Ernie Andrews Sees Himself as a ‘Utility Singer,’ Not a Blues Man

It’s a fall Tuesday evening, and singer Ernie Andrews is on stage at the Nucleus Nuance, working his way through the splendid Percy Mayfield blues number “River’s Invitation.” On his last choruses, he departs from the tune’s melody, improvising lyrics and rhythmic phrases as if he were an improviser playing a horn.

The blues have long been Andrews’ strong suit: He’s well-known for renditions of such classic blues as “Wee Baby Blues” and “Roll ‘Em, Pete” with the Capp-Pierce Juggernaut big band, and almost every appearance by the singer includes a blues number or two.

But the Philadelphia native, who turned 65 on Christmas Day, doesn’t consider himself to be a true blues singer.

“Well, when you start talking about Big Joe Turner, B. B. King, Jimmy Witherspoon, T-Bone Walker, then you are talking about a real blues singer,” said Andrews during intermission at the Nuance, where he appears regularly Tuesdays, unless he’s booked out of town.

“There are also people that know how to stay off the ropes and stay out of the corner and stay in the middle of the ring and fight,” he said, the volume of his robust baritone voice rising. “You take care of yourself, keep your hands up to your temple,” he said, moving his hands to the side of his head and laughing. “Yeah, that’s me. I can protect myself with the blues but I’m not truly a blues singer.”

Well, then, what kind of a singer does he think he is?

“Utility singer,” he said simply. “I can do anything.”

Fair enough. Andrews’ performance that Tuesday with drummer Johnny Kirkwood’s trio--his regular backup band--was made up of several non-blues tunes, including a swinging version of James Taylor’s “Fire and Rain” and the luscious ballad, “Don’t You Know I Care?” But into each interpretation Andrews packs a definite blues essence, just as the great altoist Charlie Parker did with his instrumentals.

Kirkwood said Andrews’ vigor inspires him. “Musically, there aren’t many singers like him. He hears very well, knows where he’s going. You got to love him,” he said.

Andrews said the blues feeling is just honesty instilled into a rendition. “Everything I sing, I live it,” said the singer, who has resided in Los Angeles since 1945. “Because when you sing what you live, it makes it so much easier, because it’s honest. And it comes out that way, because it’s the truth.

“The blues, as a feeling, come to you from many ways, come from suffering,” said Andrews, his big brown eyes opening wide, and a plaintive expression on his face. Then in a soft tone, he went on: “There’s been a lot of suffering going on in my life, but you can’t let that get to you. That’s why you have to stay a free soul, a free person with yourself in the business. You can’t read your own press release and believe it, because you paid for it.”

Andrews had several hit records while still a teen-ager--his “Soothe Me” on G&G; Records sold 300,000 copies--and he toured with trumpeter Harry James’ band from 1959-69. In 1987, Andrews’ life was profiled in a superb documentary, “Ernie Andrews: Blues on Central Avenue,” directed by Lois Shelton, and currently available as a video on Rhapsody Films.

There has also been a solid group of recordings. Andrews has made 20 albums under his name, though the still-untitled CD due for release in early 1993 on Muse Records is his first in more than a decade. In past years, he has appeared on albums with Cannonball Adderley and the Juggernaut, and he has been showcased on such recent projects as the Harper Bros.’ “You Can Hide Inside the Music” on Verve Records, “Paris All-Star Blues” with Jay McShann’s band on Musicmaster Records, and Gene Harris and the Philip Morris Superband “Live at Town Hall, N.Y.C.,” on Concord Jazz Records.

None of this considerable activity has brought Andrews what he considers is his fair share of fame, and it sometimes makes him angry. He talks about appearing on five tunes on the 1989 McShann date and discovering that his name had been left off the cover, although high-profile musicians such as Terence Blanchard, trumpeter and composer of the music for Spike Lee’s “Malcolm X,” and Benny Carter, renowned altoist, are listed.

“It makes you feel terrible, man,” he said. “I did five tunes, and you can only find me on the inside.”

But Andrews doesn’t often bristle. He has calmed over the years and can react philosophically to the events of his life.

“Whatever happened, whatever didn’t happen, that’s the way it is,” he said. “Whatever I did, if I did it wrong, I did it. The best years of my life are the ones I have left. You can’t worry about what’s gone. That’s over with, man.”

Andrews says he’s at a good place in his career. He works Tuesdays at the Nuance, and overall he’s making what he considers to be good money. “Sometimes $1,500-$2,000 for a concert, that’s not bad,” he said. “Maybe $150, $200, $300 when I’m at home. That ain’t a bad day. It’s better than looking at ESPN.”

Andrews, who has reared four boys and a girl with his wife of 44 years, Delores, plans to keep singing for as long as he can.

“This is my life out here,” he said, waving to the seats at the Nuance. “This is where my living comes from, it’s all I’ve done. I love it. I couldn’t go no other way.”

Ernie Andrews and the Johnny Kirkwood trio featuring pianist Art Hillery appear 9:30 p.m. to 1:30 a.m. Tuesdays at the Nucleus Nuance, 7267 Melrose Ave. $4 cover, two-drink minimum. (213) 939-8666.