Jerry Wexler died August 14, 2008 at his home in Sarasota, Florida, age 91. This was the site of my only in-person encounter with the fabled Atlantic Records executive and producer, in January 2001, when Leslie and I had dinner with Jerry and his wife Jean Arnold. But as he did with so many others, Wex and I sustained a long-distance relationship by phone and fax, UPS and USPS. (In 2005, I was surprised and honored to receive a gift of the Ray Charles box set, Pure Genius: The Complete Atlantic Recordings 1952-1959, from the guy who produced nearly every track on its seven CDs.) In my case, these communications continued until about nine months before his death, after Jean suffered a stroke and Jerry went into terminal decline. It wasn’t dark yet, but it was getting there.

Godfather of Soul (the Jewish one)

Godfather of Soul (the Jewish one)

On Friday, October 30, 2009 at the Directors Guild Theater on West 57th Street in Manhattan, Jerry Wexler finally got the send-off he deserved. I’m not sure why it took over a year to happen, but the memorial was timed to coincide with two all-star Madison Square Garden concerts benefiting the Rock and Roll Hall of Fame (JW was inducted in 1987 in the Non-Performer category). There may have been some overlap in attendance between the two events, but with the notable exception of Bonnie Raitt, none of the featured MSG performers showed up to honor Wex — including Aretha Franklin and Sam Moore of Sam & Dave, the two whose careers were most closely entwined with his own.

Sam’s wife Joyce Moore appeared and explained that Sam was exhausted from his on-stage exertions of the previous night but sent his love and respect nonetheless. Aretha didn’t even send a message to be read in her absence — pretty cold, if you ask me, since it was Jerry Wexler who transformed ‘Re into the Queen of Soul through his production, his song selection, his choice of studio musicians and arrangers, and his relentless promotional campaigning.

Jerry and Aretha in the studio, late Sixties

Jerry and Aretha in the studio, late Sixties

The proceedings began with welcoming remarks from Jerry’s surviving children, Paul Wexler and Lisa Wexler; Paul acknowledged that “most of what I am today, I owe to my father…I wouldn’t change a lick, not even a note.” (Their older sister Anita, Jerry’s third child with his first wife Shirley, died in 1989 of AIDS-related illness before the age of 40.) We watched a pair of stunning video clips, culled from a PBS-type live-in-studio telecast circa 1972, in which the original Meters backed up first Professor Longhair and then Mac Rebbenack a/k/a Dr. John, with Allen Toussaint sitting in on piano. (‘Fess recorded brilliantly for Atlantic in 1949 and again in ’53; and despite his contentious relationship with Wexler, Rebbenack reached a career commercial peak during his Atlantic years, 1971-1974.)

The next video segment was no less compelling: Aretha Franklin performing in an unidentified church (possibly New Temple Missionary Baptist Church in L.A., the site of her live recording Amazing Grace in January 1972), accompanied by a band and choir led, I think, by James Cleveland (also not identified). As the camera panned over the ecstatic congregation, we could see a slim long-haired white man rise from a rear seat, clapping in time: Mick Jagger.

“Peace in the Valley,” beautifully sung a capella by Vaneese Thomas, was the first live performance of the event. JW was a friend and admirer of her late father Rufus Thomas (1917-2001), and the 1960 Rufus & Carla Thomas duet “‘Cause I Love You” marked the start of the Stax/Atlantic partnership. Jerry then appeared in an undated interview to offer up a few well-polished anecdotes from his early years at Atlantic. At under five minutes, this segment was too brief: I would’ve liked to hear more from the man himself.

A succession of speakers offered their tributes. Jazz critic and Bing Crosby biographer Gary Giddins compared Wex to Bob Dylan in his “genius for absorbing everything in American music and giving back in a new way.” Giddins noted that at their first meeting, JW only wanted to talk about Adrian Rollini (a gifted if little-remembered white jazz player of the Twenties and Thirties) and that there was barely a song in Bing Crosby’s vast discography that Jerry could not sing from memory. In passing, Gary remarked that Nesuhi Ertegun, the younger brother of JW’s partner Ahmet Ertegun, “was referred to by jazz musicians as ‘the good Ertegun.'” Even if true, it was a cheap shot we could have done without, particularly since Ahmet’s widow Mica Ertegun was in the audience.

I’m a faithful listener to Bob Porter on “Saturday Morning Function” (WBGO-Newark NJ) while other readers may recognize his name from the production credits of numerous Prestige soul-jazz albums and assorted Atlantic reissues. Porter noted that it was Wexler who brought in some of the best R&B musicians of the period, people like [saxophonist] Sam “The Man” Taylor and [guitarist] Mickey Baker to form the first Atlantic studio band; who recruited the arranger Ray Ellis and who, in 1955, signed Jerry Leiber & Mike Stoller to the industry’s first formal independent production deal. “Make no mistake about it,” declared Porter, “it was Jerry Wexler and no other who was most responsible for bringing soul music to America.” (Full text of Bob’s remarks is posted here.)

Paul Wexler read a message from guitarist Steve Cropper of Booker T. & the MGs, and we watched a video tribute from West Coast music executive Jerry Greenberg, who began his 18-year Atlantic career in 1967 as Wexler’s gofer. Greenberg likened this formative period to boot camp in the Marine Corps, with JW as DI: “Either you made it through or they found your body in a swamp somewhere, six months later.” When Greenberg moved up the Atlantic ladder, another eager A&R aspirant, Mark Meyerson, arrived in 1969 to take his place. Meyerson remembered Wexler delineating the difference between the 12-bar and 16-bar blues for him on the piano, and summed up his ex-boss’s professional credo as “if you were awake, then you were working.”

The author David Ritz met Wexler while co-writing Ray Charles’ autobiography Brother Ray in the mid-Eighties. He later co-authored Jerry’s own memoir, Rhythm and the Blues: A Life In American Music (published 1993), and the two men remained fast friends until the end. Ritz conveyed deep feelings of both love and loss as he hailed “a ferocious wit, a a super-funky storyteller.” (David’s speech is posted on YouTube — click here.) Engineer/producer Jimmy Douglass talked rather more about his own career than the occasion warranted: Forty years on, it seemed he still held a grudge towards Jerry for initially offering eager young Jimmy a job in the Atlantic warehouse instead of in the Atlantic studio (“I hated that job”). Eventually, Douglass made it to the control room and worked with acts ranging from Slave and Stanley Turrentine to Foreigner and the Gang of Four.

The last word, on a more appreciative note, came from Zelma Redding, Otis’ widow, who fondly remembered the man who delivered the eulogy at her husband’s funeral in December 1967. Of this heartbreaking moment in Macon, GA, JW later wrote: “I could barely compose myself. My voice cracked, my eyes filled with tears.” Four years later, he would return to Macon to deliver another eulogy, this time for guitarist Duane Allman of the Allman Brothers Band.

And now it was showtime.

Guitarist Jon Tiven led the backing band onstage, including bassist Jerry Jemmott (a veteran of countless JW-produced sessions), drummer Anton Fig, organist Mike Finnigan, and the members of  The Uptown Horns. First up was New Orleans’ own Allen Toussaint — Wexler produced his 1978 album Motion — who played piano and sang on the winsome ballad “With You In Mind.”

Big Sister: "Are You Lonely For Me Baby?" (w/Lenny Kaye)

Big Sister: "Are You Lonely For Me Baby?" (w/Lenny Kaye)

For nearly 20 years, Lisa Wexler has played drums for (and booked, and managed) the Woodstock-based all-female band Big Sister. This group was an unknown quantity to me but their two songs were excellent. Lisa and bassist Desiree Williams locked into a push-and-pull rhythmic groove behind singer/guitarist Lara Parks on the Big Sister original “Talk Down to Me” and a stirring cover of Freddie Scott‘s 1967 soul classic “Are You Lonely For Me Baby,” with Lenny Kaye of the Patti Smith Group adding a third guitar to the churn. William Bell, a class act still in warmly expressive voice after 50 years on stage, sang “You Don’t Miss Your Water” (his Stax debut single, from ’61) joined by original Muscle Shoals sessioneers Spooner Oldham (piano) and Jimmy Johnson (guitar) along with master drummer Bernard “Pretty” Purdie.

More surprising was the appearance of actress Ronee Blakeley (Nashville, A Nightmare On Elm Street) — Wexler produced her 1975 album Welcome in Muscle Shoals — in a heartfelt if vocally uncertain duet with Lenny Kaye on “I Can’t Make It Alone.”  This Gerry Goffin/Carole King song is the closing track on the original LP version of Dusty in Memphis by Dusty Springfield (1969), which stands as JW’s greatest production for any white artist.

If I was surprised to see Ronee Blakeley, I was frankly amazed to see Joe South make his unsteady way to center stage — all the way from Atlanta GA with his big Gretsch hollow-body guitar in hand, maybe the same one he played on Aretha Arrives and Blonde On Blonde. To the best of my recollection, the creator of “Games People Play,” “Hush,” and “Down In the Boondocks” had not appeared in NYC since 1994, when

Joe South: "Walk A Mile In My Shoes" with B. Purdie (drums), J. Jemmott (bass), J. Tiven (guitar). Photo by Phillip Rauls

Joe South: "Walk A Mile In My Shoes" with Anton Fig (drums), Jerry. Jemmott (bass), Jon Tiven (guitar). Photo by Phillip Rauls

he’d joined Pete Seeger, Roger McGuinn, and the late great Ted Hawkins for one of those singer/songwriter in-the-round shows at The Bottom Line. Overweight, unkempt, and moving slow (possibly due to diabetes, which can cause loss of feeling in the extremities), Joe nonetheless hit all his marks on “Walk A Mile In My Shoes.” He sounded just like Joe South (i.e. great) and Jerry Jemmott played his butt off on the tune.

Another old Muscle Shoals hand, Donnie Fritts, sang and played piano on “We Had It All” — a favorite of Wexler’s from Donnie’s 1974 Atlantic album Prone To Lean. Lou Ann Barton ably represented the Austin music community with her rendition of Irma Thomas’ “It’s Raining,” a song from her JW-produced album Old Enough (1982); she looked and sounded terrific.

In 1963, at age seventeen, Bettye LaVette scored her only Top Ten R&B hit with the Atlantic single “My Man – He’s A Lovin’ Man.” Bettye told us that a year later, when she announced to a nonplussed Jerry Wexler that she was leaving the label, “he took out his personal checkbook and wrote me a check for $500. ‘Bettye,’ he said, ‘if you’re really leaving, you’re gonna need this’ — and he was right!” The Detroit soul survivor then offered a deep-blue “Drown In My Own Tears” — a #1 R&B hit for Ray Charles in 1956 and one of Wex’s all-time classics. Bettye LaVette can really bring the pain like few other singers working today.

Bettye was a tough act to follow but the blue-eyed soul brother Steve Bassett proved up to the task with his rousing closer (closing rouser?) of “Shake, Rattle and Roll.” Signed by Wex’s dear friend John Hammond (1910-1987) in 1980, Steve made his lone Columbia album in Muscle Shoals with co-producers Jerry Wexler and Barry Beckett. It didn’t sell beans, but gradually Bassett built up a solid career as an in-demand jingle and session singer, later self-releasing a slew of his own CDs from home base in Richmond, VA. Steve’s unpretentious, joyful delivery of the Big Joe Turner flag-waver sent us out onto West 57th Street on an uplifting cloud of good feeling, grateful to have been part of the occasion.

Inscribed title page from my copy of JW's autobiography

Title page inscribed "To Andy, truly one of us" from my copy of JW's autobiography

In attendance: Danny Fields, Aaron Fuchs (Tuff City Records, wearing a vintage Cash Box Magazine satin baseball jacket), A&R man/producer Mitch Miller (99 years young on July 4, 2010), music producer/filmmaker Leo Sacks, Paul Shaffer, Seymour Stein (Sire Records), Jeremy Tepper (Sirius/XM), attorney Judy Tint (Rhythm & Blues Foundation), photographer Dick Waterman, Harry Weinger (Motown/Universal); Atlantic veterans Jim Delehant, Barbara Harris, and Phillip Rauls; scribes Jim Bessman, Stanley Booth, Kandia Crazy Horse, Deborah Frost, and Holly George-Warren; and musicians Ben E. King, Bonnie RaittG.E. Smith, and Peter Wolf (J. Geils Band).

JW postcard with thanks for a Ravens CD: "Clearly, you know."

JW postcard with thanks for a Ravens CD: "Clearly, you know."



13 Comments to “REMEMBERING JERRY WEXLER [10.30.2009]”

  1. Bruce Dickinson says:

    Hi Andy,
    I hear Joe South was amazing and it’s great to hear that one of America’s great songwriters, Donnie Fritts was included in the program performing his “We Had It All”, a song recorded by numerous artists such as Waylon Jennings and Ray Charles as well as Fritts himself. Even the Rolling Stones recorded it, back in 1979 for the “Emotional Rescue” LP. Keith sang lead, but, unfortunately, it was left off the album and has never seen release except for bootlegs. In a better world, Donnie Fritts’ talents would be better recognized.
    Bruce

  2. Bob Porter says:

    First class! The speakers-except the unscheduled
    Douglass-were all cut down in the length of their
    remarks. I think all of us could have gone on at much greater length.

    By the way when I first met him in 1974, I tried to get him to talk about Jesse Stone, Howard Biggs
    and some of the arrangers who preceded Ray Ellis
    but all he wanted to talk about was Pee Wee Russell and Charlie Christian!

  3. kate spencer says:

    It was a great event. As an old time fan of Big Sister, it is a travesty that Shelly Prior, the amazing lead guitarist was not mentioned. She brings legions of fans from far and wide to hear her incredible guitar licks and mind-blowing solos. She deserves the credit.

  4. Dan Beck says:

    Andy, thank you for writing this for those of us who weren’t there. It seems sometimes those who have the most to be grateful for are the ones who least remember. And to the contrary, it seems some of the great talent who for whatever reason didn’t have the commercial success they deserved seemed to treasure Jerry’s career the most.

  5. Good piece of reporting, clear, detailed, and (quietly) passionate. God bless, Jerry Wexler, a tough guy with a soft heart for music!

  6. Paul Wexler says:

    Dear Andy,

    Thanks for taking care of business and thanks for a terrific piece.

  7. Al Kooper says:

    I never even heard a peep about it so many many thanks. I could have told a few choice anecdotes myself, but it’s probably better there was more music than yakking. Wassup w/Aretha’s reaction ?
    Weird……………

  8. admin says:

    Thanks for writing, Al — sorry you weren’t there. I enjoyed your fine score for Hal Ashby’s The Landlord (1970) when it aired last month on TCM!

  9. admin says:

    Thank you, Michael…I recommend your definitive biography Ray Charles: Man And Music to all readers of this blog (and everyone else).

  10. admin says:

    I regret the omission of Shelly Prior, whose playing is crucial to Big Sister’s distinctive sound. (This post was running way long already…)

  11. Arthur Levy says:

    Andy,
    As a late-comer to this blog, I appreciate with all my heart your due diligence in covering the memorial tribute to Jerry Wexler, one of my godfathers in music. After buying Jerry’s records for years, I finally met him at Criteria Studios in Miami back in the early 70s Zoo World era, when Janet Oseroff invited me to cover sessions that Jerry was producing for Doug Sahm, the Electric Flag reunion, and so on. ZW put the Electric Flag on the cover, and Jerry LOVED that. When ZW folded, Jerry told Earl McGrath 3 days later to hire me as Atlantic’s publicity writer. (I didn’t realize that Earl had to fire Jean-Charles Costa first – JC, another Wexler devotee, used my ZW article in his liner notes to Atlantic’s Mar y Sol Festival double-LP and I had become friends with JC before inheriting his gig, but that’s another story.) Anyway, thank you Andy for putting together this tribute of your own to Jerry, that spurs all of us to think about our own stories and rememberances of such a great NYC mensch. Jerry was one of my beloved mentors along with David Gahr and John Hammond and Herbie Mann and Art D’Lugoff and too many others who are gone from us now. You gotta hold on/to what you got.

  12. Melony Karge says:

    Thanks for writing this, I found it very informational. I was born in Memphis and still have several happy memories of the area. I am working on a vacation back there this spring. Has Memphis changed much from the early 80’s? I am really looking forward to seeing Graceland again.

  13. Alice Harp Hopkins says:

    Andy,
    My husband and I were at the memorial,came up from our home,New Orleans.Jerry is much loved in this city,has a gaggle of “Jerry’s Kids”.He loved this city with such passion,and offered personal help to many of us after Katrina.His gift to us was his steadfast caring and genuine regard for our city and his “kids” who live here.Plus a quart of gumnbo from Dooky Chase never hurt either.I knew Jerry from the Muscle Shoals years,came of age with many of the locals up yonder;we both still miss Eddie Hinton.New Orleans is home,so had to return.I am one of Jerry’s academic friends,worked on his archives,and am hoping to do a npr series on Jerry in Louisiana.Would you like me to keep you informed about this?I still say a prayer for Jerry at Mass every Sunday.Like he always told me,”couldn’t hurt”!
    Bon Chance, Alice Harp Hopkins,MLIS

Leave a Reply

You must be logged in to post a comment.