"Herr Ober zwei Mokka / Hey, Waiter - Two Mochas" by Oskar Joost

This was a popular 'Cafe Culture' song from 1930 by Oskar Joost. It remained popular even throughout WWII, though it was relegated to verboten/forbidden status by the Nazis. One would've only encountered it in that period by attending a secret club where Jazz was played from records by Swing Kids.

It was quite popular at the time, resulting in a number of version by Ben Berlin with Luigi Bernauer, Julian Fuchs, Eddy Wallis Orchester, Theo Mackeben and John Morris. Even today it is still a nostalgic song that often gets covered. Modern retro bands like Bratislava Hot Serenaders as well as Max Raabe & Palast Orchester have repopularized the tune, but usually leave off the later verses. 

~~~

Hey, Waiter - two mochas,

for baby and for me,

and a piece of crumb cake too

Haha

 

My heart is loose today,

for baby and me

So, I will also try it today

 

Hey, Waiter - two mochas,

for baby and for me,

and for this a kiss from baby.

 

Then I can save the sugar

for I am a poor man,

Waiter, and that's the end.

 

So in the first days of springtime in May

Love and nature go hand in hand

The girls are good, beating the finches

a short spring is back in the country.

And then, if a young man waits for

each girl before he can kiss them

then it is high time that he takes a brisk walk

because in the end he stands there and does nothing.

 

Who in the spring has no bride

Also gets no woman in the fall

If you do not know in the spring

Yes, is not more clever in the fall.

 

Who in the spring has no bride

when everyone only dreams of kissing

and then passes love by in May

Yes, then he is sorry.

Spring

~~~

Herr Ober zwei Mokka,

für Baby und für mich,

dazu ein Stückchen Streuselkuchen

haha

Mein Herz ist heut locker,

für Baby und für mich

darum will ich’s heute auch versuchen

Herr Ober zwei Mokka,

für Baby und für mich,

dazu von Baby einen Kuss.

Dann spare ich den Zucker

Ich bin ein armer Schlucker,

Herr Ober und dann ist Schluß.

Im Mai so in den ersten Frühlingstagen

gehen Liebe und Natur gern Hand in Hand

die Mädchen werden gut die Finken schlagen
kurz der Frühling ist wieder im Land.

Und wenn sich dann ein Jüngling für nen Mann hält

jedes Mädchen macht vor ihm nen Knicks

dann wird es höchste Zeit dass er sich ranhält

denn zum Schluss steht er da und hat nichts.

Wer im Frühling keine Braut hat

der bekommt auch im Herbst keine Frau

wer im Frühling nicht Bescheid weiß

ja der wird auch im Herbst nicht mehr schlau.

Wer im Frühling keine Braut hat

wo doch jeder vom Küssen nur träumt

und der geht dann im Mai an der Liebe vorbei

ja dann tut er mir Leid.

Frühling

Zara McFarlane's "Woman In The Olive Groves" lyrics

This is what I think are the lyrics for Zara McFarlane's song "Woman In The Olive Groves" (2014).

~~~

"Woman in the olive groves
what brings you here?
Woman in the olive groves
what brings you here?
Looking so royal in your flesh
in your bright colored dress
stood in the haze of the light
Peering outside from behind
the crooked branches that frame
your soft and smooth curve in the night

Woman in the olive groves
can you hear me?
Woman in the olive groves
can you hear me?
Don't be too free in your ways
do you need to hide out today
don't let the air turn off your scheme
And taste those good for nothings
stealing the delicate scent of innocence
that seeps within

Woman in the olive groves
I can see you
Woman in the olive groves
I could be you
Had I no money to spare
It could be me standing there
I could be floating my skin
Not knowing where to begin
along a lonely stretch of unhappiness
beckoning

Woman in the olive groves
let the moon hear your prayers
Woman in the olive groves
Laisser plume ester
(Appearing not to come out unscathed)"

"They Say I Look Like God" Full Lyrics from The Real Ambassadors (1962)

One must admit that Dave & Iola Brubeck's 1962 musical, The Real Ambassador; is somewhat dated in it's presentation. Which is not at all their fault, as our tastes and styles have changed. But if there is one song that veritably jumps from the page and whose recording beckons to us directly from 53 years ago, it is the song "They Say I Look Like God".

From various corners, the accusation of 'Pop musican' has been leveled at both Dave Brubeck as well as Louis Armstrong, and more callously that Armstrong's smiling countenance was an example of 'shucking and jiving for the man' or 'grinning and bearing it' for popularity. This song alone should put any such charges to rest for good. Make fun of his penchant for laxative huckstering, but not his art... or his heart. Insight into the weight of what they accomplished with this piece can be found here.

~~~

"They Say I Look Like God"
music by Dave Brubeck
lyrics by Iola Brubeck
sung by Louis Armstrong
and Lambert, Hendricks & Ross (in parenthesis)

(God created the man in his image and likeness)
They Say I look like God!
(In the image of God created he them)
Could God be black? My God!
(In the image of God created he them)
If all are made in the image of Thee,
(Male and female, created he them)
Could Thou perchance a Zebra be?
(Alleluia! In the image and likeness of God)
Can it be?
(Alleluia! Created he them)
No, not he.
(Alleluia! These are the generations of the heavens)

He's watching all the Earth.
(These are the generations of the heavens and of the Earth)
He's watched us from our birth.
(And God saw everything that he had made)
And if He cared if you're black or white,
(And behold it was very good)
He'd mixed one color, one just right.
(Alleluia! These are the generations)
Black or white…
(Alleluia! Of the heavens and of the Earth)
One just right.
(Alleluia)

Oh, Lord, please hear my plea!
(Hear my plea - Hear my plea)
Oh give me eyes to see
(Please Lord hear my plea!)
That our Creation was meant to be
(Hear my plea - Hear my plea)
An Act of God to set man free…
(Loooord…)
(Set man free - Set man free - Set maaaaaaan, freeeeee!)
Set man free.
(Set man free.)
Set man free.
(Set man, freeeeee!)

You raised us from the dust
(From the dust - From the dust)
And breathed in life with trust,
(Raised us from the dust)
And gave to Man the great choice to be
(From the dust - From the dust)
Alone on Earth, or One with Thee…
(Loooord…)
(Alleluia - Alleluia!)
One with Thee…
(One with Thee…)
One with Thee…
(One with Thee…)

(Be love - let us love one another - for love is of God)
When will that great day come?
(And everyone that loveth is born of God)
When everyone is One
(There is no fear in love - because fear has torment)
And there will be no more misery
(Perfect love casteth out all fear)
When God tells man he's really free.
(He that loveth God loveth his brother also)
Really free…
(He that loveth God)
Really free…
(Loveth his brother also)
Really free…
(Alleluia - Alleluia - Alleluia - Alleluia)

~~~

The Real Ambassadors title song Lyric (1962)

This is the title track to The Real Ambassadors 1962 musical by Dave & Iola Brubeck. The lyric goes into some of the real expectations of a cultural ambassador, while also having a bit of fun and even pointing out that Louis Armstrong did not necessarily agree with certain policies; but still managed to represent the United States as best he could. This was done mainly through his lifelong commitment to equality, smartly summarized by the lyric, "Soon our only differences will be in personality". Listen for Lambert, Hendricks & Ross to get into their thing when they cut loose at double time. For an overview of the Cultural Ambassador program check here.

~~~

"The Real Ambassadors"
music by Dave Brubeck
lyrics by Iola Brubeck
sung by Lambert, Hendricks & Ross
with guest Louis Armstrong who sings marked lines *


"Who's the real ambassador?
It is evident we represent American society
Noted known for it's etiquette, it's manners and sobriety
We have followed protocol with absolute propriety
We're Yankees to the core

We're the real ambassadors
Though we may appear as bores
We are diplomats, in our proper hats
Our attire becomes a habitual along with all the ritual

The Diplomatic Corps
Has been analyzed and criticized by NBC and CBS
Senators and congressmen are so concerned they can't recess
State Department stands in awe, your coup d'etat has met success
And caused this great uproar
Who's the real ambassador?
Yeah!
The real ambassador!

(double time)
Who'stherealambassador?
ItisevidentwerepresentAmericansociety
Notedknownforit'setiquette, it'smannersandsobriety
Wehavefollowedprotocolwithabsolutepropriety
We'reYankeestothecore

We'retherealambassadors
Thoughwemayappearasbores
Wearediplomats, inourproperhats
Ourattirebecomesahabitualalongwithalltheritual

TheDiplomaticCorps
HasbeenanalyzedandcriticizedbyNBCandCBS
Senators and congressmenaresoconcernedtheycan'trecess
StateDepartmentstandsinawe, yourCoupd'etathasmetsuccess
Andcausedthisgreatuproar
Who'stherealambassador,yeah?!
Therealambassador!

*I'm the real ambassador
*It is evident I was sent
*By government to take your place
*All I do is play the Blues
*And met the people face to face
*I'll explain and make it plain
*I represent the human race
*And don't pretend no more

Who's the real ambassador?
Certain facts, we can't ignore
In my humble way, I'm the U.S.A.
Though I represent the government
The government don't represent some some policies I'm for
Oh, we learn to be concerned about the constitutionality
In our nation segregation isn't a legality
Soon our only differences will be in personality
That's what I stand for
Who's the real ambassador?
Yes
The real ambassador!

In his In my humble way, he's the U.S.A.
Though he represents the government
The government don't represent some policies he's for
Oh, we've learned to be concerned about the constitutionality
In our nation segregation isn't a legality
Soon our only differences will be in personality
*That's what I stand for
He's the real ambassador?
Yes!
The real ambassador!!

~~~
Here's a video of Satchmo in Ghana!

"Grandpa's Spells" Lyrics (Jellyroll meets Swingle and Isaacs)

Once again, I bring you some vocalese. This time by a modern group who carried the torch that artists like King Pleasure and Lambert, Hendricks and Ross started

The Swingle Singers were the Parisian brainchild of Ward Swingle. There's quite a long history to explore with that group, so let's just say that they disbanded in 1973 and that the album Rags and All that Jazz (1975) is the product of the Swingle II group - that Ward reformed in London.

The song itself, is a 1924 instrumental by the foundational Jellyroll Morton; the first great composer of Jazz. The speed of this song is simply mind-boggling to me. It took quite some amount of time and ingenuity to come up with what I have here. I know that the elusive lyricist Tony Vincent Isaacs is still around, as I saw his comments on a memorial to Ward Swingle; and I'd love to have him correct these lyrics himself.

But until that definitive moment, we shall have to content ourselves with exchanging ideas. Anyone who hears something different - feel free to post an alternate interpretation.


"Grandpa's Spells"
music by  Jellyroll Morton (Ferdinand Joseph LaMothe)
lyrics by Tony Vincent Isaacs
sung by Swingle II

Down a track inside a shack in old Ken-tuc-ky
Grandpa brews a knockout kicker
Guaranteed to make you quicker
At the things requiring speed
It's amazing how it makes you quicker, yes indeed
And when you try this magic potion
You'll begin to feel the motion
And they call it Grandpa's spells, naturally
That's why the mixture really sells
Jim Canning unmarried won Mary and went on a holiday
With a case of Grandpa's joy, mind it paved his future honeymoon - his baby boy
Old grandma in slippers loves having daytrippers
Most of all she loves to feel the tingle of dear old Grandpa's Spells
Tom Carson in passing in secret imbibed in the fizzling pop
Many faces looking red when the daughter of the mayor's got some rather frank
In old pants and braces dear Grandad loved races
Once he gave horse a little swig of hooch, left him at the tape
still running somewhere
Grandpa brews a knockout kicker
Guaranteed to make you quicker
At the things requiring speed
It's amazing how it makes you quicker, yes indeed
But if you want a slower motion just inhale this magic potion
And you'll get old grandpa's spells, naturally
That's why the mixture really sells - everywhere
Cowboy - he loves to ride the ranger pony
Poet - it makes him learn to write a sonnet
Painters find it painted better
Loose or bunching in a sweater
Pulled his hair it's growing thicker
All because of Grandpa's liquor
Don Juan - it gives him such a lovely feeling
Ladies - they stock the bottles to the ceiling
Sixty greeting  politicians, clock man, baker, butcher too
all under the spell of Grandpa
Lawyer - it carries off the courtroom battle
Rancher - there's never been more tipsy cattle
Sailors creep to box the pumpers
Daddy hasn't seen the wrappers
Grandma's into super sonic
On account of Grandpa's tonic
Get set - A pack a day for pocket money
Beehive - the really comfrey kind of honey
Barrellton the carriage man
Renegade and sheriff's too
All feeling Gramp's wonder spells
(scatting)
They call it Grandpa's Spells
That's why the mixture really sells

~~~

If you're interested in the album this came from check here or here.

Carmen McRae & Brubeck "Easy As You Go" Lyric

I'm still working on posting certain lyrics from The Real Ambassadors (1962) album.
Though it's fairly brief - this (like the other McRae tune from this session) could easily make a comeback as a standard. Plenty of room for a lovely piano solo, right? It was originally from the Take Five Live album that Carmen McRae had done with the Dave Brubeck Quartet a year earlier in 1961. I see that Dianne Mower dug this one out on one of her albums, and the sheet music is available here.

~~~

"Easy As You Go" (music by Dave Brubeck lyrics by Iola Brubeck)

Easy as you go
It's over completely
Who will ever know?
If it's done discreetly

There's no need to talk
Just be on your way
If I plead with you
Don't stay

Soooooo, just be
Easy as you go
Why must you speak sadly?
Keep your tale of woe
Did things turn out badly?

You said, when we met
That it might not last
If you're sure we're through
Let the past be past

Easy as you goooooo
Easy as you goooooooo
Aaawaaaaaaay

~~~

I feel like I've posted enough pictures of this thing, at this point. But here's one more:

Check out the Brubeck Archive for more.

"Blow Satchmo" Lyrics from The Real Ambassadors 1962

Yet more of The Real Ambassadors 1962 album lyrics. Though there's plenty of lyrics here (it is LH&R - after all), the song itself is just a short introduction. It fits together with the Brubeck's writing of this thing as a musical.

~~~

"Blow Satchmo" (music by Dave Brubeck lyrics by Iola Brubeck)
sung by Lambert, Hendricks and Ross
*Dave Lambert and Annie Ross sing in parallel
*Jon Hendricks sings beneath their leads - his lyrics in parenthesis

What are you waiting for!?
What are you waiting for!?
Blow Satch-amo
(Can't you hear us? You can hear us. Hear us talking, talking to you)
Blow Satch-amo
(Can't you hear us? You can hear us. Hear us talking, talking to you)
Come on and blow some more

Come on, what are you waiting for!?

What are you waiting for!?

Blow Satch-amo

(Can't you hear us? You can hear us. Hear us talking, talking to you)

Blow Satch-amo

(Can't you hear us? You can hear us. Hear us talking, talking to you)

We all want some more

Blow Satchmo

(Can't you hear us? You can hear us? )

Walls all tumble down

(Hear us talking - Hear us talking to you)

Blow Satchmo

(Can't you hear us? You can hear us? )

You can wear the crown

(Hear us talking - Hear us talking to you)

Blow Satchmo

(Can't you hear us? You can hear us? )

Take us by the hand

(Hear us talking - Hear us talking to you)

Lead us to the promised...

(Can't you hear us? You can hear us? )

To the promised...

(Can't you hear us? You can hear us. Hear us talking, talking to you)

To the promised... Laaaaaaaaaaand!!

(Can't - You - Hear - Us?! Hear Us Talking! You Can Hear Us! Talkin' To Yaaaaaaaaaaa!)

~~~

Here's Dave Lambert and Iola Brubeck at this session:

The Real Ambassadors - Everybody's Coming! (lyric)

Well, this is the lyrics to the opening song of the 1962 Real Ambassadors album.
At least; this is what I'm hearing.

~~~

"Everybody's Coming" (music by Dave Brubeck lyrics by Iola Brubeck)
sung by Lambert, Hendricks, Ross and Armstrong

Everybody's coming!!
Yeah! Yeees!

Everybody's coming!!

Yeah! Yeah!

Everybody's coming here,

Louis Armstrong will appear;

Carmen's promised she will sing

Brubeck's combo's gonna swing

Everybody's coming!

Yeah! Yeees!

Everybody's coming!

Yeah! Yeees!

Louis is a coming

Carmen is a coming

Brubeck is a coming

Lambert is a coming

Hendrick is a coming and Ross is a coming

And Trummy's a coming, we're all into coming

Everybody's coming!

Yeah! Yeees!

Everybody's coming!

Yeah! Man!

Lambert, Hendricks, Annie Ross

Nothing throws us for a loss

Louis plays the trumpet call

Come on join us, have a ball

Everybody's coming!

Oh, yes! Yeees!

Everybody's coming!

Ummm Hmmm!

Louis is a coming

Carmen is a coming

Brubeck is a coming

Lambert is a coming

Hendricks is a coming and Ross is a coming

And Trummy's a coming, and gee man they're coming

Everybody's coming!

Yep! Yeees!

Everybody's coming!

Uhhh Huhhh

Now's the time to sing and shout

Something bells can ring about

Everybody's turnin' out

Swingers all, without a doubt

Everybody's coming!

Yep! Yep!

Everybody's coming!

Oh, Yes! Yes!

Brubeck is a coming

Lambert is a coming

Hendricks is a coming

Annie is a coming

Everybody's Comin!!

Yeah, man!

Everybody's Comin!!

I said, Yes!

Everybody's Comin!

Hey!

Everybody's Comin!

Let's Go!

~~~

Jon Hendricks looking into what Dave Brubeck and Louis Armstrong are up to at the Real Ambassadors

Carmen McRae "Good Reviews" Lyric from The Real Ambassadors

A brief foray into standard Jazz lyrics, from the last few posts about vocalese - with this Dave & Iola Brubeck tune from The Real Ambassadors (see pervious post).

This tune is designed for and performed by Carmen McRae, and holds it's own as a standard Jazz tune, rather than one with that spoken word interaction which is glaringly indicative of 'a musical' of the early 60s. Even though that's precisely what this album, and it's subsequent performance at the 1962 Monterey Jazz Festival, was all about. Perhaps this one should make a comeback and become an authentic standard, yes?

~~~

"Good Reviews" sung by Carmen McRae (and Louis Armstrong - in parenthesis only)
(music by Dave Brubeck & lyric by Iola Brubeck)

The critics? Who needs 'em?
Who, I wonder, reads 'em?
Besides us.
In the news...

There's nothing like a good review to start a day off right
It's just the thing to make us swing, and jam into the night
Although reviews can phase us, it really does amaze us
When we don't face rejection, in the music section

There's nothing like a good review to make us wanna blow
So, affirmation, never ration - change the con to pro
For every time they praise us, our ego quickly raises
With the views - in the news

(Louis Armstrong trumpet solo)

There's nothing like the good reviews to keep as souvenirs
The other kind we quickly lose and drown 'em out with tears
Although we do regret 'em, we just try to forget 'em
And then defy predictions - come through with our convictions

There's nothing like a good review to make our lives complete
Unfortunately we must take the bitter with the sweet
If good - we just adore 'em, if bad - we just ignore 'em
And their views (we hope they like us) - in the news (did they like us?)
Good reviews - in the news (in the news)!

~~~

Here's a cool pic of her at this session (and more to be found by clicking here)

Lambert, Hendricks, Ross & Armstrong - "Cultural Exchange" Lyric (from Real Ambassadors)

So, I've mentioned the fact that I'm absorbed with Vocalese at this moment in time.

Well, in the course of investigating certain nooks and crannies of this form, it has come to my attention that only a few songs of this style have any lyrics available online. There are others who, like me, have gone to the trouble to post things; and I'm very grateful and admiring of them for it.

One is this lovely post by Atla Dechamplain, who not only posted Jon Hendrick's lyrics to "Along Came Betty" (based on Benny Golson's "Along Came Benny") - but hand wrote the musical notation as well! [There's also a posting by Kathryn Allyn on the same thing.]

Frankly, it's been a very long time since I worked with notation, and my skills were likely never such that I could've followed suit.

So, my endeavor here is merely to post some of the lyrics I can't find.
Yes, I could join a lyric site and jump through a bunch of hoops (as I've done in the past), but I've found this forum much more informative and personal.

Here is what I take to be the lyrics to the Lambert, Hendricks, Ross and Armstrong tune "Cultural Exchange", from the Dave Brubeck musical "The Real Ambassadors." It's available a few places, but I thought I'd start off easy.

~~~

"Cultural Exchange" (music by Dave Brubeck lyrics by Iola Brubeck)
sung by Lambert, Hendricks, Ross and Armstrong

From reports on Dizzy Gillespie
It was clear to the local press, he
Quelled the riots in far-off Greece
Restored the place to comparative peace

That's what we call, cultural exchange
That's what we call, cultural exchange
That's what we call, cultural exchange
That's What We Call, Cultural Exchange!

When Diz blew, the riots were routed
People danced and they cheered and shouted
The headlines bannered the hour as his
They dropped their stones and they rocked with Diz!

That's what we call, cultural exchange

That's what we call, cultural exchange

That's what we call, cultural exchange

That's What We Call, Cultural - Exchaaaaaange!

Yeeeeeeeah, I remember when Diz was in Greece back in '57.

He did such a good job we started sending Jazz all over the world.

The State Department has discovered Jazz

It reaches folks like nothing ever has

Like when they feel that jazzy rhythm

They know we're really with 'em

That's what we call cultural exchange

No commodity - is quite so strange

As this thing called cultural exchange

Say that our prestige needs a tonic

Export the Philharmonic

That's what we call cultural exchange

That's what we call cultural exchange

We put 'Oklahoma!' in Japan

'South Pacific', we gave to Iran

And when our neighbors call us vermin

We sent out Woody Herman

That's what we call cultural exchange

Gershwin gave the Muscovites a thrill (with Porgy & Bess!)

Bernstein was the darling of Brazil (and isn't he here?!)

Just to stop internal mayhem

We dispatched Martha Graham

That's what we call cultural exchange

(Armstrong trumpet solo)

Yeeeees, and if the world goes wacky

We'll get John to send out Jackie 

You mean Jackie Robinson?!

No man, I mean the First Lady!

That's what we call cultural exchange

Whoooooa, that's what we call cultural exchange

Woooooo, yeeeees

~~~

Here's a group picture of them at Monterey (more to be found here):

Let's Just Call It What It Is

So, I guess I'm just obsessed with Jazz in general.

In doing some research, I became fascinated (and then more than fascinated - hence the Blog title), with the vocal style known as Vocalese.

Now... this incorporates a number of things, some of which I'm still not entirely a fan of. But frankly, when I heard things like Annie Ross doing her version of "Farmer's Market" - I was blown away. Maybe I should explain.

Trumpeter Art Farmer wrote a tune called "Farmer's Market". Then Annie Ross got her hands on it and wrote lyrics to it. Not lyrics that were complimentary of the melody, but words that take the place of the trumpet - note for note. Her lyrics and delivery follow every nuance of his performance - solo and all!

Perhaps none of this would be surprising to anyone who knows that she won a songwriting contest when she was 14, the result of which was her tune "Let's Fly" being recorded by Johnny Mercer. Or that she wrote her first vocalese before there was even a term for it (her version of Wardell Gray's "Twisted") over the course of 24 hours when she was 22 years old.

Check it out: