Kerouac kind.

Still, the truth is I haven’t listened to any of their recordings in twenty years. It’s not in the air anymore, I don’t have friends who are devoted to them. But I certainly don’t hate the Dead, either. Of course, some Deadheads are Toys but there is something about the cult of fans who collect cassette recordings of over two thousand live shows that is fascinating and admirable.

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"This ain't football. We do this every day."
--Earl Weaver