Ken Nordine: What's The Word?
Guy Benoit  
Wednesday, April 19, 2000 12:36 PM

Story of a Devout Catalyst

Ken Nordine has attained an eccentric sort of celebrity. Millions of people could recognize him without ever seeing his face. They would simply know his voice - a simmering, relaxed rumble - if they heard it. Taster's Choice, Levi's Jeans, Chevrolet and Fuller Paints have based entire marketing campaigns around that sepulchral baritone. Subscribers in the Midwest might even identify him as the mouthpiece for The Chicago Blackhawks.

A smaller mob should know Mr. Nordine for the groundbreaking "Word Jazz" efforts he has released since the 50's. "Word Jazz," a term coined by Nordine, incorporates densely constructed monologues recited in the service of improvisational music. Making its' debut with 1957's Word Jazz, this form of spoken interpretation combines punning, polysyllabic wordplay with smatterings of antiquated lingo. "Word Jazz" is Ken Nordine's lasting contribution to the post-Beat world of sound.

Ken Nordine's history, like that of many hipsters, is enveloped by some constructed mystery. Born in the Midwest towards the end of WWI, he demonstrated an early interest in radio and broadcasting.

"When I was in high school, of course, there was no TV, only radio. When I would talk to people on the phone, they would always tell me that I should get into radio because I had a good voice. So, I organized a radio workshop for the Board Of Education here in Chicago -- WBEZ. From that, little by little, I got into the business of being an announcer and actor- narrator. Eventually, I ended up doing some parts on the old Lights Out series."

The advent of television curtailed much of radio's popularity. However, Nordine easily adapted to the visual

agency, producing a local program entitled Faces In The Dark. Introduced with the benefit of macabre mood lighting, the man would read from the works of Poe, Lovecraft, Balzac and Guy de Maupassant. Faces In The Dark's direct austerity, combined with Nordine's haunting elocution and tone, created a memorable atmosphere. The show won several regional awards and amassed a following.

Nordine also hosted a weekly live music show entitled Jazz Showcase. The sinewy sounds inspired him. Relating to the flexibility of jazz, the unique, malleable discipline, he began experimenting with his own talents. On one fateful occasion, Nordine accompanied some performers during an on-air session. He extemporaneously projected lyrics over a simmering groove. The result was an immediate hit.

Billy Vaughn, the head of A&R for Dot Records, heard crazy sounds. He decided to commit such ruminations to vinyl. 'The Shifting, Whispering Sands,' featuring an unusual spoken interlude by Nordine, was the pair's first cut. The heretofore unheard combination of hep patter and ethereal pitch proved resonant with listeners. The release was a modest hit. Encouraged, Vaughn dispatched Nordine into the studio.

On this first LP, Love Words, our hero simply recounted the lyrics to old standards over stringed backgrounds. Completely miscalculating Nordine's true talent - his ability to draw in listeners with odd, recombinant phrases - Vaughn transfixed the artist to a creative post. As could be expected, Mr. Nordine sounded rigid and uncomfortable within the confines. Artistically and financially, the results were underwhelming.

"The nicest thing I can say about it is that it was a very weak idea. Now, whenever I see a copy of the album - worth $20 to collectors - I sit on it."

Realizing a fresh approach was necessary for a fresh talent, Vaughn loosened up a bit on 1957's Word Jazz. Nordine would work best if left to his own creative devices, so the canny producer allowed him to generate his own narratives. A shrewd decision yielded impressive results.

As dark and cool as a subterranean cavern, Word Jazz is a unique piece of sonic exploration. Nordine's verbose, enveloping pieces are delivered with true profundity. "What Time Is It" ruminates on societal hang-ups. "The Vidiot" reviles a TV Wasteland long before one existed. An absolute classic in a non-existent genre, Word Jazz stands as powerful application of singular talent.

A spate of LPs followed. As might be expected, few had the incredible, intrusive impact of the original Word Jazz. For an artist who thrived on spontaneity, Nordine found the repetitive drudgery of the studio to be an enervating experience. One need only look at the titles of the platters - Next!, Son Of Word Jazz and Word Jazz Vol. 2 - to notice a developing sense of complacency.

Making a conscious effort to replenish his juices, Nordine wisely concentrated on lucrative commercial work. Lending his voice to hundreds of different advertisements, he entered a profitable, productive period of his life. Inadvertently, these very commercial projects led to a powerful artistic rebirth.

While working with the Fuller Paint Company on an ad, Nordine performed a wild recitation on the subject of colors. When broadcast, the commercial was unusually well received. In fact, many viewers actually called local stations demanding that it be repeated! Nordine brainstormed that an album based on the entire spectrum could be in order. Surprisingly, he found a receptive backer in the paint magnate.

Colors appeared in 1966 on Phillips records. Although something of a commercial disappointment, it was easily Nordine's most satisfying effort since Word Jazz. Funny and engaging, Colors explores relations between the different nuances in a series of odd fables. "Nutria" and "Cerise" make appearances. There is also an intense rivalry between Blue, Yellow and Green, which escalates until they realize they are all part of one another. Nordine, as one might expect, is in fine voice for the entirety.

Lately, Ken Nordine has kept himself quite busy. A few years back, he was Linda Blair's vocal coach on "The Exorcist," teaching the precocious imp to speak backwards. In addition, he collaborated with hipster's hipsters like William Burroughs, Tom Waits, Hal Willner and The Grateful Dead on different recording projects. Indeed, his word jazz CDs, Devout Catalyst and Upper Limbo were released on Grateful Dead Records. As always, he works steadily on voice-over projects.

He lives with his lovely wife, Beryl, in a house they've owned for years.
All in all, he seems like a happy guy.

The Best Of Word Jazz is available through the fine folks at Rhino Records. Colors, also worth seeking out, was re-released in 1995 on Asphodel records and can be found at any local record emporium.