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

Discussion in 'Music Corner' started by Ridin'High, Sep 4, 2016.

  1. Eric Carlson

    Eric Carlson Forum Resident

    Location:
    Valley Center, KS
    Indeed, crazy. Some of these singers are indeed more in a line with Bessie Smith who I would consider a blues and jazz singer. I'd love to hear who Mary Lou felt were her influences. I'd also like to hear what she was singing on the radio prior to 1958 as well.

    There are times I think there are an infinite number of female singers all with a story.
     
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  2. Ethan Stoller

    Ethan Stoller Well-Known Member

    Location:
    Chicago
    Ilene Woods was most famous for providing the voice of Cinderella in the 1950 Disney movie. She sang with big bands, including Paul Whiteman's, before that, and had a few successes with singles. This track is from her only LP, It's Late, released in 1957. I like how she displays a technical mastery without sacrificing the emotion of the lyric. Enjoy!

     
  3. toilet_doctor

    toilet_doctor "Rockin' chair's got me"

    Location:
    USA
    Here is one of these stories:

    Martha Tilton

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    "That generation had Martha Tilton. We have Lady Gaga. That generation wins."

    " Martha Tilton was initially billed as the Sweetheart of Swing before becoming better known
    affectionately as The Liltin' Miss Tilton."

    (from the comments)



    Who does not know the front girl of Benny Goodman with a sweet voice on the cute side? Helen Forrest, for God's sake.
    But before, guys, there was another girl - Martha Tilton. In fact, Helen picked up what Martha had left. And, if you like Helen Forrest, you definitely like Martha Tilton.

    (from the bio [short version])
    "Martha's mother played piano and her father had a beautiful singing voice, and the whole extended family loved to sing whenever they got together. Some of Martha's favorite singers at the time were Ruth Etting and Connee Boswell.

    Martha attended Fairfax High School in Los Angeles. She met and married a Canadian boy named Dave Thomas - she was 18 at the time. This marriage lasted only a short time, but long enough for Martha to become pregnant. She gave birth to her son, Gerald, in 1936. In 1937, Martha joined the Jimmy Dorsey Band and spent a few months with that organization.

    Besides appearing in the movie "Topper," Martha also appeared in the films "Irene," "You'll Never Get Rich," "Sunny," "Strictly In The Groove," "Crime Inc.," "Swing Hostess" and "The Benny Goodman Story." Her last film, "The Queen of the Stardust Ballroom," was made in 1975. About this time, Benny Goodman was in Hollywood filming "Hollywood Hotel" and became aware of Martha, and she was asked to audition to replace Helen Ward. Goodman seemed to be going through a lot of girl singers at this time. Martha later commented that the band worked 365 days straight for two years, with no breaks. With that kind of a schedule, one can see why some singers and band members might leave looking for easier work hours.

    She was hired the next day at $125.00 per week and two days later was on the band bus heading east for Texas. Martha didn't return home for two years after that.

    During her years with Goodman, Martha made over 80 recordings. One of the biggest hits Martha had with Goodman was the song "And The Angels Sing."

    Martha's career with Goodman ended in April 1939, when the band broke up. This was bound to happen considering the rigorous schedule Goodman worked under. Also a number of strong solo performers had started out by working for Benny: Lionel Hampton, Harry James, Teddy Wilson, Gene Krupa, to name a few; they were ready to make their own marks on the music world. The remaining members of the band were saddened by Martha's leaving.

    It was while with the Goodman band that Martha met her second husband, Leonard Vannerson. Leonard was Goodman's manager and when he saw Martha he fell in love. It was not quite the same for Martha, for Leonard tipped the scale at a portly 200 pounds. She would kid him about his weight and before long he went on a strict diet, shed 50 pounds and won himself a wife.
    At the Tilton-Vannerson
    wedding, Benny Goodman stood as Leonard's best man in 1940.

    At the time Martha dubbed the singing voices for film actresses like Barbara Stanwick, Maria Montez, Anne Gwynne and Martha O'Driscoll. During the early 1940s, Martha got her own radio show on NBC; this is where the nickname "Liltin' Martha Tilton" was conjured up. Martha also did a number of recordings for Standard Transcriptions in 1941. She recorded 17 songs during this time and another seven later.

    Martha also sang briefly with Artie Shaw, recording two sides with his band, "Dreamin' Out Loud " and "Now' We Know."
    In 1942, Martha's career really took off, when she was contacted by Johnny Mercer to join Capitol Records; Mercer had just co-founded the new label with Buddy
    DeSylva and Glenn Wallichs and Martha became their first signed artist. Unlike working with Goodman, Martha got to choose many of the songs she recorded at Capitol. There, she produced many of her hit recordings: "I'll Walk Alone," "A Stranger In Town," "A Fine Romance." "Connecticut," "I'll Remember April" (Martha's favorite song), "The Angels Cried," and to my ears the best recording of "And The Angel Sings."

    It was in 1943 that Martha's son Jonathan was born. But she wasn't slowed down much. During World War II, in the years 1943 and 1944, Martha traveled with Jack Benny's U.S.O. Show to the Atlantic and Pacific Theaters to perform for troop morale. Carol Landis accompanied her on these tours. Then during the Summer of 1945 Martha traveled again with Jack Benny's U.S.O. Show for a short tour of Germany. This tour included Martha, Jack, Ingrid Bergman, and Larry Adler.

    In 1947, Martha's marriage to Leonard Vannerson ended in divorce; Martha retained custody of her two sons. Martha and her sons formed a close-knit family from that point on.

    Leaving Capitol in 1949, Martha continued to sing on radio shows like The Jack Benny Show, The Bob Hope Show, and many more. She also recorded on smaller record labels like Coral, Crown, and Majestic. These fine recordings are becoming hard to find.

    Martha and Curt Massey had a daily 15-minute radio show in the early 50's, sponsored by Alka-Seltzer. In 1955, Martha played herself in "The Benny Goodman Story," recreating their 1938 Carnegie Hall concert. Hollywood took its usual liberties, having her sing "And The Angels Sing," which was not performed in the actual concert; in real life, they wouldn't perform it for another year.

    In 1952, at a U.S. Treasury Bond drive at a local North American Aircraft plant in 1952, Martha met the love of her life; a 6 foot tall pilot named Jim Brooks. Jim had been a World War II ace and was now a test pilot for North American. He was given the job of showing Martha around the plant; at the end of their tour, he ask her to dinner that evening. She accepted and it just kept getting better after that.

    Very important to Martha about her growing relationship with Jim was how her sons felt about it. Jerry was now 16 and John was 10 and the two indirectly asked if she was going to marry Jim. This put her in a bit of a predicament; what to tell them. Without really knowing how they might react, she asked them if they thought she should. The answer came back an overwhelming "yes." What American boy wouldn't want a fighter ace and test pilot as their new father?

    Martha gave birth to their daughter, Cathy, on Sept 13, 1955. From this point on, Martha devoted most of her time to her family and pretty much ceased performing. Martha and Jim Brooks, married for over 50 years, enjoyed life together in their home on Mandeville Canyon Blvd, L A. Jim eventually retired as an Executive Director with North American Aviation and they enjoyed spending time with their five grandchildren. Martha passed away on December 8, 2006, peacefully and in her home." -- Tom Oehme

    (with Benny Goodman)

    "Goodman kept Martha busy and between October 1937 and the summer of 1939, he placed in excess of thirty recordings on the American Top 20 of which Martha's vocals were featured on 27 tracks including two chart-toppers."
    And the Angels Sing (1939) - her Signature song


    Bob White (Whatcha Gonna Swing Tonight?) 1937
    Benny Goodman & His Orchestra (vocal by Martha Tilton) “Bob White (Whatcha Gonna Swing Tonight?)”

    Shut Eye
    SHUT EYE by Benny Goodman with Martha Tilton 1939

    (on a radio)

    I Let A Song Go Out Of My Heart (1938)
    Benny goodman, Martha Tilton - I LET A SONG GO OUT OF MY HEART

    Bésame Mucho (1944)
    Bésame Mucho (1944) - Martha Tilton

    Baby, Baby, Baby (1953)
    Baby, Baby, Baby (1953) - Martha Tilton


    (on the Capitol)

    'Moondreams' was a first record new label Capitol released in 1942, recording session was supervised by Jonnhy Mercer
    Martha Tilton - MOONDREAMS - YouTube

    I'll Walk Alone (1944)
    Martha Tilton - I'll Walk Alone (1944)

    Stranger in Town (1944)
    STRANGER IN TOWN by Martha Tilton 1944

    I Should Care (1944) - one of my favorites
    1945 HITS ARCHIVE: I Should Care - Martha Tilton (78 single version)

    Does Everyone Know About This?
    Does Everyone Know About This?

    That's My Desire (1947)
    That's My Desire

    A Sunday Kind Of Love (1947)
    A Sunday Kind Of Love (1947) - Martha Tilton


    You Came Along (from Out of Nowhere)
    "This video is respectfully dedicated to the memory of "Martha Ellen Tilton (Brooks)" an extraordinarily fine singer & lady." (comment)
    Martha Tilton - You Came Along (from Out of Nowhere)

    These Foolish Things
    These Foolish Things (Remind Me of You) (Remastered)

    I bought recently this CD:

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    and can recommend it.

    [​IMG]
     
  4. Ridin'High

    Ridin'High Forum Resident Thread Starter

    Dear Mister Fargo Jones,

    I can help!

    You might be thinking of the Benny Goodman version, with vocal by Helen Ward. Estimated to have been a chart topper for them (1936).

    The number was also waxed by the other two Helens, but long afterwards -- Forrest in the late 1940s or early 1950s, and O'Connell even later, in 1958.

    Versions by many of the major jazz-pop vocalists (Billie, Ella, Sarah, Anita, Peggy, Lee Wiley, Satchmo, Bing ...) and jazz instrumentalists have also been preserved. (I'm happy about that, because I find the number enjoyable.)

    To keep the focus on the obscure and neglected, here is a 1959 Goodman version with singer Donna Musgrove (and the Hi-Lo's). Includes the brief verse:



    Talking about neglecting singers: guilty! I had not contributed to this thread in a while. I'm very glad to see that it has remained active, with many new interesting posts.
     
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  5. Ridin'High

    Ridin'High Forum Resident Thread Starter


    I too want to thank you, for undertaking (& sharing with all of us) your extensive research on this singer.

    As I read the biographical details that you provided, I sensed intimations of a complex love/marital life. She was "Mrs. Brewer" in the 1940s and 1950s (while her five children were in her teens and pre-teens), but died as "Mrs. Kennedy" in 2006. I am assuming that the word "partner," used in the liner notes to describe her relationship with manager Les Sand, is to be taken as indicative of romantic involvement.

    I appreciated learning Mary Lou's date of birth, about which I was curious. Her photos suggest that, by the time that she recorded the album, Mary Lou was no juvenile. The pics (especially, the one on the LP's back cover) actually led me to think that she was at least in her early 40s, rather than just 35 ... In that era and milieu, being past her 20s could have factored into her (in)ability to book TV and record dates, thus hindering the development of a national career.

    Anyway, I'm mostly musing.

    I agree with you that she primarily comes off as a belter. If the album and the late-in-life concert review are any indication, she must have maintained this belting style and red-hot-mama persona throughout her performing career ... Hmm. Belting is a singing approach that does not appeal to me. (I hate what she does to "My Kinda Love.") But I also have to agree that, if one pays close attention, it's easy to hear that she is a skilled vocalist, capable of doing satisfactory work in a variety of musical styles, rather than just that one.

    Her LP is not officially on CD, but there is a Public Domain label out there that has issued it on digital disc. By the way, the original label released it on not only vinyl (mono & stereo) but also tape:

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    Besides the Westminster album (and an accompanying Westminster single, taken from the album), the only other Mary Lou item of which I am aware is the following single:

    [​IMG]

    which features the same main three-person team as on the album, but is on what might have been a "vanity label," presumably created for the exclusive release of Sand-produced music. The song on the flip side is another standard, "All Alone."


    A mildly curious tidbit: the very same episode also featured burlesque legend Gypsy Lee Rose, whose 1958 Westminster LP That's Me All Over! had been released at the same time as Mary Lou Brewer's. Seems like Paar and Westminster had struck a promotional deal!

    [​IMG]


    Ha. I am left to wonder about the reason why this (puritanical??) TV watcher was offended to such a degree. My guess would be that Godfrey overtly ogled Mary Lou, or made an appreciative crack about her looks. But who knows. (He could have also commented on the suggestiveness of one of her numbers, and/or her "red-hot-mama" moniker.) Presumably Mr. or Mrs. Croswell has long passed away ... which might be for the best: any attempt at watching modern-day national TV would have resulted in a lethal series of heart attacks! ... (I also read online that Godfrey expected her to become as big as Elvis. Hey, that might offend folks even today!)


    I'll close this very scattered message by adding that, thanks to your recent acquisition of this LP, I finally checked into a matter that momentarily intrigued me in 2001, when I acquired my own copy. Sixteen years later (!!!), I have at last settled it. The matter:

    ][​IMG][​IMG]

    I see a basic, general similarity in the artwork of these two albums, and I was marveling if the similarity was intentional. The thought crossing my mind was that Westminster Records could have set out to imitate the artwork on the album by the better-known and better-selling singer of the same last name. (Westminster's hope would have been to lure buyers into getting Mary Lou's album.) But no, I was off the mark: Teresa's album came out about a year after Mary Lou's.
     
    Last edited: Jun 25, 2017
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  6. Ethan Stoller

    Ethan Stoller Well-Known Member

    Location:
    Chicago
    Althea Gibson is most famous for her athletic achievements, but she also was a talented singer. She recorded one album, released on the Dot label in 1958. Here's a track from the record, displaying a good feel for jazz rhythm and fine intonation:

     
  7. misterjones

    misterjones Smarter than the average bear.

    Location:
    New York, NY
    It's amazing how many people they put into the studio in the 1950s to capitalize further on their name. I've been watching many old What's My Line shows and I see it all the time (though I think that trend continued to a certain extent in the following decades). The most recent I saw was Anthony Perkins. Here's a sample of his work:

     
  8. misterjones

    misterjones Smarter than the average bear.

    Location:
    New York, NY
    And there's the occasional intentional neglect and obscurity. I recently bought some Benny Goodman RCA Victor 78s, one of which included an obvious Ella Fitzgerald vocal. However, she received no credit (even though Goodman was credited with the vocal on the flip side and white female vocalists routinely received credit for their "vocal refrain"). Things were changing even then (with Goodman himself at the forefront with integrated groups) and the record companies would eventually come around (probably faster than anyone would have expected at the time). Nevertheless, it remains a curiosity to see such caution (which seems silly today) exercised when it came to selling 78s back then.

    [​IMG]
     
  9. Ridin'High

    Ridin'High Forum Resident Thread Starter


    [​IMG][​IMG]

    I enjoy Damita's live albums the most. A very dynamic, lively artist.

    We are in sync; I also ordered that CD collection a while ago, and I too find her approach imaginative (specifically when it comes to uptempo songs). The Jasmine CD set includes her first three albums, plus a batch of singles. I wish that later singles had been included; she recorded duet singles with Billy Eckstine and Brook Benton which I don't have. (I have listened to them online.) Hopefully, Jasmine or another worthwhile label will get around to releasing a second set containin those singles, as well as some of her subsequent albums.

    In my opinion, Damita Jo was primarily a rhythm & blues singer, bringing a r&b sensibility to the numbers from other genres that she recorded. Her repertoire over the years was very varied, including quite a few covers that might be better known from singers such as Patsy Cline ("She's Got You") or Margaret Whiting ("Joey"). This singer made over a dozen albums, covering several genres in the process -- 60s pop, country, gospel, pop & jazz standards. She performed extensively with legendary jazz acts, Count Basie included. One hears periodic vocal similarities with Dinah Washington in particular; Damita herself professed to be a huge admirer of Ella Fitzgerald's singing.

    Nowadays, Damita is best remembered for two hit singles that were both so-called answer songs. "I'll Save the Last Dance for You" was, as already mentioned by John, an answer to the Drifters' smash "Save the Last Dance for Me," and "I'll Be There" was an answer to Ben E. King's r&b classic "Stand by Me." By the way, that second hit of hers was not the same number popularized by The Jackson Five, but she does have a link to the Jacksons: their sister Janet (aka Janet Damita Jo Jackson) was named after her. Damita Jo DuBlanc's other significantly successful number was a version of "If You Go Away," which served as the title of the album that contains the YouTube clip posted by John B Good.

    I try my best to remain faithful to the parameters that I dictated for this thread, thereby sticking to clips featuring jazz & classic pop standards ... but I am never able to resist a Scopitone video when I see one! ... Here is Damita's Scopitone version of "Silver Dollar," a catchy a-go-go ditty that includes a fun reference to Frank Sinatra (check out the Songs for Young Lovers visual), and also a reference to Sammy Davis, Jr.:



    And here is her uptempo, fast rendition of the standard "(Our) Love Is Here to Stay." The scat portions evince her love for Ella:

    Love Is Here to Stay (Live)

    Check out her rather wanton version of "The Boy from Ipanema," too; that's one of my favs of hers.
     
    Last edited: Jun 27, 2017
  10. Ridin'High

    Ridin'High Forum Resident Thread Starter

    This Benny Goodman single (RCA 25469) was one of two to feature Ella Fitzgerald. The other one (RCA 25461) actually features her on both sides, singing "Goodnight My Love" on one, and "Take Another Guess" on the other.

    Ella was left uncredited primarily due to legal/contractual concerns -- nothing to do with racial matters. At that point in time, she was still Chick Webb's canary, and Webb was recording for Decca. Meanwhile, Benny counted with his own longstanding canary, Helen Ward. But, when Helen had to take two weeks off to arrange a divorce and Benny momentarily found himself without a vocalist for an already scheduled session, he asked Ella if she wanted to fill in. (In addition to guesting on the early November 1936 session, Ella also guested on his radio show. Perhaps the idea of asking Ella was a byproduct of her having been contracted for the radio appearance.)

    Goodman had become aware of Fitzgerald's singing after both he and Webb had recorded versions of the number "Sing Me a Swing Song." The Webb version with Ella had become a national hit (summer 1936), while the Goodman version with Helen had fallen short.

    Victor and Benny probably thought that they could get away with recording Ella if they did not identify her on the labels. They might have reasoned that, even if Decca found out, the rival label would not mind it, because back then Ella was yet to become a famous name. As already mentioned, she was just a canary with Webb. The aforementioned "Sing Me a Swing Song" was her very first hit, and it was not a huge one -- more like a top 20 hit, approximately speaking.

    But Victor had miscalculated. It so happened that Decca already had major plans for Ella. Just a couple of weeks after the Benny session, Decca had even set up a session credited to Ella rather than to Chick.

    So, once Victor released the Goodman singles featuring an uncredited Fitzgerald, Decca went up in arms, easily recognizing who the vocalist was. A legal battle ensued, and Victor had to withdraw both singles right away. (This means that copies of these 78s qualify as rarities. Of course, the numbers themselves were eventually released on vinyl and compact disc.) In the case of the ballad "Goodnight My Love" (a film number, and clearly a potential hit), Benny re-recorded the song with another vocalist, Frances Hunt, and Victor then re-released the 78 with that replacement version.

    [​IMG]


    Agree that there were many. Record stores used to have their own bin section for them, under the rubric "personalities."

    I think of Anthony Perkins as a separate case, though, because his career as a singer was no mere flash in the pan. He recorded for three or four labels, made four LPs, and turned in many singles, as well as assorted guest vocals on both film soundtracks and songwriter songbooks.

    Granted that neither voice nor singing were extraordinary, Perkins still never embarrassed himself on record. Nor was the man devoid of musical talent; he is said to have played guitar and piano, and certainly remained connected to the music scene over the years.

    The singles are clearly teen-oriented, in tune with the heartthrob image under which he was groomed by Hollywood during his pre-Psycho days. In general, his singing tends to be too timid -- slow and low, as he himself acknowledged. The heartthrob image might have had something to do with the approach, though there seems to be more to it than just that. He often comes across as overly cautious vocalist.

    The albums are, on the other hand, mostly adult-oriented, containing classic pop & jazz standards. One of them, recorded with Marty Paich, is his best by far. It shows that, with some guidance and inspiration, Tony could turn in fine, even dynamic performances. The clip below is from that album with Paich.

    [​IMG] [​IMG] [​IMG]
    [​IMG]
     
    Last edited: Jun 28, 2017
  11. misterjones

    misterjones Smarter than the average bear.

    Location:
    New York, NY
    I was aware of attempts - usually successful - by blues artists and competing record labels to record blues singers under different names to avoid express or implied contractual restrictions (Blind Willie McTell being one of many examples). I just assumed that in the relatively above-board world of popular music and high-profile record labels that no one would dare pull such a stunt.
     
  12. Eric Carlson

    Eric Carlson Forum Resident

    Location:
    Valley Center, KS
    [​IMG]

    Another singer not mentioned so far is Joya Sherrill. She was 17 years old when she began her career singing with Duke Ellington. She met him while still in high school when her father arranged for her to sing lyrics she had written for Take the A Train. She wrote the version of the lyrics we know today. Six months later he offered to hire her when she finished high school and she joined the band in July 1942. She left the band to attend college, returned in 1944 and stayed until 1946 when she left to marry.

    Sherrill left the band and road, but she continued to sing and record under her own name. She also said Ellington “would call me for jobs once a year at least”. In 1962 she was the singer in the band Benny Goodman took on the first American jazz tour of the Soviet Union.

    In 1965 Sherrill recorded Joya Sherrill Sings Duke which featured many alumni of the Ellington band including Billy Strayhorn, Cootie Williams, Johnny Hodges, Paul Gonsalves, Ray Nance, Sam Woodyard, and Joe Benjamin. No Duke Ellington on this one, but his son Mercer Ellington is on board as Musical Director.



    Link to the complete Joya Sherrill Sings Duke album

    I was fortunate to find this album in a library clearance of all their remaining records after checking it out there multiple times. The band and arrangements are really good and Sherrill sings what is still my favorite all vocal Ellington LP. I find it a lovely album.

    I don’t know all the other records Sherrill did, but she splits an LP with Della Reese and “others” on Hurrah Records. In this case “others” is all jazz and Dixieland style instrumentals which actually are much better recorded than the vocal numbers. She also shares an LP with Sammy Davis, Jr. called Jumps with Joya which I saw in another library and should have gotten. It looks like she recorded an LP called Sugar & Spice for Columbia as well. And she has to be on a lot of Ellington recordings from her time with the band in the 1940's.

    Sherrill also hosted a children’s television show in New York and snagged Duke Ellington for an episode in 1970. I only found the audio for the show, but still very cool. I'll post that in the next message.

    Joya Sherrill passed away at age 85 in 2010.
     
    Last edited: Jun 28, 2017
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  13. Eric Carlson

    Eric Carlson Forum Resident

    Location:
    Valley Center, KS
    So here it is Duke Ellington joins Joya Sherrill on her children's show Time for Joya in 1970. Audio only unless someone else can find video.

     
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  14. Eric Carlson

    Eric Carlson Forum Resident

    Location:
    Valley Center, KS
    And Joya Sherrill is definitely singing on this 1944 recording of I'm Beginning to See the Light with Duke Ellington and His Famous Orchestra.

     
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  15. John B Good

    John B Good Forum Hall Of Fame

    Location:
    NS, Canada
    Liking MOONLIGHT SWIM so much (it's on of those Ace Golden Age cds) I recently bought a cd called Tony Perkins + On a Rainy Afternoon.

    It is on something called Jackpot Records, and am afraid it is atrociously loud. I can't put any of its tracks on a USB stick with music from other performers because of that loudness.
     
  16. John B Good

    John B Good Forum Hall Of Fame

    Location:
    NS, Canada
    A few weeks ago I came across a listing for a cd called Canadian Divas - Swingin' Easy, and have in fact ordered it, because it seems to contain a song by Juliette, who I mentioned many posts ago, but have never heard.

    Amazon says 3-6 weeks for delivery, so I have my fingers crossed...

    Canadian Divas: Swingin' Easy: Sheila Graham, Babs Babineau, Norma Locke, Joan Fairfax, Monique Leyrac, Deanna Durbin, Gisele MacKenzie, Terry Dale, Phyllis Marshall, Georgia Dey, Juliette, Maxine Ware, Alys Robi, Lorraine McAllister, Beatrice Lillie, Catherine McKinnon: Amazon.ca: Music
     
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  17. misterjones

    misterjones Smarter than the average bear.

    Location:
    New York, NY
    After listening to some Artie Shaw and His Gramercy 5 this morning, I was going to note one of the singers here until I realized she was Connee Boswell. She is, of course, neither obscure nor neglected, but perhaps her post-war recordings are overlooked. I would say she sounds a bit like Patsy Cline or a female Johnnie Ray, but her Gramercy 5 recordings predate both.
     
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  18. Eric Carlson

    Eric Carlson Forum Resident

    Location:
    Valley Center, KS
    It sounds to me like the three selections Joya Sherrill has on the LP with Della Reese on Hurrah Records (Easy Street, Between the Devil and the Deep Blue Sea, and Lush Life) are also on the LP with Sammy Davis, Jr. on either Design, Gala, or Pickwick Records. Looking at the record label Hurrah Records is a division of Pickwick International. I shouldn't be surprised. Sherrill gets three additional songs on the LP with Sammy Davis, Jr. (Baby Me, Thou Swell, The End of a Love Affair).

    I was reading a 1957 newspaper story about Sherrill. It said she recorded 40 sides with Ellington and mentioned plenty of night club, theatre and television appearances. A 1962 article said her Sugar & Spice album on Columbia "consisted of 12 songs with words and music by Joya Sherrill."

    Might have to give that one a listen.

     
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  19. misterjones

    misterjones Smarter than the average bear.

    Location:
    New York, NY
    This was the song that particularly caught my attention:

     
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  20. Ridin'High

    Ridin'High Forum Resident Thread Starter

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    Thanks for the recommendation. Not having seen it before, I checked it out, and discovered a curious detail. As far as the tracks go, this 2016 CD is actually a reissue of the following CD:


    [​IMG][​IMG]


    Looking a little further into this matter, it turns out that the gentleman in charge of the label Retrospective Records was previously in charge of the now defunct label ASV Living Era. So, that's the explanation. (He's interviewed here: Retrospective -The Label for Nostalgia & Vintage Jazz .)

    Here is yet a third version of the same track program:

    [​IMG]

    But, in the case of this particular item, nothing surprises me. (It looks like one of those MP3-derived CDs from "fly-by-night" Public Domain labels that are littering online music stores lately.) The track listing consists of 22 of the 24 tracks on the other CDs, though they have been conveniently reshuffled, and the disc has been renamed "Greatest Hits" for maximum luring effect.
     
  21. misterjones

    misterjones Smarter than the average bear.

    Location:
    New York, NY
    I have a couple of the ASV/Living Era issues (Connee Boswell and Anita O'Day). They seem to do a good job collecting older singers in a one-CD format.
     
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  22. toilet_doctor

    toilet_doctor "Rockin' chair's got me"

    Location:
    USA
    "Retrospective - The Label for Nostalgia & Vintage Jazz"

    Retrospective is an example of what one guy can do, if he is really passionate about music.
    Ridin'High, this is my second CD, I recommended from Perspective. (Please see Post #818 for the first one).
    I recommended a Retrospective CD, since it represents a very good value. I bought a few of them (some very obscure and neglected singers, never mentioned at the thread) and they all sound very good. The price of single CD never exceeded $ 10 (along with the shipping from UK). Not to mention an informative booklet with a nice essay.
    The transfer is masterfully done with particular attention to detail. I doubt that these old recordings will sound as transparent and smooth as their CD versions do in my system. I read one review of the record collector who provided materials for the CD production - he was impressed by the sound quality.
    I would not buy a whole series though, but some rare titles from the "prior LP" era.

    While amazon's CD-R is a rip-off for $15.99 with no booklet - just a folded piece of the paper inside.
    What I like about them: it's very easy to recognize - they all have a black and blue background around the cover - we should avoid them.

    Speaking about Martha Tilton, I'm lucky to have: The Complete Capitol Sessions (Collector's Choice) Universal 2000 2CD set - 44 tracks, remastered from analog sources. (There are two versions of my favorite 'I Should Care'). I would also like to recommend it, but now the price has soared.

    [​IMG]

    Martha was a beauty inside and out and the beauty of her soul comes to us through her voice:

    Where Flamingos Fly


    Time On My Hands
    Martha Tilton - Time On My Hands (1946)

    And Angels Cry
    The Angels Cried (Remastered)

    There is another good quality CD by Sepia Records, named 'The Coral Treasure' (2007; 5055122110965), but, unfortunately, materials overall are not too strong to recommend - completely gone anyway.

    A few better songs from it:

    Thinking of You
    Martha Tilton ~ Thinking of You

    I See A Million People
    I See A Million People

    Misirlou
    Misirlou

    There Isn't Very Much To Do Now
    There Isn't Very Much To Do Now
     
    Last edited: Jul 3, 2017
    Tribute likes this.
  23. toilet_doctor

    toilet_doctor "Rockin' chair's got me"

    Location:
    USA
    [​IMG]

    Here is a sample of the amazon's CD-R, which has no value. They put note:
    "About CD-R and DVD-R Media
    CD-Rs and DVD-Rs (the "R" stands for "recordable") look like the discs you're used to and offer the same audio and image quality. This recordable media is used to manufacture titles on demand, as fully authorized by the content provider.
    "

    Connie Haines

    Like Martha Tilton and Helen Forrest, Connie had an amazing voice on the cute side, I'm a big sucker for.
    I recently bought this original 1997 CD cheaper than amazon's CD-R is.

    [​IMG]
    Review:
    "Recorded at Radio Recorders, Hollywood, California on July 26 & 30, 1957. Originally released on Tops/Mayfair (9606S). Includes liner notes by Eliot Tiegel. All tracks have been digitally remastered.

    She was born Yvonne Marie JaMais but given her working name, Connie Haines, by Harry James ["You look like a Connie to me." - He said], when she joined his band in 1939 at the tender age of 15. After a stint with James, Haines, along with another young singer of some note, Frank Sinatra, went on to work with Tommy Dorsey making albums with Sinatra. She later appeared in films, and co-starred with Frankie Laine on a TV series for two seasons. Over the years, she made more than 200 records, including an album of Smokey Robinson songs for Motown Records. This album, originally made sometime during the 1950s for the now defunct Tops label, memorialized one of the most popular singers of her time, Helen Morgan. Although a star of George White's Scandals, she is best known for those torch songs she delivered with pained poignancy sitting atop the piano in her own nightclub. Many of these have been woven into the fabric of American popular song. Some of the cuts on the album are major productions where Lew Raymond's orchestra is augmented by strings. Haines powerful, big band-trained voice handles these tunes with ease. Then there are tracks where she is backed by a small group permitting her to show a softer, subtler side. One of the better of this variety is "They Didn't Believe Me," which has an excellent trumpet solo by an unidentified member of Raymond's aggregation. All in all, this album by a fine song stylist with a clear, pure voice paying tribute to one of the legends of the jazz age is recommended." ~ Dave Nathan

    The best of her materials, however, were recorded not with Tommy Dorsey, but with the Russ Case Orchestra, in my opinion.

    2008 Sepia Records CD 'Nightingale from Savannah' is long gone (the title refers to Savannah, Georgia, where Connie was born in 1921):

    [​IMG]

    [​IMG]

    Nevertheless, lucky we are CD 'Heart and Soul of Connie' by Audiophile Records (23 track from sessions recorded in 1950 and 1951) are widely available:

    [​IMG]

    She went through the hell in her life, being paralyzed more than one year in late 50's and injured her neck due to a car crash in 2002.
    Connie Haines died in 2008 at age 87, while her mother Mildred JaMais has died 16 month later, almost reaching mark of 111 years old.

    What Is This Thing Called Love?


    Georgia on Mind (love rhythm section here a lot - great, great version...)
    Georgia On My Mind

    Stormy Weather
    Stormy Weather

    My Man
    My Man

    Lover Man
    Lover Man

    He's Funny That Way (1946)
    He's Funny That Way (1946) - Connie Haines

    At Last
    At Last

    You Nearly Lose Your Mind
    You Nearly Lose Your Mind

    You Made Me Love You (comparison)
    Connie Haines
    You Made Me Love You
    Helen Forrest (I don't know, who I suppose to like more...)
    You Made Me Love You - Harry James / Helen Forrest

    I Let A Song Go Out Of My Heart (comparison)
    Connie Haines
    I Let A Song Go Out Of My Heart
    Martha Tilton (and again, I don't know, who I suppose to like more...)
    Benny goodman, Martha Tilton - I LET A SONG GO OUT OF MY HEART

    a few more:
    Isn't That Just Like Love?
    Connie Haines & Tommy Dorsey - Isn't That Just Like Love?

    Between the Devil and the Deep Blue Sea (1954)
    Connie Haines - Between the Devil and the Deep Blue Sea (1954)

    How Come You Do Me Like You Do
    How Come You Do Me Like You Do

    Tribute to Helen Morgan (complete album)
    Why Was I Born (Previously Unreleased)

    Helen Forrest, Martha Tilton, Connie Haines - I equally love them all.
     
    Last edited: Jul 3, 2017
  24. Ridin'High

    Ridin'High Forum Resident Thread Starter

    Point well taken. My impression is that it was by no means a strange occurrence in the world of jazz-pop music, though neither did it occur as frequently as in the blues world. Many cases involved side musicians. Ben Webster renamed himself "Francis Lowe" for a 1930s Mildred Bailey session at Columbia, and "A. Tenorman" for Carmen McRae's 1950s Birds of a Feather sessions at Decca. Bud Shank was reborn as "Bud Legge" for June Christy's Intimate album sessions, and as "George Spelvin" for her Got Rhythm dates. Red Nichols became "Red Loring" once while working with Julia Lee at Capitol, while Pete Candoli turned himself into "Cootie Chesterfield" while playing behind Peggy Lee at Decca. Whenever he recorded on piano outside of Capitol's premises, Nat King Cole seems to have used one in a string of fake names, some of them a bit obvious to us nowadays (e.g. "Nature Boy"). And so forth.

    Vocalists working under assumed names are harder to come by, but they did exist. A "Vera Lane" who recorded a couple of tunes with Teddy Wilson was actually Helen Ward. Harry James' recording of the film number "I Can't Begin to Tell You" features a vocal by "Ruth Haag" ... That's none other than Betty Grable (born Elizabeth Ruth Grable, and backed here by the man whose birthname was Harry Haag James). As with Ella's, those cases were probably motivated by contractual restrictions, too.

    Other cases seem to have had different or unique motivations. The "Susan Melton" who sings with Mel Tormé and the Meltones in the ca. 1950 Capitol version of his California Suite is actually Peggy Lee. Later on, when she vocalized behind Bobby Darin, Capitol registered her only under the name of "Mystery Singer." Then we have perhaps the best known, most successful case of assumed identity in the world of jazz & pop vocals: Miss Cinderella G. Stump, aka Mrs. Darlene Edwards.

    [​IMG] [​IMG]



    It's always interesting to find out how our ears and minds register any given singer. Next time I play her, I'll check if I too hear a resemblance to Patsy and/or Johnnie ... But, whatever you or I come up with, it won't top what jazz critic Will Friedwald heard when he gave a listen to some of her records: he heard ... pubic hair!!! (I'm not kidding. And yes, he meant that as a compliment.)

    I particularly enjoy one of the songbook albums that Connee recorded in the 1950s. This Decca compilation has some catchy numbers, too:

    [​IMG] [​IMG]

    For what is worth, we have had several posts about her in the past. Here they are:

     
    Last edited: Jul 5, 2017
    .crystalised. likes this.
  25. Ridin'High

    Ridin'High Forum Resident Thread Starter

    That is too bad; sorry to hear. This record label is unknown to me, but, after reading about your experience, I'll make sure to stay away from any Retrospective releases. (I can only imagine that it's one of the many European Public Domain labels that have proliferated in the last few years, and which are basically MP3 outfits. I mean, they "prepare" and sell MP3 versions of albums. As an alternative, they also offer CDs that are copied straight from their MP3 versions.)

    The best Perkins CD out there is likely to be this one:

    [​IMG] [​IMG]

    It's an official release, properly licensed and remastered, with fine liner notes and bonus tracks (though no "Moonlight Swim"). I think it's also the only Perkins CD ever released in the USA? (The other CD reissues of which I am aware are Japanese or from Fresh Sound in Spain.)


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    Interesting. More than half of these names are new to me (and, possibly, to many other USA-based forum members), which only goes on to show that this thread could go on for many, many more pages.

    Curiously, I came across a full website dedicated to this CD, too. Link: Canadian Divas. Bios of almost all the featured singers can be found there (as well as on the liner notes of the CD itself, I imagine).

    [​IMG]


    The name Sheila Graham sounded familiar, and I had to look it up. Turns out that I was thinking of gossip columnist Sheilah Graham, who did not make music records.

    I also checked Canada's Sheila in YouTube. She did have a pleasant sound.

    [​IMG]
     

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