Who's Written Lyrics to "Four"

[JSngry]

The other night, I had the good fortune of heaing a private recording of Joe Lee Wilson sitting in with a Kenny Dorham-led group at Mintons, ca. 1967. One of the tunes that Wilson sang was "Four", and it had some pretty hip lyrics along the lines of "out of all the good things you can take (get?) out of life there are four", etc. Three of the "four" were love, honor, and truth. I forget what the other one was.

My "usual suspects" for these type of "life-lesson ditty" lyrics are, of course, Jon Hendricks or Eddie Jefferson, but I know that Wilson has his own bag, and wouldn't be surprised to find out that they were his. Sooooo....

Does anybody know these lyrics and/or who the author of them is? And if so, have they been recorded commercially?

As always, thanks in advance!

[GA Russell]

Jim, I have Laurel Massee singing those lyrics on one of her two Pausa albums. I don't believe that either has ever been released on CD.

I'm pretty sure Hendricks wrote the lyrics. It's been a while since I played that album.

[JSngry]

Thank you, sir!

Any other versions out there?

BTW, those Massee albuns would have been from the 70s, right? So these lyrics must have been "known" for a while, eh?

[mikeweil]

... and judging from the line you quoted in your post, these are Jon Hendricks' lyrics Joe Lee Wilson sings.

[JSngry]

All right, then. That wraps it up!

Thanks to all - if you can't get an answer here...

[Dan Gould]

If I could add just a bit: Giacomo Gates is a wonderfully talented singer, and on his first album, Blue Skies on DMP, he recorded "Four," a marvelous performance. If you're curious about it, Jim .... just say the word.

[BFrank]

Did a quick AMG search and found an Anita O'Day version, here:

[mikeweil]

I can't help but add that all of these issues probably still credit the tune to Miles Davis - I see his name on the O'Day cover - but it was in fact written by Eddie Vinson, as was "Tune Up".

[Dan Gould]

The Giacomo Gates CD lists both Miles and Vinson as composers. Guess they covered all the bases but at least they didn't forget Eddie!

[Jim R]

The LH&R version on THE SWINGERS is on my desert(ed) island list.

I don't know who wrote the lyrics for the Anita O'day version, but they're different.

The Hendricks lyrics go something like this:

Of the wonderful things that you get out of life there are four

And that may not be many but nobody needs any more

Of the many facts making the list of life, truth takes the lead

And to relax, knowing the gist of life, it's truth you need

And the second is honor and happiness makes number three

When you put them together you'll know what the last one must be

Baby, so to truth honor and happiness, add one thing more

Meaning only wonderful wonderful love that'll make it four

Miles solo (sung by Hendricks) :

Don't you know the score, well,

people when they're younger never realize the pleasure treasure life's got

But as they grow older, realize a lot

They got their minds on all the wrongest scenes

And things that cost a lot of money but it's really very funny

They fade away and don’t amount to a hill of beans

Funny how the things in life we really should adore

We forget, or ignore, end up poor

Making money till you’re nigh onto madness and end up in sadness

Youth is the time when we should see the light

Cause when we’re old and wasted

the dues from what we’ve tasted

run so high that we pay till we die

Then you know the youth that made us strong

is wasted on the young, so, enjoy it gaily

love life, and live it daily

You’ll find a lot of things to bring you joy

and give peace of mind

Get it while the gettin’s good

Cause everybody if they only could

Life would be a set

Life would be a groovy set

Groovy as a movie

Wail, wail, let your voice be heard

Spread the word

Everybody here’s got ears

Only gotta teach them how to use them

Not abuse them

So take a tip from me

The world’s everything it oughta be

As long as you can be sure

There is no more to life than the same old four

Horace Silver solo (Dave Lambert) :

Hard to believe, I know

But time will show

That even though you think it’s boresome

Two and two together constitute a foursome

That’s all, four is the figure

That’s all, ain’t gonna be gettin’ any bigger

Doesn’t matter how you slice it up

You’ll never change it

You count everything that fate throws into life’s pot

Still, only four is all you’ve got

Haven’t they told ya ‘bout the little pleasures that are part of all the rest

You live a little ‘n love a little ‘n take a little ‘n give a lot

Still the total is happiness

But that’s only one, you’ve just begun, there’s gonna be more

After this it’s truth and honor shinin’

and love combinin’ to make it four

No more

(Zoot Sims solo)

Of the wonderful things that you get out of life there are four

And that may not be many but nobody needs any more

Of the many facts making the list of life, truth takes the lead

And to relax knowing the gist of life, it’s truth you need

Then the second is honor and happiness makes number three

When you put them together you'll know what the last one must be

Baby so to truth, honor and happiness, add one thing more

Meaning only wonderful, wonderful love that’ll make it four

And there ain’t no more (ain’t no more)

[JSngry]

Of the wonderful things that you get out of life there are four

And that may not be many but nobody needs any more

Of the many facts making the list of life, truth takes the lead

And to relax, knowing the gist of life, it's truth you need

And the second is honor and happiness makes number three

When you put them together you'll know what the last one must be

Baby, so to truth honor and happiness, add one thing more

Meaning only wonderful wonderful love that'll make it four

Them's the ones!

Rather than wordlessly scatting or doing a vocalese thing, Wilson sings the lyrics straight for a chorus, then goes on to keep the lyrics but improvise a melody for them. It's an effective tact, I think, one that Betty Carter used, and one that seems underused today.

[mikeweil]

Rather than wordlessly scatting or doing a vocalese thing, Wilson sings the lyrics straight for a chorus, then goes on to keep the lyrics but improvise a melody for them. It's an effective tact, I think, one that Betty Carter used, and one that seems underused today.

Unfortunately you're right.

I'm afraid when the James Joyce of Jive, Jon Hendricks, will have left us, there will be nobody to fill the big gap he will leave - noone was as good as he at writing lyrics to improvised solos, and most younger singers don't seem to be interested in this technique.

[Jim R]

Just to follow up...

I came across some info regarding the composer of the lyrics for Anita O'day's recording. His name is Bill Loughborough.

I knew about this guy some years ago from his appearance on "Chet Baker & Crew" (chromatic tympani; lyrics on Chet's version of "Line for Lyons"), but had forgotten about him. Here's an excerpt from his webpage, which is pretty interesting (a man of many interests!):

From about 1940 until 1960 my life revolved around music, largely of the jazz persuasion. A good friend was a legendary New Orleans trumpeter, Willie Gary "Bunk" Johnson. Later I played, recorded and traveled with another trumpet legend, Chet Baker and can be heard on a couple of his CDs "Chet Baker and Crew" and "Young Chet."

One of the most brilliant musical talents I ever encountered was Harry Partch who created a completely new music using instruments of his own design and construction. His "Oedipus" features a huge Marimba Eroica that I built for him and he also made a bamboo instrument based on a design of mine used on the only piece he ever wrote for someone else: "Ulysses Stands on the Edge of the World."

With a childhood friend (maybe idol is better) David "Buck" Wheat I wrote (me lyrics, him music) some songs that are still being heard via the magic of electric recording (Bob Dorough, Tuck & Patti, and Al Jarreau have recordings in print of "Better Than Anything" which was also recorded by Irene Kral and a host of others in the '60s. The Kingston Trio and Manhattan Transfer are current with "Coo Coo You"). Dorough and I wrote "Whatever Happened to Love Songs" (also an opera based on Dr. Brinkley) which is available. I also wrote lyrics to Miles Davis' "Four" as recorded by Anita O'Day and Gerry Mulligan's "Line for Lyons" available at last on Chet's "Chet Baker & Crew" CD.

Edited January 23, 2004 by Jim R

[bertrand]

The Max Roach Mosaic set includes a 7/6/58 Newport date where they do 'Tune Up'. Roach specifically credits Vinson in the announcement that I believe was unissued until the Mosaic set.

A Jazz research friend of mine in France had Vinson over to his house, and he played 'Four' and 'Tune Up' for him as he had conceived them. The story is that Vinson gave these to Miles, so credits will always go to Miles; the estate could theoretically sue otherwise.

That's some serious chunk of change that Eddie gave up to Miles. One thing I never hear about is what their relationship was. It's not like they are known to have played together all that often.

Bertrand.

[7/4]

Just to follow up...

I came across some info regarding the composer of the lyrics for Anita O'day's recording. His name is Bill Loughborough.

I knew about this guy some years ago from his appearance on "Chet Baker & Crew" (chromatic tympani; lyrics on Chet's version of "Line for Lyons"), but had forgotten about him. Here's an excerpt from his webpage, which is pretty interesting (a man of many interests!):

From about 1940 until 1960 my life revolved around music, largely of the jazz persuasion. A good friend was a legendary New Orleans trumpeter, Willie Gary "Bunk" Johnson. Later I played, recorded and traveled with another trumpet legend, Chet Baker and can be heard on a couple of his CDs "Chet Baker and Crew" and "Young Chet."

One of the most brilliant musical talents I ever encountered was Harry Partch who created a completely new music using instruments of his own design and construction. His "Oedipus" features a huge Marimba Eroica that I built for him and he also made a bamboo instrument based on a design of mine used on the only piece he ever wrote for someone else: "Ulysses Stands on the Edge of the World."

With a childhood friend (maybe idol is better) David "Buck" Wheat I wrote (me lyrics, him music) some songs that are still being heard via the magic of electric recording (Bob Dorough, Tuck & Patti, and Al Jarreau have recordings in print of "Better Than Anything" which was also recorded by Irene Kral and a host of others in the '60s. The Kingston Trio and Manhattan Transfer are current with "Coo Coo You"). Dorough and I wrote "Whatever Happened to Love Songs" (also an opera based on Dr. Brinkley) which is available. I also wrote lyrics to Miles Davis' "Four" as recorded by Anita O'Day and Gerry Mulligan's "Line for Lyons" available at last on Chet's "Chet Baker & Crew" CD.

interesting Partch story!

I'm a microtonal composer, Harry Partch is central to late 20th century use of microtonal tuning systems in music. Genesis of a Music is an interesting read.

[cshander]

I have "Four" by both Anita O'Day and Giacomo Gates, with totally different lyrics. I think the Gates lyrics were by Jon Hendricks and the O'Day lyrics by Bill Loughborough. What I'd like to find are the Loughborough lyrics written out, as I can't understand some of what she's singing! What I do get is terrific and I'd like to have it all. Anybody know where they're to be found?

[Jim R]

I did a Google search, and found the Loughborough lyrics on pianist Larry Vuckovich's page on the Global Jazz Network site. Interesting in that they were posted in a comment by Al Haig's second wife. I've edited hers just slightly, correcting where I saw fit...

FOUR

There's not one boy for me -

I must have two or three,

I need Four

First, the man who's the type to like slippers and pipe at the door..

Then if at all possible I'd like the kind

Who's not very bossable

But knows his mind.

If you add to these few

one that knows how to woo dogpatch style

Then this man of my world will be spangled and pearled with his smile

And though it's incredible

I've found it's true

That my four-in-one boy is nobody else but you.

=====

Not bad I guess, but there's only one Jon Hendricks. I have to admit, although I "heard" most of these lyrics the same way (haven't heard the O'Day version in years), I don't recall hearing that "dogpatch" part correctly (assuming it is correct).

Edited August 1, 2009 by Jim R

[JSngry]

Surely those lyrics aren't complete. Asis, they don't fit with the song.

[Larry Kart]

Surely those lyrics aren't complete. Asis, they don't fit with the song.

How so?

Anita sings it like this (all caps emphasizing how she accents, which is tricky in the first two lines but on the money, I think):

There's not ONE boy for me -

I must HAVE two or three,

I need Four.

First, the man who's the type

to like slippers and pipe

at the door.

Then, IF at all possible

I'd like the kind

WHO's not very bossable

But knows his mind.

If you ADD to these few

one that KNOWS how to woo

dogpatch style

Then this man of my world

will be spangled and pearled

with his smile

AND though it's incredible

I've found it's true

That my four-in-one boy

is nobody else

but you.

Lightweight perhaps, but I much prefer this to (in my no doubt minority opinion) Hendrick's usual over-wordy farrago.

[JSngry]

Surely those lyrics aren't complete. Asis, they don't fit with the song.

How so?

Anita sings it like this (all caps emphasizing how she accents, which is tricky in the first two lines but on the money, I think):

There's not ONE boy for me -

I must HAVE two or three,

I need Four.

First, the man who's the type

to like slippers and pipe

at the door.

Then, IF at all possible

I'd like the kind

WHO's not very bossable

But knows his mind.

If you ADD to these few

one that KNOWS how to woo

dogpatch style

Then this man of my world

will be spangled and pearled

with his smile

AND though it's incredible

I've found it's true

That my four-in-one boy

is nobody else

but you.

Ok, I see now...the words bolded and blued must be sung as quarter notes, which is not how anybody I know plays the tune instrumentally. But it does work!

Edited August 1, 2009 by JSngry

[cshander]

Surely those lyrics aren't complete. Asis, they don't fit with the song.

How so?

Anita sings it like this (all caps emphasizing how she accents, which is tricky in the first two lines but on the money, I think):

There's not ONE boy for me -

I must HAVE two or three,

I need Four.

First, the man who's the type

to like slippers and pipe

at the door.

Then, IF at all possible

I'd like the kind

WHO's not very bossable

But knows his mind.

If you ADD to these few

one that KNOWS how to woo

dogpatch style

Then this man of my world

will be spangled and pearled

with his smile

AND though it's incredible

I've found it's true

That my four-in-one boy

is nobody else

but you.

Lightweight perhaps, but I much prefer this to (in my no doubt minority opinion) Hendrick's usual over-wordy farrago.

Surely those lyrics aren't complete. Asis, they don't fit with the song.

How so?

Anita sings it like this (all caps emphasizing how she accents, which is tricky in the first two lines but on the money, I think):

There's not ONE boy for me -

I must HAVE two or three,

I need Four.

First, the man who's the type

to like slippers and pipe

at the door.

Then, IF at all possible

I'd like the kind

WHO's not very bossable

But knows his mind.

If you ADD to these few

one that KNOWS how to woo

dogpatch style

Then this man of my world

will be spangled and pearled

with his smile

AND though it's incredible

I've found it's true

That my four-in-one boy

is nobody else

but you.

Lightweight perhaps, but I much prefer this to (in my no doubt minority opinion) Hendrick's usual over-wordy farrago.

Thanks so much! I love this song and having both sets of lyrics is great.

[Jim R]

Thanks so much! I love this song and having both sets of lyrics is great.

No problem...