Judy and the musicians in her life

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Judy Garland had a long relationship with musicians; her parents were both musical and performers. Her mother taught her to sing and was her accompanist from the age of two years old.  Music and singing with her accompanist were nearly her whole life. When she signed a contract with MGM at the age of thirteen Roger Edens took over from her mother and helped to define her style, as would Kay Thompson later in her career at MGM.  She worked with all the great orchestras and conductors at MGM, radio and recording studios during the years, including Aexl Stordahl and Lennie Hayton and her husband David Rose.  Not to forget Artie Shaw and Oscar Levant.

Roger Edens

Judy formed great friendships with all the composers of the day, Cole Porter, the Gershwins, Richard Rodgers, Oscar Hammerstein, (in fact she changed her show at the Palladium August 28) when she learned of the death of Hammerstein to include “When you walk through a storm”).  She had a special relationship with E.Y. Harburg and Harold Arlen, who wrote the lyrics of “Somewhere over the Rainbow.”  Johnny Mercer carried a torch for her for years.  Irving Berlin was delighted that she would sing his songs in Easter Parade and was disappointed when she was not able to complete Annie Get Your Gun.

 When Judy signed with Capital Records Sinatra recommended Nelson Riddle and they produced the wonderful “Judy” LP album.  Riddle worked with her on many of her concerts.

   

 Gordon Jenkins who worked with her on the “Alone” LP came with her to London in 1957 and I watched him love and admire her at the Dominion during the four and ½ week run.  Jenkins wrote in The Melody Maker “the talent of Judy Garland could never be learned, and her electric crescendos are far beyond the scope of any mortal teacher …I believe that people cry at Judy for the same reason that they do at sunsets, or symphonies, or cathedrals; when one is confronted with overwhelming greatness, it is impossible not to be touched.”  He also said, “With Judy. She’d do something different all the time, and I always felt she got better with every performance.  She was a joy to work with, because she had exceptional timing.  If you looked out the window, you’d be lost.” 

Gordon Jenkins at Press Reception in London 1957

Gordon with Judy at recording studio

  Later I would see Mort Lindsey with her, again at the Palladium, during the filming of “Hello Bluebird” in the movie, I Could Go on Singing, for I was lucky enough to be among the extras in the audience that day.

filming I Could go on Singing at the Palladium - I am in balcony

I Could Go on Singing Mort Lindsey

I was also present, as a guest of Judy, at one of the recording sessions in London in 1960 and watched Judy interact with the conductor, Norrie Paramor, and orchestra.  There was no diva there; it was a collaboration of artists working together to produce a piece of art.  Judy guided the orchestra, encouraging them to get the effect she needed.  She recorded "I Happen to Like New York," "You’ll never Walk Alone," "Swanee" and "Why was I Born?”    She would record one song and then we would go into the sound proof room to listen to playback.     She guided the chorus and orchestra on how fast the tempo should be - the rhythm, pitch and volume.  She was always very sweet, charming and funny; she also knew what was going on at every moment.  She would sing over some of the lines for the chorus, conducting and leading, and wishing them to be perfect. "Could you sing a little louder there?" she inquired at one point to the chorus.  “You have to sound like twenty-eight” and laughed with them. 
         

Norrie Paramor

Saul Chaplin July 1962
"I could go on Singing"

Mort Lindsey was the first conductor on her first US concert after she returned from England and she was so pleased with him that she wanted him with her for all concerts including the famed Carnegie Hall event.  

Mort was a great musician, not only was he classically trained, having a BA and Masters from Colombia (and later a doctorate in Music Education in 1974) but at his core he was a jazz musician – says son Trevor – “he understood the mechanics of music from schooling, but he was still able to improvise freely on the piano.”  This, along with his charm and sensitivity made him the perfect person to accompany Judy.   

I was at many of the early shows at CBS of her television series and although one didn’t see Mort then, the orchestra was behind the scenes, one knew he was there.  Later we were able to see him interact with Judy in her concert type shows. 

When the series ended Mort and his wife went to Australia with Judy.  I am guessing key orchestra players went too.  Sydney gave Judy a great enormous orchestra to handle the big Sport Arena holding 10,000 people and in a couple of days Mort had them in magnificent shape and I encourage everyone to try and obtain a copy of this recording.  We can hear what Mort did for Judy.  One can hear their relationship – Judy would be messing around with microphone or spilling water chatting to the audience and suddenly her voice would change and in a firm tone she would says something like, “Let’s Go” and that was his clue that she was ready to sing again. They were perfectly in tune.

He told Larry King that working with Judy was one of the highlights of his career.  He  said, “Every time she sang, I got goose bumps…my back was too her to.”