Janis Ian
February 25 at 7:06 AM
I was almost 22 when I got a contract with Frank Loesser's publishing company. Burt Haber had heard my song "Jesse", and despite people who told him I had been a one hit wonder and wasn't worth putting money into, he thought I had potential.
He and Milt Kramer convinced Frank to give me a small stipend and a writing room with a piano.. Their faith in me and my work gave me a great deal of self-confidence at a time when no one in the world seem to believe in me.
They were convinced that "Jesse" was a hit for someone, despite it being too long and too slow for radio. And unlike publishers of today, who spend most of their time licensing old songs their companies have acquired through catalog purchases, sitting around waiting for the next license to come in, they took the demos of my vocal in guitar version and pounded the streets. They must have contacted every female singer in a 3,000 mile radius, asking them to listen and consider recording the song.
You have to remember that at that point I was nothing. "Societies Child" had come and gone. A 5-year career gap in those days was pretty much the end of you. I couldn't get work as a singer, I couldn't get work as a player, all I could do was write,and hope for the best.
Somewhere in there, while they were still pitching the song, my manager and I met with Brooks Arthur at the Woodstock home of Janey Street. Brooks had been the engineer on "Society's Child", and along with a few other engineers he owned 914 studios in Blauvelt New York. He was ready to branch out and start producing, and he heard four or five songs and got excited. He agreed to produce an album and lend his studio time if we could come up with a very minimal budget.
Herb Gart, at the time Don McLean's manager, also believed in me. He was on his way to Australia, where he managed to convince Festival Records' Alan Healy to put up a small amount so we could begin making the album. He also personally loaned me enough money to move my instruments and furniture from Los Angeles and put it down payment on a little apartment over a single family home near the studio. So I flew to New York with my then partner, started to work at Frank's offices, while my dad prove a trailer and my car filled with furniture and my guitar up to the new place.
Peter Cunningham, whose photography you may be familiar with, came up and helped us move the piano up a flight of stairs. It was a small upright but I remember vividly that it took four of us to get it up and in place.
Then one day Burt called with amazing news. Roberta Flack had fallen in love with my song and wanted to record it. Unfortunately it was going to take a while, but she said it was a no-brainer, it would be a hit for her and a standard for years to come. I cannot begin to tell you what that meant to me.
It did take a while for her version to come out, following on the heels of her mega hit "The first time ever I saw your face". "Jesse" was released sometime around when we were finishing up my Stars album, and suddenly, I was worthy of respect again.
I owe her more than I can possibly say.
Fast forward many years and I'm sitting around with Pat, talking about music. We'd only known each other a month or two when she told me about this great singer she used to see at a nightclub in Washington DC, when she lived there. The singer's name was Roberta Flack, and Roberta had written an incredible song called "Jesse".
"I wrote that song," I said.
"No you didn't. Roberta Flack wrote that song."
"No Pat, I wrote that song."
Pat looked at me in utter disbelief and smiled. It was the kind of smile that says without words "You don't need to impress me, I'm already impressed." It really irritated me.
"Pat, I wrote that song. I swear to you I wrote that song. That's what I do. I'm a songwriter. Roberta is not a songwriter! Great singer, yes, but not a songwriter."
In the end I had to hunt through my records to find a copy of Roberta's album and show Pat the credit. And even though she said she believed me after seeing the credit, I'm not sure she was telling the truth.
Roberta had a stroke in 2016 and was diagnosed with ALS in 2022. She supplied the photographs of herself used in Varda Bar-Kar's film, But because she was so ill, she could not participate despite wanting to. She was a class act from start to finish, a wonderful singer with distinctive phrasing all her own. And she gave my career new life.
I am forever grateful. RIP.
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