Wynton Marsalis. Wynton and I have been buddies since the day his band challenged my radio crew to a basketball game. They killed us. (Who knew jazz musicians could shoot?) Wynton said OK quickly to inclusion in Magic Strings, and he texted me his enthusiasm after reading his Frankie episode. Jazz music has no stronger musical force than this man, and I’m sure he grabbed with both fists when he came into this world.
Ingrid Michaelson. We met and I floated this idea to her all in a single early morning in New York City, where she had to perform before her coffee kicked in. With her talent, wit, and smarts I thought she’d be a perfect student for an older Frankie. Listen to “Far Away” then “How We Love” to see the amazing span of her gifts. She could have taught Mr. Rubio a few things about songwriting.
John Pizzarelli. John was the first person I spoke to for this book, so it’s fitting he was the last guest. John is one of those musicians who has melded into his instrument, and his playing is as effortless as it is infectious. We’ve been friends a long time, and he is so generous and humble, that it’s no surprise he’d go around the world to secure the Magic Strings tapes for Frankie. He’s a hero to me, so it was fun to make him a hero on the page.
As for the creation of this book, I must begin with my time in Spain. Marta Armengol Royo was the dream researcher and translator, as precise as she was enthusiastic; and Jacinto Heredia, our Villareal-based historian, was an invaluable source of knowledge and anecdotes. (And, yes, that is him in the book showing Frankie the Tárrega material. It’s the least I could do for all his help.) The wonderful people of Villareal, the Tárrega exhibit at the city museum, and the basilica de San Pascual were instrumental in creating the mood and spirit of Frankie’s roots. It’s an amazing city and I highly recommend a visit. (A big thanks to my Spanish publisher, Maeva, for giving the whole trip a jump start.)
Closer to home, much credit goes to Karen Rinaldi, my angel publisher-editor at HarperCollins, for believing in a book that is tough to explain at the start, and to Brian Murray, Michael Morrison, and Jonathan Burnham for giving their blessings. The Harper family has made me feel quite at home at this stage of my career, and I thank all of them, notably Milan Bozic (another beautiful cover), John Jusino, Leah Carlson-Stanisic, Josh Marwell, Doug Jones, Brian Perrin, Leah Wasielewski, Stephanie Cooper, Kathy Schneider, Hannah Robinson (no more edits, yay!), and Leslie Cohen (for her past and future efforts in bringing Frankie’s story to the world).
David Black is now approaching thirty years as my literary agent and friend, so I guess it’s working out. Antonella Iannarino is a precious resource on a million levels. Susan Raihoffer is taking Frankie global. Additional thanks to Sarah Smith and Jenny Herrera.
Jo-Ann Barnas did incredible research for this book, from sitting with guitar players to digging into Django’s set list in 1946, and through her efforts, I must also thank John Alvarado, of the Indiana Society of the Classical Guitar; the folks at the Hank Williams Museum in Montgomery, Alabama; Amy Hauser, with the Maersk Line (for all the ships Frankie sailed on); Kay MacConnachie, Michigan Hand and Sports Rehabilitation Center; Ian F. Hancock, University of Texas at Austin, and William A. Duna, of Minnesota (for their knowledge of gypsy culture and history); the Vietnam Veterans of America; Gordy Lupo, of Gordy’s Music in Ferndale, Michigan; Joshua Bronnenberg, the Ryman Auditorium museum manager, and Brenda Colladay, the Ryman Auditorium curator; Fr. Lawrence J. Delonnay, pastor, Our Lady of the Lakes Catholic Church, in Waterford, Michigan; Sr. Dianne Short, Order of Saint Clare, in Cincinnati; Russell Barber, of Westland, Michigan; Mary Kay Slusher, Louisiana Department of Health and Hospitals, Bureau of Media and Communications.
A special thanks to Vito Lafata, a brilliant guitar player, who read this book at least three times and offered his expertise. A shout of gratitude to the folks at Republic Records, Avery Lipman and Tom Mackay in particular, who saw a real-life record deal for Frankie Presto’s Magic Strings. Kevin and Robbie Martin are real people who make all visitors feel at home on Waiheke Island. And a deep appreciation for all the public figures who made appearances in Frankie’s story, expected or not. All representations, from Django to Elvis to Little Richard to Hank Williams, come from a deep admiration of their gifts.
And then the home team: Kerri Alexander holds everything together, all the time. Marc “Rosey” Rosenthal juggles the world so I have time to write. Mendel keeps the numbers, but he is still, with all due respect, a bum. Chad Audi continues to exemplify that no matter how creative you get, doing for others is the most amazing legacy. Trisha, Rick, Ali, and Jesse gave Frankie his first reviews. And the highest thanks, always, goes to my family, who endured my music long before they endured my writing: Dad; Cara; Peter; all the uncles, aunts, and cousins; and my mother, who went to heaven during the creation of this book, leaving me to empathize with Frankie and Carmencita.
I must also thank every band I’ve ever been in, for teaching me that bandmates behave like family, good and bad. (Those bands include the Crystal Reflection, the Lucky Tiger Grease Stick Band, the ones in college, Streetwise, the Rock Bottom Remainders, and about a dozen I can’t even remember.)
And finally, as always, deepest thanks to Janine, my girl in the tree, who listened to every note of this novel through the less-than-Frankie voice of its author, reading to her while she sat in a chair, both of us rocking in the unique rhythm of storytelling.
Find out more at FrankiePresto.com.
About the Author
MITCH ALBOM is a bestselling author, screenwriter, playwright, and nationally syndicated columnist. He has written six consecutive number one New York Times bestsellers—including Tuesdays with Morrie, the bestselling memoir of all time—and his books have collectively sold more than thirty-five million copies in forty-two languages. He has founded eight charities in Detroit and operates an orphanage in Port-au-Prince, Haiti. He lives with his wife, Janine, in Michigan.
Discover great authors, exclusive offers, and more at hc.com.
ALSO BY MITCH ALBOM
Tuesdays with Morrie
The Five People You Meet in Heaven
For One More Day
Have a Little Faith
The Time Keeper
The First Phone Call from Heaven
Credits
Cover design by Milan Bozic.
Cover photograph © Eric Cahan, courtesy of Benrubi Gallery, NYC.
Copyright
This book is a work of fiction. References to real people, events, establishments, organizations, or locales are intended only to provide a sense of authenticity, and are used fictitiously. All other characters, and all incidents and dialogue, are drawn from the author’s imagination and are not to be construed as real.
THE MAGIC STRINGS OF FRANKIE PRESTO. Copyright © 2015 by ASOP, Inc. All rights reserved under International and Pan-American Copyright Conventions. By payment of the required fees, you have been granted the nonexclusive, nontransferable right to access and read the text of this e-book on-screen. No part of this text may be reproduced, transmitted, downloaded, decompiled, reverse-engineered, or stored in or introduced into any information storage and retrieval system, in any form or by any means, whether electronic or mechanical, now known or hereafter invented, without the express written permission of HarperCollins e-books.
FIRST EDITION
Grateful acknowledgment is made for permission to quote from the following:
“A House Is Not a Home” (from the film A House Is Not a Home), written by Burt Bacharach and Hal David. © 1964 Sony/ATV Music Publishing LLC. All rights administered by Sony/ATV Music Publishing LLC, 424 Church Street, Nashville, TN 37219. All rights reserved. Used by permission.
“Jonah,” words and music by Paul Simon. Copyright © 1978, 1980 Paul Simon (BMI). All rights reserved. Used by permission.
“Just Waitin’,” written by Hank Williams Sr. and Bob Gazzaway. © 195
1 Sony/ATV Music Publishing LLC. All rights administered by Sony/ATV Music Publishing LLC. 424 Church Street, Suite 1200, Nashville, TN 37219. All rights reserved. Used by permission.
“Lost in the Stars,” words by Maxwell Anderson; music by Kurt Weill. © 1946 (Renewed) Chappell & Co., Inc., and Tro–Hampshire House Publishing Corp. All rights reserved. Used by permission of Alfred Music.
“Lost in the Stars,” from the musical production Lost in the Stars, words by Maxwell Anderson; music by Kurt Weill. TRO-© Copyright 1944 (Renewed) 1946 (Renewed) Hampshire House Publishing Corp., New York, NY, and Warner/Chappell Music, Inc., Los Angeles, California. International copyright secured. Made in the USA. All rights reserved, including public performance for profit. Used by permission.
“Nature Boy,” by Eden Ahbez. © 1948, 1976, 1995 by David J. Janowiak DBA Golden World Music. Used by permission.
“Parlez-Moi d’Amour,” by Jean Lenoir. Copyright © 1930 by Societe d’Editions Music Internationales, copyright renewed. All rights reserved. Used by permission.
Library of Congress Cataloging-in-Publication Data
Albom, Mitch.
The magic strings of Frankie Presto / Mitch Albom. — First edition.
pages ; cm
ISBN: 978-0-06-229441-8
I. Title.
PS3601.L335M34 2015
813’.6—dc23
2015016184
EPub Edition NOVEMBER 2015 ISBN: 9780062294425
15 16 17 18 19 OV/RRD 10 9 8 7 6 5 4 3 2 1
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Mitch Albom, The Magic Strings of Frankie Presto
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