John Hammond was one of Keegan’s oldest friends. He was the scion of the Hammond Organ family, a jazz aficionado who wrote a column for the jazz music magazine
Keegan had hired Charlie Kraus, an American jazz arranger and pianist living in Paris, to work with Jenny and accompany her during the audition. That had impressed Hammond who knew Kraus to be a tough and discriminating musician, a man who would not waste his time with second-rate talent. A dapper little man who dressed in the fashion of the day with his beret cocked jauntily over one eye, Kraus, whose mother was Negro, had been an arranger for Fletcher Henderson, Duke Ellington, Cab Calloway and other rising stars before he had abandoned the States two years earlier, disillusioned by racism in the music business.
Kraus made a good living as a teacher and arranger and had a small combo which played in one of the Paris clubs on weekends. It was there one night that Keegan had convinced him to let Jenny try a song or two. Kraus had been amazed, talking her into singing with the band for an entire set, then offering her a permanent job. But Keegan had more ambitious plans. He had tracked down Hammond in Kansas City and put Kraus on the phone.
“She’s special, Johnny,” Kraus told Hammond. “Great breath control. Phrasing’s a miracle. Tone’s unique, not quite alto but almost. And the lady has great respect for lyrics, doesn’t throw away a single syllable. I mean, this lady knows exactly what she wants a song to sound like. Man, she reaches for notes some of us don’t even hear in our
Based on that endorsement, Hammond had agreed to the unprecedented phone audition. Keegan’s dream was that Hammond would be impressed enough to lure Jenny to New York.
They had gone to Kraus’s studio in Montmartre and spent an afternoon there, exchanging ideas, trying new things, working with songs she didn’t know. Then Keegan had moved the piano into their suite; she and Kraus had been working together for two weeks to prepare for the event.
Keegan placed the call three times before the overseas connection satisfied him. Finally they were ready. He uncradled the phone in the bedroom and placed it in front of the loudspeaker, then went back in the living room and picked up the extension.
“Ready?” he asked.
“Fire away,” said Hammond.
Jenny’s first choice was a strange one. The song had become a kind of anthem to the Depression and had been made famous by Rudy Vallee, the nasally Ivy Leaguer turned crooner, who had recorded it almost as a dirge.
Keegan and Rudman sat nervously on the edge of one of the stuffed sofas, sipping champagne. At first Keegan was shocked by her choice. But as she sang, he realized it didn’t matter. She closed her eyes and held a finger against one ear, leaned her head back slightly and started singing. She sang with such ardor, reaching for and hitting each note so perfectly, that her choice of material quickly became moot. Keegan sat back and marveled at her incredible control, at her passion when she sang.
She turned the bitter tune into a torch song, almost a love song with an upbeat lilt, as she finished:
Then segueing easily into the next selection, looking across the room at Keegan, she sang:
And from the Gershwin love song she easily turned to a Billie Holiday heartbreaker, shifting the words slightly to suit her, stretching a syllable out for two or three notes, rolling from one note to another, shaving the songs down to the bare essentials, then as she segued into her last number, she looked over at Keegan and wiggled her hips and winked, then in a very upbeat tempo, fingers snapping and staring bright-eyed at her lover across the room, she sang:
