| Louis Prima | |
|---|---|
| Background information | |
| Birth name | Louis Prima |
| Also known as | The King of the Swing |
| Born | December 7, 1910 New Orleans, Louisiana, United States |
| Died | August 24, 1978 (aged 67) New Orleans, Louisiana, United States |
| Genres | Jazz Swing Traditional pop |
| Occupations | Singer, entertainer, trumpeter, bandleader |
| Instruments | Vocals, trumpet |
| Years active | 1936–1975 |
| Associated acts | Gia Maione, Keely Smith, Sam Butera |
| Website | Official website |
Louis Prima (December 7, 1910[1] – August 24, 1978) was a Sicilian American singer, actor, songwriter, and trumpeter. Prima rode the musical trends of his time, starting with his seven-piece New Orleans style jazz band in the 1920s, then successively leading a swing combo in the 1930s, a big band in the 1940s, a Vegas lounge act in the 1950s, and a pop-rock band in the 1960s. In each of his musical endeavors, he incorporated his exuberant personality into his act.
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Prima was from a musical family in New Orleans. His father, Anthony Prima, was the son of Leonardo Di Prima (the original family name was Di Prima), a Sicilian immigrant from Salaparuta, while his mother, Angelina Caravella, had immigrated herself from Ustica as a baby.[2]
Louis Prima attended Jesuit High School but was expelled for misbehavior.[3] Prima studied violin for several years as a child. His older brother Leon was a well regarded local bandleader. Prima was proud of his heritage, and made a point of letting the audience know at every performance that he was Italian-American and from New Orleans. His singing and playing showed that he absorbed many of the same influences as his fellow Crescent City musician, Louis Armstrong, particularly in his hoarse voice and scat singing. That's the same reason Disney wanted Prima to voice King Louie, a fictional orangutan who kidnaps Mowgli in Disney's 1967 animated musical adaptation of The Jungle Book, instead of Armstrong (they wanted Armstrong at first), because Prima sounds like Armstrong and, unlike Armstrong, has light skin (letting a black person voice an ape could cause controversy).[4]
In his youth, Prima played trumpet with Irving Fazola, in his brother's band, and the pit band of the Saenger Theater. In 1933 he began his busy recording career, as part of the David Rose orchestra at station WGN, Chicago; he was also part of the small recording group The Hotcha Trio, with Rose on piano and Norman Gast on violin. In 1934 Prima moved to New York, working regularly on 52nd Street with old New Orleans friends like Eddie Miller (tenor sax and clarinet) and George Brunies (trombone), and also new acquaintances like Pee Wee Russell (clarinet). Prima's informal jazz group was known as Louis Prima and His New Orleans Gang, and this band recorded prolifically for Brunswick through 1936, and then for Vocalion and Decca.
Prima's 1936 composition, "Sing Sing Sing", which he had released with the New Orleans Gang in March, 1936 as a Brunswick 78, Brunswick 7628, with "It's Been So Long" as the B side, became one of his biggest hits and one of the most covered standards of the swing era; Benny Goodman's performance of the song at Carnegie Hall with a featured performance by Gene Krupa on drums has become iconic.
Prima moved to Los Angeles to headline at the Famous Door nightclub. He appeared in several Hollywood movies, including a featured performance with Bing Crosby in the 1936 film Rhythm on the Range. Prima and his Dixieland Gang continued to play club dates across the nation, including a 1939 stint at New York's Hickory House.
Big bands were big business then, and Prima apparently bowed to pressure from booking agents and formed a conventional big band in 1940. He exploited a distinctive, shuffling beat (which he called "Gleeby Rhythm"); this trademark Prima shuffle remained part of his repertoire for two decades. Prima sang most of the band vocals, with Lily Ann Carol as the "girl singer." Prima's high-powered drummer at this time was Jimmy Vincent, an energetic teenager who remained with the Prima band for many years.
In 1947 he added singer Cathy Ricciardi, who recorded under the name Cathy Allen. She was succeeded in 1949 by Keely Smith (who was to become his fourth wife), and the band concentrated on novelty songs like "Civilization (Bongo Bongo Bongo)" and "All Right, Louis, Drop the Gun". Prima's big band continued into the early 1950s, with a series of novelty recordings supervised (sometimes heavy-handedly) by record producer Mitch Miller.
The popularity of the big-band sound started to wane, and Prima began losing money, just as he needed it to support the pregnant Smith. Prima found work with Smith in small venues all over the East Coast. Eventually he called up his friend Bill Miller, who was then entertainment director of The Sahara nightclub and casino in Las Vegas, and asked for a job. The main stage at the hotel was booked for months to come, but Miller had an opening on the small stage in the lounge. His friend Cab Calloway warned him against the cramped Sahara lounge, and Vegas lounges in general were considered the domain of struggling newcomers and faded has-beens, but the financial pressure was too great for Prima to turn the gig down. Prima telephoned legendary New Orleans saxophonist Sam Butera and instructed him to pick up a few musicians and go to Las Vegas in time for Prima's debut.
Prima acknowledged his new musicians for the opening-night crowd, and spontaneously asked Butera what the name of the band was. Butera ad-libbed, "The Witnesses!" From then on, Sam Butera and the Witnesses backed Prima and Smith on stage and records.
The initial Sahara gig was a resounding success, with Prima and Smith packing the lounge with every performance. They were soon promoted into the main showroom, and they quickly became one of the biggest acts in Vegas.
Prima and Smith worked hard throughout the 1950s, performing multiple shows a night and finishing at 6 a.m. Their efforts were rewarded with a resurgence in their popularity, and they were at least partly responsible for making the lounge at The Sahara a hotspot. On stage, Prima insisted on Smith adopting a humorless, poker-faced character that would play straight to Prima's zany ad libs. Smith actually had a fine sense of comedy that is often audible on the team's recordings; no matter how much the incorrigible Prima tried to disrupt her vocals, Smith would often come back with a funny remark of her own.
In 1959, Prima and Smith won the Grammy Award for Best Performance by a Vocal Group or Chorus for "That Old Black Magic".
In 1956 the Prima ensemble performed at the Sahara Hotel and Casino to record tracks for the album The Wildest!. It was an attempt by Capitol Records to capture the essence of the Vegas act. Over the next nine years, Prima and Smith raised two children, while he made scores of records, owned racehorses, appeared on television, and even opened a golf course. They outgrew the lounge and were promoted to the big room. They appeared in a few quickie musical films, including Senior Prom and Hey Boy! Hey Girl! Prima co-produced the feature Twist All Night, in which his band also appeared.
During this whirlwind of activity, according to Smith, the couple drifted farther and farther apart. One night, he refused to conduct for one of Smith's performances, delegating to Butera instead. A few days later they were in court, petitioning for divorce.
Following the divorce, he began dating Gia Maione. Maione was a long-time fan of Prima's, was already familiar with all the arrangements to his songs, and even kept a signed photo of him in her purse. She eventually became Prima's fifth and final wife, and was with the band right up until 1975. By this point, the band was putting out a markedly different and more contemporary sound, with electric organs and synthesizers, even dabbling in progressive rock.
In 1967 Prima's distinctive voice and jazzy delivery landed him a role in Walt Disney's animated feature The Jungle Book, as the raucous orangutan King Louie. He performed the hit song "I Wanna Be Like You" on the soundtrack, leading to the recording of two albums with Phil Harris: The Jungle Book and More Jungle Book, on Disneyland Records. He can also be heard on the soundtrack of another cartoon feature, The Man Called Flintstone.
He suffered a mild heart attack in 1973. In 1975, following headaches and episodes of memory loss, Louis Prima sought medical attention, and found out he had a brain stem tumor. He suffered a cerebral hemorrhage and went into a coma following surgery to remove the tumor. He never recovered, and died three years later, having been moved back to New Orleans. He was buried in Metairie Cemetery in New Orleans; his gray marble crypt is topped by a figure of Gabriel, the trumpeter-angel, sculpted in 1997 by Russian-born sculptor Alexei Kazantsev. The inscription on the crypt's door quote the lyrics from one of his hits: "When the end comes, I know, they'll all say 'just a gigolo' as life goes on without me. Lovingly, your little family..."[1]
In 2010, honoring his lifelong commitment to the music of the city of his birth, and to commemorate the 100th anniversary of that event, Prima was honored by being the annual poster subject of the New Orleans Jazz and Heritage Festival, in a painting created by artist and singer Tony Bennett, under his birth name Anthony Benedetto.
On July 25, 2010 Louis Prima received a star on the Hollywood Walk Of Fame's 50th anniversary on the year of his 100th birthday. His son, Louis Prima Jr, performed a concert in honor of his father, which included all of Louis Prima's hits.
On November 1, 2010 Chicago Review Press released That Old Black Magic: Louis Prima, Keely Smith, and the Golden Age of Las Vegas by Tom Clavin. The book focuses on many aspects of Prima's life, particularly his act and relationship with Keely Smith.
The Prima-Butera arrangements and recordings continued to be copied by younger musicians, including David Lee Roth, who covered his medley of "Just a Gigolo"/"I Ain't Got Nobody" in the 1980s, and Brian Setzer, Big Bad Voodoo Daddy and other nouveau swing bands of the 1990s, covering such Prima standards as "Jump, Jive and Wail". The pop band Smash Mouth mentioned his name in the song "Heave-Ho" (from their album Fush Yu Mang), and covered "I Wanna Be Like You" for the soundtrack album of The Jungle Book. "I Wanna Be Like You" was also covered by Los Lobos, Phish and by Big Bad Voodoo Daddy for the soundtrack of the 1996 movie Swingers. The surviving original members of Bill Haley & His Comets have recorded and performed several of Prima's songs since the mid-1990s, most notably "Buona Sera", which they dedicate to Prima's memory. Alex Harvey and the Sensational Alex Harvey Band also came under the spell of Louis Prima.
Louis Prima wrote the swing classic "Sing Sing Sing" which was covered by Fletcher Henderson and Benny Goodman. In 1940, Glenn Miller and his Orchestra recorded "Be Happy", a song Louis Prima co-wrote. "A Sunday Kind of Love" was another Louis Prima composition that became a standard of the swing and big band era. "Jump Jive an' Wail" was a Louis Prima composition that became another standard, a song which was revived by Brian Setzer.
Prima's original recordings have also featured in many films, including Mad Dog and Glory, Big Night, Anger Management, Mickey Blue Eyes, The Sopranos, Casino, Swingers, Kicking and Screaming, Elf, Swing Kids, Analyze This and Igor, as well as the game Mafia II. Prima's character also plays an important role in the film Big Night; he is the famous celebrity who never appears.
Sam Butera and the Wildest toured with their Prima tribute, between 2000 and 2004, before Butera retired. He died from complications due to pneumonia, on June 3, 2009.
Also in 2008, Louis Prima was posthumously inducted into The Louisiana Music Hall of Fame.
With Sam Butera and The Witnesses: