A couple of weeks ago, before the onset of our steady
November rains, I lay abed one morning idly staring out our window wall into
the back yard. (Until recently, I awoke and the feet hit the floor. Now, suddenly,
I can laze about in bed for ten minutes or so. Must be that the trazadone Doc
has prescribed to help me get to sleep is working its pharma-magic but on the
other end of the night.)
Anyway, the oranges of the big leaf maples, the umber Japanese
snowdrop leaves, the brilliant reds (I’m told) of the Japanese maples were drifting
down in a gentle breeze from the south. Of course, Johnny Mercer’s Autumn
Leaves became my ear worm for the day.
(I’d best explain that “I’m told.” I am partially color
blind. I see oranges and yellows – at least my version of them: I have no idea
what you see. But for reds and greens, they just don’t register. This time of
year, Ann will call out some apparently vivid red which I don’t see. She gets
mad at me: “Of course you do; you’re just saying that!” Now, if I had lung
cancer or a broken leg would she get angry? But my inability to
share in her joy of color enrages her. I don’t get it.)
I asked Co-Pilot to help me trace the evolution of the song.
I knew it was originally French; Yves Montand, Edith Piaf, and Juliette Greco
among others made it a favorite from 1947 on. The French original, a poem by
Jacques Pre'vert set to music by Joseph Kosma entitled The Dead Leaves, Les
Feuilles Mortes, is a sad, philosophical lament on the inevitability of
loss and death of one's love.
In 1947, Jo Stafford recorded an English
version with adapted lyrics by Johnny Mercer. Adapted, not translated. Mercer’s
take is more romantic, more focused on longing, nostalgia and sweet memory:
But
I miss you most of all my Darling,
When autumn leaves start to fall.
I acquaint it with high school, perhaps Jo Stafford's version mixed up with Nat King Cole's; he didn’t record it until 1955, by which time I was either ending junior year or beginning senior year at Hamilton. It was Cole’s recording that
set Autumn Leaves into the pantheon of the American Song Book, since
recorded by everybody: Miles Davis, Sarah Vaughan, Bill Evans, Frank Sinatra, Chet
Baker, Billy Eckstine with Benny Carter, Ella Fitzgerald and tons more.
Nat King Cole was a phenom. He was
topping the charts in ’44 and ’45 (with whites, just as was Jackie Robinson to erase the color line in baseball) and steadily thereafter. Whatever he brought
out, sold out. We danced to and necked to Nature Boy (’48), Mona Lisa
(’50), and Too Young (’51.) Are you old enough to remember those?
By the time I got to Hamilton
College, fall of ’52, the tail-end of the GI Bill vets were gone a year. But
they left a legacy at my fraternity (yes, regretfully, I’m one of those) of revering
Edith Piaf and of making an annual pilgrimage to Hickory House to hear Mary
Lou Williams or Marian McPartland or Dinah Washington. And, of course, Nat
King Cole continued to mesmerize us – and our parents.
So, are you still with me? Since watching
autumn leaves literally drift past my window the other morning, the song has
popped up again and again: “Alexa, play a Bill Evans track, please:” Autumn
Leaves, first up. (I always say please to Alexa and to Co-Pilot; my mother
taught me to be polite.) Tuning in to KNKX: Autumn Leaves.
Last night, Ann and I attended Seattle Opera’s Recital Series’ presentation of Patricia Sings Piaf
featuring Patricia Racette accompanied by pianist Craig Terry. Ann enjoyed it
more than did I: for me, Racette’s operatic voice did not quite catch the anguish of
the original. But it was a fine evening – and there again, of course: Autumn
Leaves. I suppose it’s inevitable in November, but again and again, there
it is: the sad, nostalgic longing triggering sweet memories of my own on this, my 92nd journey around the sun.
PS I was reading this draft aloud to
Ann in the kitchen. Alexa, in the adjacent dining area, must have been eavesdropping.
She interrupted my reading to dutifully deliver Bill Evans' Autumn Leaves again.
PPS, four days later: Last night, I was clearing the piano in preparation for Max's and his accompanist's audition tape rehearsal. Atop a pile of Ann's Dad's organ and piano sheet music, there it was again: Autumn Leaves with lyrics in French and English!