Midnight at Mabel's

Rating:
Summary: just the facts please
Review: I have been a fan of Mable Mercer since i saw her perform at the Downstairs at the Upstairs in NYC in 1961. I jumped at the cance to buy this book, wanting to know more about her. I managed to plow thru it since I was really interested in knowing about here life - but it sure was a chore to do so. This is perhaps the worst written book I have ever read. Redundant, terrible uncalled for puns - you name it. If you are a fan, do read it - her life story is there. But be prepared for a tortureous journey.
I would have given minus stars, but that didn't seem to be an option.

Rating:
Summary: just the facts please
Review: I have been a fan of Mable Mercer since i saw her perform at the Downstairs at the Upstairs in NYC in 1961. I jumped at the cance to buy this book, wanting to know more about her. I managed to plow thru it since I was really interested in knowing about here life - but it sure was a chore to do so. This is perhaps the worst written book I have ever read. Redundant, terrible uncalled for puns - you name it. If you are a fan, do read it - her life story is there. But be prepared for a tortureous journey.
I would have given minus stars, but that didn't seem to be an option.

Rating:
Summary: Singing from the heart
Review: Mable Mercer was the best...her voice, her style, her passion. All the great cabaret singers learned so much from her, about phrasing and interpretation. Few people know much about her life, so this biography is very welcome. She was of mixed race, and mixed cultures...she became a star very early, and then had a long career. Her fans were madly devoted. I was lucky enough to see her perform in her later years...powerful. A great, inspirational story; a terrific read.

Rating:
Summary: Some thoughts on Midnight at Mabel's
Review: The composer Cole Porter preferred her rendition of his "It Was Just One of Those Things" to any other singer's. A skinny blue-eyed young crooner named Frank Sinatra used to jot down notes on a cocktail napkin when he came to hear her perform at Tony's, a club on Manhattan's 52nd Street. Sinatra would later say, "Everything I know about phrasing I learned from Mabel Mercer." Billie Holiday, Lena Horne, Bobby Short, even Edith Piaf and the Duke and Dutchess of Windsor discovered in Mabel Mercer an artist of incomparable style and eloquence. From the 1930s until her death in 1984, Mercer was a singer's singer-a consummate interpreter of the popular song. She launched dozens of songs by Porter, Gershwin, Kern, Berlin, Arlen, and others that have since become classics in the repertoire. Mercer was, however, relatively unknown by the general public because she shunned fame. For much of her career, she performed almost exclusively in small nightclubs in Paris and New York. Not just any nightclubs, it should be noted, but the legendary cabaret clubs Bricktop's and Le Boeuf sur le Toit in Paris, Tony's,the Café Carlisle, and the St. Regis Room in Manhattan. Margaret Cheney's marvelous biography, the first full-length study of Mercer's life and times, will introduce many music lovers to one of the twentieth century's greatest unsung vocal stylists and fill in the missing pieces for the aficionados. The life itself was eventful from its conception. Born 100 years ago, in Staffordshire, England, Mercer was the daughter of an Anglo-Welsh teenaged mother and an African-American father. The child--of light complexion, blue-eyed, freckled, with frizzy black hair--was essentially orphaned when Emily Wadham ran off with her future husband (emphatically not Mabel's father Ben Mercer) to the music halls of Australia. Though raised by a kindly grandmother in a cottage in North Wales, Mabel suffered as a child, and for her entire life, from feelings of abandonment. The beloved grandmother died when Mabel was nine. Far too early in her life, she was entrusted to a convent school in Manchester run by Italian nuns; there the little girls branded the vulnerable Mabel a golliwog and tortured her because of her unusual looks and her orphaned status. At the tender age of 14, Mercer graduated from convent school and entered the music hall world that was her family inheritance. She took to it like a fish to water. In the years after World War I, African-Americans began coming in appreciable numbers to England and the Continent to perform. Eventually Mercer found herself living and working among black artists who were welcomed by Paris-the Paris of the Jazz Age. Midnight at Mabel's is especially fine on this formative period in the young singer's life. It was at Bricktop's, the great cabaret at 66 Rue Pigalle, that Mercer arrived at her elegant signature style. And it was at Bricktop's that the world of popular music composers and performing artists took note. In the 1920s and 1930s, and mostly in the wee hours, Mercer played with the best of them: Cole Porter, Django Reinhardt, Stephane Grappelli. Even in the years of her early success a modest, very private and dignified person, Mercer was beloved of people in all walks of life. Among her many friends were British royalty, singular artists, like Marlene Dietrich and Noel Coward, whom she met at Bricktop's, and adventurous tourists who had the wit to drop in at the Montmartre boite. In 1938, with the Nazi invasion of Europe looming, Mercer reluctantly, and with great difficulty, made her way to the United States. Several lean and lonely years passed before she reclaimed her rightful place as the toast of the cabaret world. But by the late 1940s, Cheney tells us of the New York music scene, "It became customary to say, 'Let's go to Mabel's!' Any club she sang in was automatically 'Mabel's.'" New York became the home she rarely left, except for weekends at her country retreat in the Berkshires. In the 1950s, Mercer occasionally appeared before enthusiastic audiences in clubs in Chicago and San Francisco. She annoyed club owners by refusing to book return engagements. However, Mercer's audience grew appreciably with the several albums she recorded for Atlantic, including two concerts with Bobby Short at Town Hall. But in the mid-1960s, rock music came to dominate the music scene on stage and in the recording studios. Club life in general, and Mercer's splendid career and the careers of her friends in particular, declined precipitously. However, near the end of her life, when she was prepared for poverty and obscurity, there came a final almost Dickensian turn of events. Mercer was discovered and celebrated by a new generation of fans, many of whom were gay New Yorkers. In her seventies and eighties, she was showered with honorary degrees and honorary appointments, television appearances and an award-winning documentary, concerts at Carnegie Hall and the Kool Jazz Festival, a triumphal return to London, the Presidential Medal of Freedom, and so on. This was the kind of comeback, or vindication, a star performer might reasonably yearn for. Not Mercer, it would seem. For the first time in her life, and to her despair, she encountered autograph seekers. Cheney tells us that "biographers had often sought [Mercer's] permission to write her story but she wanted no part of them or it. After she was gone, she said, they could say whatever the liked, but while she lived she would have peace and privacy." In her knowledgeable, insightful and sensitive telling of her subject's life story, Cheney has succeeded in enlightening the grateful reader while managing to preserve a measure of Mercer's privacy. Mercer died of a heart attack in the early spring of 1984. Among the honorary pallbearers at her funeral mass were her good friends Bobby Short, Frank Sinatra, Tony Bennett, Sammy Davis, Jr., and Johnny Mathis. One need hardly add that Mercer's legacy lives on in the great repertoire of American popular song.