There is a realness to her music that few others had. There were some who thought she was impulsive when she got married and that Bianchini was after her money, and it's distressing to read Geffen talking about Nyro after she severed ties with him. I also know that the release of 'Angel in the Dark' after her death was contentious.
Overall, I see her as a resilient person who had a deep integrity and did her own thing mostly on her own terms but I am a man so that's probably skewing my perspective.
Hey Robert — this is another beautiful piece. I won’t go on at the exhausting and pompous length I did regarding your part 1, but this was equally captivating. I swear, I’ve never read ANYONE who captured Nyro’s musical essence so capably, thanks to both your passion and concrete musical insight. I especially enjoyed your observations about Gonna Take a Miracle. I totally agree with you about “The Bells,” (though I might have slathered even more adoration of “The Wind”). To repeat myself: thanks, and bravo. 💙
Very true - they also toured together and in 1975, Nyro joined Labelle on stage for what must have been an impromptu and mind-bending version of ‘Lady Marmalade.’
Mr. Gilbert, I don’t know how to thank you for taking the time to write so extensively about Laura. I had the extraordinary honor of seeing her perform solo in 1971 at Washington University, and was literally beside myself when I found out she was coming to my school for a homecoming concert - just a spotlight, grand piano and a single, long-stemmed rose. Being the naive groupie that I was, I took her a note and an antique tin box of marzipan, as she had mentioned it in a song. I hoped the person I gave it to presented it to her, but never knew..
The room was silent throughout the concert, applauding between songs, but otherwise perfectly still. I listened so attentively, than when the house lights came up and people started to leave, I remained seated in an uncontrollable flood of tears. The artistry of what I had witnessed shook me to my core. My friends had to help me to the car and drive me to my apartment. What I had witnessed that magical evening I will never forget.
Regarding the album with Labelle, were you aware that the film 'A Home at the End of the World’ uses two songs from that album, and closes with ‘Gonna’ Take A Miracle?’ The film stars Colin Farrell, Robin Wright, Dallas Roberts and Sissy Spacek, and is a brilliantly touching use of her music.
Maybe you’ll be mentioning it in Part 3, but on Billy Childs 2014 Grammy-nominated tribute album to Laura, there’s a version of 'To A Child,' sung by Dianne Reeves, that somehow penetrates the depth of the song, both in its vocal and unique arrangement. Many great artists participated in the album, but this particular arrangement haunts me.
I am now 76, and have felt for most of my life that I was alone in my reverence for Laura and her music. It is a great comfort to know there are others who appreciate the artistry, nuance, poetic nature and beauty of her music.
Hi John - we've corresponded before about Laura so it's nice to hear from you again and I'm grateful for you sharing with me what it was like to have heard her live. I imagine I would have felt the same way.
I've wanted to see if and when her music had been used in movies so I appreciate you sharing about one example.
I am going to touch on some of the tribute albums and songs to her in part three and will definitely include Billy Childs' album, probably the most ambitious of them. I really like Dianne Reeves' take on 'To a Child' and also love Esperanza Spaulding and Wayne Shorter on 'Upstairs By a Chinese Lamp.'
I have been devouring her music for over 20 years. In the first part of my essay, I write about the first time I really heard her music. I was flabbergasted by it - startled that such music existed that was so joyous, so deep and so unlike anything else I had ever heard. I was an instant devotee.
Wonderful analysis of a very complex artist. I didn't know she had collaborated with Danelli and Cavaliere, and especially that she had interactions with Alice Cooper! I guess Cooper was a kind of pop culture nexus during that era -- showing up with Elvis, Groucho Marx, and various golf partners! Kind of like the 70s Zelig or Forrest Gump. Great job!
Thank you, Peter. Doing this essay has been so satisfying.
That detail about Alice Cooper came out of the Rolling Stone piece recently published about her. I love that he is such a passionate fan of Laura Nyro - it speaks to how her music can just strike so deep. Needless to say, I can relate.
I get a little choked up when I listen to Laura Nyro. I'm from NYC. She got a really raw deal, too.
There is a realness to her music that few others had. There were some who thought she was impulsive when she got married and that Bianchini was after her money, and it's distressing to read Geffen talking about Nyro after she severed ties with him. I also know that the release of 'Angel in the Dark' after her death was contentious.
Overall, I see her as a resilient person who had a deep integrity and did her own thing mostly on her own terms but I am a man so that's probably skewing my perspective.
Hey Robert — this is another beautiful piece. I won’t go on at the exhausting and pompous length I did regarding your part 1, but this was equally captivating. I swear, I’ve never read ANYONE who captured Nyro’s musical essence so capably, thanks to both your passion and concrete musical insight. I especially enjoyed your observations about Gonna Take a Miracle. I totally agree with you about “The Bells,” (though I might have slathered even more adoration of “The Wind”). To repeat myself: thanks, and bravo. 💙
Thank you, Joe - that means a lot to me. Her version of 'The Wind' is wonderful too - just breathtaking...
Well, it doesn’t hurt that she has, like, the best backing vocal group EVER.
Very true - they also toured together and in 1975, Nyro joined Labelle on stage for what must have been an impromptu and mind-bending version of ‘Lady Marmalade.’
Beautiful writing, and your knowledge and passion is inspiring.
Thank you, Hugh, for the very kind comment.
Mr. Gilbert, I don’t know how to thank you for taking the time to write so extensively about Laura. I had the extraordinary honor of seeing her perform solo in 1971 at Washington University, and was literally beside myself when I found out she was coming to my school for a homecoming concert - just a spotlight, grand piano and a single, long-stemmed rose. Being the naive groupie that I was, I took her a note and an antique tin box of marzipan, as she had mentioned it in a song. I hoped the person I gave it to presented it to her, but never knew..
The room was silent throughout the concert, applauding between songs, but otherwise perfectly still. I listened so attentively, than when the house lights came up and people started to leave, I remained seated in an uncontrollable flood of tears. The artistry of what I had witnessed shook me to my core. My friends had to help me to the car and drive me to my apartment. What I had witnessed that magical evening I will never forget.
Regarding the album with Labelle, were you aware that the film 'A Home at the End of the World’ uses two songs from that album, and closes with ‘Gonna’ Take A Miracle?’ The film stars Colin Farrell, Robin Wright, Dallas Roberts and Sissy Spacek, and is a brilliantly touching use of her music.
Maybe you’ll be mentioning it in Part 3, but on Billy Childs 2014 Grammy-nominated tribute album to Laura, there’s a version of 'To A Child,' sung by Dianne Reeves, that somehow penetrates the depth of the song, both in its vocal and unique arrangement. Many great artists participated in the album, but this particular arrangement haunts me.
I am now 76, and have felt for most of my life that I was alone in my reverence for Laura and her music. It is a great comfort to know there are others who appreciate the artistry, nuance, poetic nature and beauty of her music.
Hi John - we've corresponded before about Laura so it's nice to hear from you again and I'm grateful for you sharing with me what it was like to have heard her live. I imagine I would have felt the same way.
I've wanted to see if and when her music had been used in movies so I appreciate you sharing about one example.
I am going to touch on some of the tribute albums and songs to her in part three and will definitely include Billy Childs' album, probably the most ambitious of them. I really like Dianne Reeves' take on 'To a Child' and also love Esperanza Spaulding and Wayne Shorter on 'Upstairs By a Chinese Lamp.'
I have been devouring her music for over 20 years. In the first part of my essay, I write about the first time I really heard her music. I was flabbergasted by it - startled that such music existed that was so joyous, so deep and so unlike anything else I had ever heard. I was an instant devotee.
Wonderful analysis of a very complex artist. I didn't know she had collaborated with Danelli and Cavaliere, and especially that she had interactions with Alice Cooper! I guess Cooper was a kind of pop culture nexus during that era -- showing up with Elvis, Groucho Marx, and various golf partners! Kind of like the 70s Zelig or Forrest Gump. Great job!
Thank you, Peter. Doing this essay has been so satisfying.
That detail about Alice Cooper came out of the Rolling Stone piece recently published about her. I love that he is such a passionate fan of Laura Nyro - it speaks to how her music can just strike so deep. Needless to say, I can relate.