Obscure & Neglected Female Singers Of Jazz & Standards (1930s to 1960s)

The quotes above include messages from not only this thread but also two great ones from another one, both made by Dustin.

Already revealed by Dustin above, but still worth pointing out again: the photo chosen for the front cover of the album that Vanhooserd recently acquired is actually from the Playboy photo sessions.



Lest we arise the purely intellectual curiosity of the many scientists and researchers on this list (only to deflate it once full discovery is attained), it should also be mentioned that Ann's spread is quite tame by today's standards -- closer to a topless exposé than an all shebang exhibition. (Those pics were widely available years ago, when I self-employed myself as a scientific researcher and intrepidly undertook a search for them. They are probably still easy to find in multiple websites.)

Its relative tameness notwithstanding, Ann's Playboy spread shut down many potential career opportunities and became one of the final straws in what had been a very tempestuous marriage. [Okay, okay. If your dispassionate mind is demanding for your own objective analysis of the sample, let me go and see if it can be gathered ... Alright: as suspected, they are still fairly easy to find in multiple sites. Caution: NSFW. Go here: Ann Richards в Playboy 1961 года » . And here: Gal About Town » ]

Where were we? ... Ah, yes -- "tempestuous marriage." That's an understatement. It was an union that might have been doomed to fail from its start, which took place when Stan was allegedly coaxed into getting married, under false pretenses. The age difference (almost 25 years) and her youth (not yet 20) must have been contributing factors, too. Insider stories who portray Ann in a terrible manner and Stan as a suffering lad are legion; most of them seem to have been disseminated by Kenton's musicians, who clearly were not fans of hers. And yet the most horrifying of all these alleged stories (at least to me) is not even about the marriage itself: a poisonous snake was left in her mailbox by her own son.

Ann shot herself to death at the age of 46.

 

Yeah, a long career in many platforms. I think that her role in the first of the My Big Fat Wedding movies brought her renewed attention, but she does not seem to have ever wanted for work for long. Unlike Ann Richards' case, Lainie Kazan also seems to have benefitted quite a bit from posing for Playboy. (Different times, and different handling of the opportunity.)

Thanks for the music clip, which I had not seen before, and enjoyed quite a bit. It further stressed to me the influence of Lena Horne, not only in the singing but also in performing mannerisms.

I have some of her albums, but have not felt compelled to get all of them. Her singing can be a bit much for me at times, making me feel like she has gone over the line. I think I have the album shown in your post. Two other albums of hers that I have, and which are memorable for their covers:

 

I too enjoy her singing, which can be quite wild and "out there" sometimes. Sounds very much like a party girl to me!



In her later years, she made at least thee additional albums, on which she, understandably, did not sound quite as in days of yore, and for which she also looked different in the front pics (more like a well-off socialite, which she might have well been by then, after having gotten married to a Manhattan-based banker). Here is one of them (LP):

 

I'm not a fan of her singing, but that is a nice performance of "Lonesome Road." She started off singing standards and the like, but is better known for the work that she did later in other genres, including r&b, novelties and run-of-the-mill pop. She is more closely identified with those genres than with jazz and standards.

Details of general interest: Started off in the vaudeville circuit. Was one of the Caucasian singers from the 1950s who were most criticized (unfairly or otherwise) for her commercial success with covers of rhythm & blues numbers that had been previously done by African-American singers, placing them in the charts before the earlier singers had been able to make a dent. (A not-amused LaVern Baker had some sarcastic comments to make on the matter.)

 

At that price, he either sold out or, more likely, got kidnapped by another record collector! (The collector figured that, with the albums being so cheap, he could also afford to have the seller at his house guest, out of gratitude!)

 

Yup, Krupa indeed. From a 1958 episode of the TV show Art Ford Jazz Party (per the info under the clip at the Youtube website).

In the world of vocals, the most widely known version is perhaps Nina Simone's, because she had a chart hit with it. The many vocal versions of this song (both from before and after Nina's) are definitely worth checking out because they can be quite amusing. Singers often changed the names of famous people for which their babies didn't care. My favorite version is Buddy Greco's.

 

P.S. to the Post # 183

I have to correct myself:
Teresa Brewer really re-appeared as Jazz singer in 70's and 80's after her marriage to record producer Bob Thiele in 1972, but she got into Jazz much before that.

I found her 1959 Jasmine album 'When Your Lover Has Gone' with a few standards on youtube. This is typical 50's orchestral sound is not for me. Nevertheless, I enjoyed her tender, soulful and crystal clear voice.

Please try:
More Then You Know (Track # 9 at 24:20) and next to it very touching 'Music, Maestro, Please!'

TERESA BREWER - WHEN YOUR LOVER HAS GONE - FULL ALBUM 1959 »

So, Teresa Brewer easy qualified for our list.

 

Well, we happen to be in tune once more: I don't own this album either. I am aware of her voice just thanks to various-artists compilations, and to Youtube clips such as this one. Similarity to Nancy Wilson: clearly hear it, too.

Jean herself supposedly chose the songs for the album. There is one very ill-advised choice: a versions of "Piel canela" and "Quizás, quizás, quizás," sung in that song's native language. The first one, especially, is a mess! Those numbers aside (and a few times in which I feel she goes momentarily, slightly off tune), pleasant enough singing all around, to me ...

 

My copy is actually a Fresh Sound CD reissue, which I'm re-playing as I type. Good to hear that the album is now on vinyl reissue, too.

The allure of the unknown ones: I'm totally with you. Ditto for the comment about Fresh Sound's work, especially in the more recent years -- last decade and a half or so ... Owner Jordi Pujol's taste is apparently very oriented toward cool school music. Of course, that's not by any means the only type of music released on Fresh Sound, but, if you are a fan of singers in the style of June Christy, Mel Torme, Anita O'Day, etc., you have come to a good place.

Rather than cool per se, Claudia Thompson's singing is overall low-key, sweet, and warm. So is the sparse playing. Stellar accompaniment: Barney Kessel, Red Mitchel, Benny Carter, etc. The whole affair is pleasant and commendable but, as with other cases previously mentioned, none of it feels distinctive enough to stay in my memory.

No matter: I'd still recommend this album. It's very tasteful. (The closing version of "Gloomy Sunday," basically a guitar-and-vocal track with some much-welcome whistling, is interesting ... It left wishing that she had more to offer, however, in terms of lyric interpretation.)

The most memorable element for me is actually the album's cover, both front and back:



The back covers of other albums from this small, late-1950s LA label are similarly appealing.

 

Maureen O'Hara
(1920-2015)



"Maureen O'Hara was an Irish actress and singer. The famously red-headed O'Hara was known for her beauty and playing fiercely passionate but sensible heroines, often in westerns and adventure films."

"When she graduated from the famed Abbey Theater in 1937, her dream was to become an opera singer and stage actress like her mother until actor Charles Laughton convinced her to try film acting and to take the stage name O’Hara."

I honestly don't know why I bought this album in the form of Japan Mini LP. Probably I fell under the spell of her beauty... or I though she is taking on Jazz... and she actually did, but it's a case: what would happen, when opera singer doing jazz.

Love Letters from Maureen O'Hara


I leave you to decide whether she can sneak into our list.

P.S. I wish she would come up with a couple of "Calendar Girl" albums at the time.

 

I can't find any info on MARGE DODSON. Very obscure late 1950's, early 1960's subtle jazz vocalist. She did record for Columbia
I believe both albums have been reissued on the Spanish Fresh Sounds Label as a 2 on 1. Love "In The Still Of The Night",
great for late night listening. Worth seeking out. There is a clip on utube for anyone interested.

 

Let's throw Betty Blake onto the pile (as it were).

It's tempting to select something from Sue Raney's "All By Myself" - she looks very fetching as a redhead on the cover - but that feels a little bit like cheating, as she's been blonde for most of her career; perhaps she should be held in reserve as a ringer...

 

Easy Williams

Rararabbits: That's a great idea. Let's turn this into a game. So far, we have

1. Connie Russell (suggested by Rararabbits)
2. Ann-Margret (suggested by Johnny B Good)
3. Helen Grayco (suggested by Ridin'High)

Which other redheads (natural ones or otherwise) should we include? To give everyone an opportunity, limit yourself to suggesting just one redhead, no matter how many others you might think of.

(In other words, Johnny B Good and I cannot longer participate, because we have already submitted our suggestions. Only Rararabbits, being the one who came up with the concept, is entitled to mention a maximum of two additional ones.)

When we get to about 15 qualifying suggestions, we will have enough for a standard compilation, and can close the game. (If we don't reach the quota in a few days, then anybody who has already contributed, and happens to know a few more names, can add them.)

Johnny B Good: You'll be glad to know that Mamie was featured in the Blondes volume of the series. (She's certainly more of an actress and personality who recorded other types of music. Hence I don't think that she would qualify for any official list of standards and jazz singers. But, since she did record one or two standards, it's perfectly okay to at least mention her in this thread.)

 

...oh, Jane Fielding (already mentioned in this thread, I know) has to be my second extra choice. She didn't immediately spring to mind as a redhead, but the liner notes to "Embers Glow" make it clear that she is. There's a colour photo of her here:

Who Was Jane Fielding? »

...as well as a picture of her in the studio with Dinah Washington and Clifford Brown, interestingly enough.

 

Jerri Winters. (Isn't it amazing how you can just keep on discovering female vocalists you hadn't even heard one day before! And I'm simply loving her entire Bethlehem album, "Somebody Loves Me!" It's got a jazzy feel, but also includes great "whimsical" backup singers from those vintage days! I personally love that touch!)

 

She sure did! All her stuff, including all the LPs, is now neatly available in this CD set:


In Youtube, you can hear Betty doing her best known vocal both in the company of Ellington (Take the 'A' Train ») or in the version from her own album:

 

A different artist working in the country arena, but I'd be curious to know your thoughts on this performance of "Lonesome Road". It's got a country blues arrangement. I've always enjoyed the tune, no matter what style it's recorded in or by which artist. Dolores Dinning is not eligible for this thread since she did not primarily record standards, although the song choice and the time period applies.

 

She has such a lovely voice. Another fun tidbit about this album, in addition to the puny title, is the rain effects in some tracks.

Sue started singing as a child and was not even 18 when she recorded the first of her Capitol albums. Once again, those of us who are into CDs can now enjoy most of that Capitol output in one set:



Nevertheless, there is more Capitol stuff - a third LP, recorded in the 1960s -- which is not included in this 1956-1960 set.

Decades later, Sue became a voice teacher and worked regularly in the world of jingle music. She also married major league baseball player (& musician) Carmen Fanzone. Here is a performance from her later years. (Though not necessarily one of her very, very best, I'm picking it due to its topical relevance. It's still a groovy, more modern performance with a very catchy lyric -- lots of puns and metaphors. Should also give you an idea of how she sounded once she got past her twenties. Her voice and her technique kept on getting better and better, i.m.o.)



Sue remains musically active and vocally in great shape; her last CD was recorded this decade.

 

You can also see Betty Roche singing and dancing to "A Train" with the Ellington band, in this clip from the 1943 film Reveille with Beverly:



(The movie also included a performance by a young male vocalist: Frank Sinatra--Night And Day. »)

 

In the world of jazz vocals, "Baltimore Oriole" is often associated with either Sheila Jordan or Lorez Alexandria. Sheila, like the aforementioned Sue Raney, is another example of a singer who perfectly qualifies for this thread because they were recording well before our 1970 cut date, yet a large bulk of their work belongs to the ensuing decades. In Sheila's case, I believe we have only this LP from the early 1960s, and then no other studio albums until the 1970s.

Sheila is most definitely a jazz singer, and her voice/style could be considered by some, including me, an acquired taste. She certainly sings standards, but her vibe is more bop and improvisation than swing or traditional ballad. To my way of thinking, her very best albums are that first one on Blue Note and her second, from 1975, which is essentially a jazz album for highly sophisticated kids:

 

She is fabulous -- a lot of fun in the up tempos, especially. The couple that have stayed in my mind are "Daddy" and "My Heart Belong to Daddy," because they are so good, and because of the word association. Here is one of them:



And here is the other one: Pat Suzuki - My Heart Belongs To Daddy » . (Tour de force ending.) The few LPs that she made are all worthwhile. (For anyone wanting to further explore her work: this is a big-voiced and sometimes loud, just in case you don't go for that.)

Her claims to fame are those already mentioned by NathanAaron and WayOutWardell. In the Broadway version (not the ensuing movie) of Flower Drummer Song, she introduced "I Enjoy Being a Girl," which became a standard recorded by singers such as Peggy Lee in her Latin Ala Lee album. Another loose connection between the two is that director Mike Nichols was originally in talks with Peggy to record a brand new version of "How High the Moon" for his 1988 Biloxi Blues movie. Ultimately, though, the movie folks went with Pat's old (1950s) but very enticing ballad version of the song. Movie clips here: Pat Suzuki - "How High The Moon" (USO Dance) » and here: Biloxi Blues Intro » .

Japanese-American, in case you were wondering.

 

Eat your hear out, Marilyn Moore! Another Billie Holiday soundalike, yet one with her very own, tipsy-like style. (Flexible, too: her main career was not as a singer but as a dancer.)

The stage name: ha! Her real name was Elsie Itashiki.

And, like Pat Suzuki, a Japanese American as well. If you are patient, in this clip you will get to hear Teal singing not only in English but also in Japanese: 'Deed I Do » . Ah, but she was of Peruvian and French descent, too. So, for good measure, the album features Miss Joy singing in Spanish. And Italian. And Yiddish. It's the Babel Tower of albums!!!

To round out the picture, here is a photo of her other, more toned down, all-sung-in-English and jazzier album, along with one of its performances:

 

Lucky you, that you like one of them, and at least one of the others grew on you. None of them have appealed to me, despite multiple tries. (That version of "Cry me a River": absolutely not!) With Nancie Malcomb, it was not so much that the album didn't appeal to me, but rather that the singing left me feeling "meh."

We can't possibly like 'em all, right?

 

Oh, I like her a lot.

But, if you don't care for her singing in numbers such as the one you posted, or the one I'm posting (both from her better albums), there is a chance that she is just not for you. It happens. She has over a dozen solo albums, though; some of her other stuff could do the trick for you.

She was a close friend of Billie Holiday doing the latter's later years, tending to Billie in times of illness. (Annie, too, had a serious drug habit, which she eventually kicked.) Not sure if it is widely known that she was in a relationship with Tony Bennett. Her aunt was a well-known vocalist herself, Ella Logan. Has also had an extensive film career, dating back to her childhood in the 1940s, when she acted next to Judy Garland. Annie's best known role may be from far more recent times, however, as the nightclub singer in Robert Altman's Short Cuts.

Like one or two of the singers mentioned before (Ethel Ennis), Annie owned her own nightclub for a while. Some of her albums were recorded there. Dig the cover of this one!



Well, her prerogative. At least his nose is cuter than Tony's.

 

Lots of the pictures in this thread are waaaay better than those in the Beatle's pictures thread.