The versatile, hit-making career of one of the American recording
industry’s legendary producers and executives is lovingly told in award-winning
musician, writer and broadcaster Ben Sidran’s revealing new biography The
Ballad of Tommy LiPuma.
The Nardis
Books volume, which will be available in print and as an e-book on May 5, 2020,
is drawn from more than 80 hours of interviews with LiPuma by Sidran, who
recorded three albums for LiPuma’s Blue Thumb Records in the early ’70s. It’s
an inspired account of how music saved one man’s life, and how he went on to
affect the lives of millions of others.
It spins the
engaging story of LiPuma’s career, from his origins as a jazz-obsessed tenor
saxophonist in Midwestern territory bands to fame and fortune as the Grammy
Award-winning producer of such multi-platinum albums as guitarist-singer George
Benson’s Breezin’ (1976) and Natalie Cole’s Unforgettable … With Love (1991).
Sidran offers eye-opening behind-the scenes accounts of LiPuma’s record dates
with such pop superstars as Barbra Streisand, Paul McCartney, and Willie
Nelson.
The book
also delves deeply into LiPuma’s deft work as a jazz producer, ranging from
work on hit albums by talents like David Sanborn and Bob James to memorable
sessions with Miles Davis, Bill Evans, Horace Silver, Antonio Carlos Jobim, and
Jimmy Scott. It concludes with a comprehensive look at the bestselling,
career-making series of albums LiPuma produced for singer-pianist Diana Krall
before his death at the age of 80 in 2017.
The warmth,
intimacy, and candor of The Ballad of Tommy LiPuma is the product of more than
40 years of friendship. LiPuma employed Sidran as the organist on a 1973 Blue
Thumb date by guitarist Phil Upchurch, and that experience led to a close and
permanent bond between the two men, and ultimately to the idea for a book.
Sidran
recalls, “Maybe 10 years ago, I said to Tommy, ‘We should write down your
stories. Let me interview you. Let’s get ’em on tape.’ He loved telling these
stories. The last four or five years of his life, literally every time I was
with him, I’d have a tape recorder with me, and I’d start asking him questions
about various things. I ended up with dozens and dozens of hours of
conversations with Tommy, in restaurants, studios, driving in the car,
everywhere.”
Sidran was
perfectly equipped to assemble LiPuma’s reminiscences into a compelling
narrative, with his background as a well-traveled producer (Diana Ross, Mose
Allison, Georgie Fame, et al.), the Peabody Award-winning host of National
Public Radio’s Jazz Alive, and the author of the widely acclaimed Black
Talk,Talking Jazz, and There Was a Fire: Jews, Music and the American Dream. He
brings a full understanding of the sweep of his subject’s career to The Ballad
of Tommy LiPuma.
“His
experience encapsulates the modern recording industry,” Sidran says. “You can
see the evolution of the way music was captured and recorded and distributed,
how it evolved, and the impact of the technologies and the marketing
strategies. You can read his story and get all that information just because of
who he was and where he was, at exactly the right time.”
He adds,
“You experience that arc from a world that was totally music-driven, which is
where we were at in the ’60s. By the time Tommy died, it wasn’t a music
business at all — it was a subscription business, a streaming business.”
The
first-generation American son of Sicilian immigrants, LiPuma took up music
after being bedridden for two years as a boy with the crippling bone disease
osteomyelitis. After work as a musician around his hometown of Cleveland and in
the Midwest, he cut his teeth in the music biz at record distributor MS and as
a regional promotion man.
Sidran
notes, “He was opening boxes of records in the basement at MS Distributing —
talk about ground-level experience! And then he was involved in all the stages
of promotion and music publishing. It’s just remarkable. The most successful
producers today probably never opened a box or packed a box of anything.”
After moving
to Los Angeles to take a promotion job in the early ’60s, LiPuma steadily
climbed through the ranks of the exploding record business, meeting everybody
who was anybody and producing for Liberty and A&M; during his years at Blue
Thumb (which he co-founded with Bob Krasnow), Warner Brothers, Horizon,
Elektra, and Verve, he helmed dozens of albums, always staying close to the
music.
“Tommy
really loved being with the artists,” Sidran says. “He wouldn’t sit in the
control room — he was out on the floor with earphones. Through his whole life,
he loved being with creative people, hip people.”
On the
jacket of The Ballad of Tommy LiPuma, Paul McCartney — whose Grammy-winning
2012 collection of standards Kisses On the Bottom was produced by LiPuma —
says, “Tommy was a fantastic producer. He always had a great sense of humour …
He would sit in the studio with us musicians and make every session a complete
joy.”
Though in
later years he became less active in music, concentrating on his collections of
modern art and vintage wines, LiPuma completed Turn Up the Quiet, the last of
11 albums he produced or co-produced for Krall, just months before his death.
“He went out
swinging — in the studio, with his favorite singer,” Sidran says. He adds,
“Music represented love and emotion and sex and history and fun, a party. If
you knew Tommy, you were going to have fun. That’s how, at the beginning, he survived
as a producer — he didn’t really know what he was doing, but he knew how to
make it fun.”
Ben Sidran
will launch The Ballad of Tommy LiPuma with an event at Rizzoli Books in New
York in March.
