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“In Jessica's
hands, familiar jazz melodies become
three dimensional ...” |
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- Lyle Rebbeck,
Medicine Hat Jazz Society
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“Willow Weep for Me” was introduced
by vocalist and whistler
Muzzy Marcellino performing
with
Ted Fio Rito and His Orchestra.
Their October, 1932, Brunswick recording
entered the pop charts December
3, 1932, and rose to number seventeen.
On December 17
Paul Whiteman and His Orchestra’s
Victor recording with singer Irene
Taylor entered the charts and was
more favorably received, rising
to number two. Over thirty years
later in 1964 “Willow Weep for Me”
reemerged on the pop charts, this
time by the British duo Chad and
Jeremy.
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Whether Ted Fio Rito or
Paul Whiteman introduced “Willow
Weep for Me” is a matter of some
dispute. Ann Ronell had sold the
song directly to
Paul Whiteman, who presumably
performed it first. Fio Rito, on
the other hand, had the edge by
two weeks in introducing the song
to the public at large.
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Composer Ann Ronell dedicated
“Willow Weep for Me” to
George Gershwin, the composer
who helped her get her start in
the music industry. In Joan Peyser’s
Gershwin biography,
The Memory of All That: The Life
of George Gershwin, Ronell
is quoted as saying, “George was
sacred to me. He was my idol. I
became like a sister to the family
and was his protégé.” Ronell’s dedication
was undoubtedly a gesture of professional
thanks rather than flattery by way
of imitation. In
The Poets of Tin Pan Alley: A History
of America's Great Lyricists,
author Philip Furia comments that
the melody is more Arlen than Gershwin
and her “languorously driving lyric
is much closer to Koehler than to
Ira Gershwin.”
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“Willow Weep for Me” is an extremely well-crafted
and highly evocative song that at the same time
is unusually vague for a lament. Throughout its
A-A-B-A format, there are few hints as to the exact
cause of the heartbreak. The singer asks of the
willow tree, “weep for me,” “bend your branches,”
“whisper to the wind,” “murmur to the night,” etc.
Within the second “A” section there’s a wisp of
a clue as to the cause of the melancholy,
Gone my lover’s dream, lovely
summer’s dream
It does not seem to be a well-known lover that
has left but just a summer dream, as though the
love may never have been stated in the first place.
Taking the Gershwin dedication into consideration,
it is not difficult to imagine an aspiring Ann Ronell
having unspoken romantic feelings for her idol and
mentor. Perhaps the dedication of her lament carries
a message beyond that of professional gratitude.
-JW
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Musical analysis of
“Willow Weep for Me”
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| Original
Key |
G major;
“B” is an unsettled minor section that floats
between G minor and C minor |
| Form |
A – A – B
– A |
| Tonality |
The “A” section
is mostly major with hints of minor toward
the end; “B” is definitely minor. |
| Movement |
“A” is primarily
downward via large (8ve) leaps followed
by scale movement. “B” tends to be an arc,
ascending then descending. |
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Comments
(assumed
background)
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This is an “Arlenesque” tune with strong
blues overtones; in fact, the “A” section
is essentially the first eight measures
of a 12-bar blues, using substitutions and
embellishing chords (I-iv I-iv instead of
just four measures of I, and the IV–iv movement
in mm 5-6, for example). The contrasting
“B” section is vague; the ear is not quite
certain whether C minor or G minor is the
“tonic of the moment.” The Gm – G7 and descending
Cm – Bb –Ab – G7 in mm.3-4 of “B” would
seem to establish C minor, yet aurally it
makes more sense to have the song continue
in the parallel minor rather than the key
of iv. In any event, the modulation in the
last measure before the final “A”–Ab – Am7
– D7+5 –is unexpected. Although it is the
most logical return to the original key,
coming out of a progression in C minor it
serves to reinforce the tonal ambiguity
of “B.” |
K. J. McElrath - Musicologist for JazzStandards.com
Check out K. J. McElrath's book of Jazz Standards Guide Tone Lines at his web site (www.bardicle.com). |
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 “Willow Weep for Me” is one of my favorites--a
beautiful, haunting song. I love the simple melody
and I think the lyrics are great. It means a lot
to me because I love willow trees and hid in them
as a kid. I always felt they had a certain sadness;
therefore, when I recorded Portrait in 1962,
it was one of the tunes I felt strongly about. I
loved the way Steve Swallow and Barry Galbraith
played for me on this cut.
Sheila
Jordan, jazz vocalist
www.sheilajordanjazz.com
Are you a published Vocalist or Instrumentalist?
Add a comment and we'll credit you with a link
to your site. (more...)
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“Willow Weep for Me”
was included in these films:
- Love Happy (1950, Vera Ellen
tap dances to ‘The Sadie Thompson Number’)
- Wild Blade (1991, Ben Webster)
- In the Line of Fire (1993)
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Click on a CD for more details
at Amazon.com
Kenny Clarke
Bohemia After Dark
1994, Savoy 107
Original recording, 1955
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| Drummer Kenny Clarke leads an all-star
lineup that includes Donald Byrd and Nat
Adderley on trumpets, Cannonball Adderley
on alto sax, and Horace Silver at the piano.
The song simmers at a low heat. |
Wes Montgomery
Willow Weep For Me
2002, Universal
Original recording, 1969, Verve
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| On this live version of the title
track the guitarist is joined by pianist
Wynton Kelly for a contemplative rendition
of the song. |
Stan Kenton
Standards in Silhouette
1998, Blue Note 94503
Original recording, 1959, Capitol
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| Pianist Stan Kenton leads his big
band through a lush version of the song.
Plenty of good solos pique the ear. |
Sheila Jordan
Portrait of Sheila
1989, Blue Note 89002
Original recording, 1962
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| Exploratory vocalist Sheila Jordan
delivers a superb reading of the song. While
she is restrained, there is an obvious underlying
passion threatening to break the calm surface. |
Toots Thielemans
For My Lady
1991, Polygram 510133
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| The Shirley Horn trio backs harmonica
player Thielemans on this gently swinging
version. |
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On March 19, 1939, the Count Basie Orchestra
made its first recording for Columbia Records under
the supervision of John Hammond. The last tune recorded
that day was “Taxi War Dance,” a clever play-on-words
(a taxi dance hall was a place where men paid women
to dance with them). Although Basie claimed composer
credit, the tune is actually based on the chords
of “Willow Weep for Me.” But the record belongs
to Lester Young, who opens the proceedings with
arguably one of his best solos. Starting out with
a quote from “Ol’
Man River,” Lester swings the “Willow’s” changes
with ease, making what was once considered a ballad
into a swing jazz classic.
Chris Tyle - Jazz Musician and Historian
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| This section shows the jazz standards
written by the same writing team. Click on a name
to see all of a writer's jazz standards.
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Additional information on “Willow Weep for Me” may be found in:
3 paragraphs including the following types of information: music analysis.
3 pages including the following types of information: history, lyric analysis and music analysis.
1 paragraph including the following types of information: history and performers.
1 paragraph including the following types of information: film productions, history, lyric analysis and performers.
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