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

That's exactly what I did.

They said "among her finest", and I tend to agree:
Maxine Sullivan Bob Wilber Close as Pages in a Book Audiophile Rec. 1987





I learned a lot from its tiny booklet:

 

Maxine was getting better with age in style and especially on an emotional level:

Too Many Tears (my favorite):



Gone with the Wind
Gone with the Wind

Darn That Dream
Darn That Dream

Restless
Restless

Harlem Butterfly
Harlem Butterfly

Rockin' in Rhythm
Rockin' in Rhythm

Despite that it's an old CD, it sounds very, very good,
and I highly recommend it.

 

Very Rare and Very Old Standard

Maxine Sullivan sings vintage Russian romance "Black Eyes" in two languages (arrangement by Claude Thornhill 1938), which became a standard as "Dark Eyes" (originally "Eyes of Black" or in Russian "Ochy Cheornye" - she sings in the end). "Re-released in 1939 to coincide with Maxine's appearance in the film 'St Louis Blues' were she sings a shortened version."



Louis Armstrong's jazz interpretation with made-up lyrics:
(The romance [lyrics] Ochy Cheornye was written by Eugen Grebinka, Ukrainian poet, in 1843 (Ukrain was part of Russia for so many years), music was written about 40 years later by Florian Hermann, (guy with German origins) - it is not a folk or Gypsy song, however, those eyes definitely were Gypsy's.
Louis Armstrong Ochi Chernyie (Dark eyes)

Beside Maxine, female singers rarely touched the song back then, since it meant to be sing by men (Feodor Chaliapin and Ivan Rebroff come to mind).

Here is English version closest (in performance) to original by Al Bowlly
"Albert "Al" Bowlly (7 January 1898 -- 17 April 1941) was a popular Jazz guitarist, singer, and crooner in the United Kingdom and later in the United States of America during the 1930s, making more than 1,000 recordings between 1927 and 1941.The evening of his death on 17 April 1941, Bowlly and Messene had just given a performance at the Rex Cinema in High Wycombe. Both were offered the opportunity of an overnight stay in the town, but Bowlly opted to take the last train home to his flat in Jermyn Street, London instead. Bowlly's decision proved to be fatal; he was killed by a Luftwaffe parachute mine which detonated outside his flat later that evening. Bowlly's body appeared unmarked: although the massive explosion had not disfigured him, it had blown his bedroom door off its hinges and the impact against his head proved fatal. Bowlly was buried with other bombing victims in a mass grave at the City of Westminster Cemetery, Uxbridge Road, Hanwell, London, where his name is spelled Albert Alex Bowlly." (comment)
Al Bowlly - Dark Eyes

Lyrics varies - this is closest to original:
"Oh, these gorgeous eyes, dark and glorious eyes,
Burn-with-passion eyes, how you hypnotize!
How I adore you so, how I fear you though,
Since I saw you glow! Now my spirit’s low!
Darkness yours conceal mighty fires real;
They my fate will seal: burn my soul with zeal!
But my love for you, when the time is due,
Will refresh anew like the morning dew!
No, not sad am I, nor so mad am I;
All my comforts lie in my destiny.
Just to realize my life’s worthiest prize
Did I sacrifice for those ardent eyes!"

Pola Negry was first, I believe, female singer who recorded this song in 1931.
("Pola Negri, born as Apolonia Chałupiec in a little town of Lipno, Poland. Pola was a daughter of a servant and the wandering tin-pans peddler. With such background, she was deprived of most of chances for a good start into life. However, her immensely ambitious mother took her daughter's fate in her hands. In 1902 they moved to Warsaw, where Pola joinded the dance and acting classes. Still as student, she drew attention of Kazimierz Hulewicz - vice-director of the United Theatres Of Warsaw -- who got her excellent debut as Klara, in the Polish comedy-classic "Śluby panieńskie" by Aleksander Fredro. After the success, Pola was contracted to the Grand Theatre in Warsaw, where -- already a star -- she performed until 1917. Simultaneously, she took roles in early silent movies in Poland. Having been offered contract in Germany, Apolonia changed her name, taking it from the Italian poetess, Ada Negri; also, when crossing Polish-German border she so skillfully arranged a little problem she had with the customs -- whose superior on duty was young & handsome count Eugeniusz Dąmbski -- that after several months she married him (to divorce two years later) and ever since signing herself as "Apolonia Countess Dąmbski". In Germany, Negri was casted by Ernst Lubitsch to serveral of his films, including internationally renowned Madame du Barry and Sumurun. These movies opened her the avenue to the USA. In 1922, she was the first European star to be invited to Hollywood, where she became one of the most popular Paramount actresses in the roles of "la tragedienne" or "femme fatale" (in the genre, she had keen competition with Gloria Swanson). Her more valuable movies include The Spanish Dancer with Rudolph Valentino or Forbidden Paradise with Rod La Rocque. But who knows, maybe more important than artistic achievements were her affairs with Charlie Chaplin and Rudolph Valentino, as well as her second marriage with the Georgian prince, Serge Mdivani. All that made her one of the most popular Hollywood actresses of the era, and certainly the richest woman of the film industry at the time. She lived in a mansion in Los Angeles modeled after the White House. She started several ladies' fashion trends, some of which are still fashion staples today, including red painted toenails, fur boots, and turbans. Her mysterious East European looks and the haute couture fashions made Negri a favorite photography subject of the famous Hollywood portrait photographers, including Eugene Robert Richee. However, the onset of the talkies meant decline for many silent movie goddesses, Pola Negri was no exception. Her 1920s looks and legend of the "East European aristocrat" was no longer effective in post-Great Depression society, no more needing spiritual dilemmas of the femmes fatales but swing and jolly fellows a la Mae West or Fred Astaire. Therefore, Pola Negri accepted the European contract, where her genre was still trendy: with the 3rd Reich's film empire UFA. The time when she appeared in nazi-film productions, although negatively charged to her reputation (especially as a Pole! ) artistically belongs to her heyday. Her roles in Mazurka (1935), Moskau-Shanghai (1936), Madame Bovary (1937) or Tango Notturno (1937 belong to her best. Also records she issued in Germany with immortal "Tango Notturno" or magnificent Peter Kreuder's "Ich spür in mir" will stay as diamonds in European archives. The thickening rumors around her, that she was of a Gypsy origin made Negri return to the US, shortly before outbreak of WW2. In 1940s, she appeared occassionally in American productions, yet her artistic career was coming to an end. Living in Texas in oblivion and having secured herself with a well developed brokerage firm, she never suffered from poverty until her death in 1987, in San Antonio. People who knew her -- especially Poles, who were always welcome to stay at her homes in America on in Riviera - all emphasize her generosity and open hearted character." (comment)
Pola Negri - Black Eyes (Ochi Chornyje) 1931

 

Thanks for the entertaining response and for the photo. She's certainly not the only talented singer who completely disappeared.

 

I’ve been incognito lately, so forgive me if I’ve already shared any of these. A few of my latest “out in the wild” finds over the past months.



- Jennie Smith

 

- Marlene Cord

 

- Peggy King

 

- Talya Ferro

 

- Connie Stevens

 

- Donna Hightower

 

- Georgia Brown

 

- Irma Curry

 

- Lorraine Ellison

 

- Ann Richards

 

This is a very good album, although I find the cover photograph unattractive. Ms. Smith was much prettier than she appears here. Her posture is rather awkward. The song "My Very Good Friend in the Looking Glass" is beautiful.



- Jennie Smith[/QUOTE]

 

I do not believe I had heard of this singer before I saw this. I like the cover, though. Sid Feller was a good arranger. I will check out her recordings.

 

[/QUOTE]
Jennie Smith was discussed in-depth starting from the Post #1539 and on, including her entire albums output and rare article Operation Jennie by Bruce Eder (provided by Jennie herself).
As for the cover, it's just a poor print quality. She was just 18 years old at the time.



Although my picture is better, it does not do her beauty right justice anyway (not sharp enough and some white spot on the face appeared out of nowhere).
I do have even unavailable on CD her 24-single collection.

Please check those posts out.

 

Nice find, Nathan. Donna Hightower and Talya Ferro are rare and new to the thread names.
Could you drop a couple words about these albums - what year, style and such... maybe some info from liner notes, would be nice.

 

“... Donna Hightower listened to singers such as Ella Fitzgerald, but never planned to have a singing career and by the age of 23 had been married, had two children, and divorced. While working in a diner in Chicago, she was heard singing by Bob Tillman, a reporter with the Chicago Defender newspaper, who then won her a booking as a singer at the Strand Hotel. Initially billed as Little Donna Hightower, she won a recording contract with Decca Records and recorded her first single, "I Ain't In The Mood", in 1951.”

“Gee, Baby Ain’t I Good to You” was released on Capitol Records in 1959. She only released six albums during her life, but only two during the time period we usually discuss in this forum, both from Capitol.

 

“...Talya had a dancing part in a production of “West Side Story” and then moved to New York City. One of her early jobs was as a dancer in late Dinah Washington’s revue in Chicago. In 1965 Talya started singing professionally at The Horn in Santa Monica, California. Early in 1967 she joined the trio of brazilian jazz organist Walter Wanderley...”

“Look at Me” came out in 1968 from MGM Records. It appears to be her only album.

 

I don't believe Lorraine Ellison belongs in this discussion. She is known as a passionate soul singer. Her hit, Stay with Me, is regarded as a soul classic in some circles. I first heard the song on the Rhino compilation from 1988, Soul Shots: A Collection of Sixties Soul Classics. Nevertheless, she is well worth taking a listen if you enjoy deep soul.

 

Thank you for your brief intro.
I liked Soul and still have Soul albums. I said still because I recently determined that I don't like them any more.

 

I'm curious: Why did you stop liking soul?

 

I wonder myself... I mean pure Soul (probably too sweet for me), but R&B is still OK.
not these:


but this:
Donna Hightower-I Ain't In The Mood

and this is totally fine:
https://www.youtube.com/watch?v=TFFA3SfPgsM

Decided to buy her 2009 Fresh Sound CD Take One! (2 albums):
"One of the highest tributes to any musician in a recording session is that he or she is a Take One artist. Donna Hightower is just that, a singer who delivers perfectly the first time she steps to the mike. In these late Fifties sides she demonstrated the phrasing, taste and skill which marked her as one the brightest new vocalist stars of the time. Backing her are two all-star groups conducted by Sid Feller and featuring some of the greatest soloists of the New York jazz scene, including Joe Wilder, Ben Webster, Hank Jones, Georgie Auld, Mundell Lowe, George Duvivier and Don Lamond."





Jazz never fails:
PERFIDIA - DONNA HIGHTOWER & BEN WEBSTER QUINTET

"Ms. Hightower passed on August 19th, 2013. She was 88 years old. She passed in her sleep. She had a long career singing in English (This World Today is a Mess), French (French version of My Boy Lollipop), German, and Spanish (El Vals de las Mariposas, Soy Feliz, Hoy Tan Bonita). Ms. Hightower lived in Austin, TX." (from the comment)
Lullabye of Birdland - Donna Hightower

 

P.S.
Please note: This Fresh Sound CD (above) more likely does not sound good.
I have most of them, and I can say: only those, which have a logo "24-bit Mastering", sound really good - the remastering started a few years later.
I bought some older ones out of desperation - they have no alternatives at all - like Julie Wilson 'Love', for example.

We have long, long way to go to discuss Fresh Sound and other so-called "grey market" releases, which now often sound better than originals.

P.P.S. Love the cover on 'Take One!' - Donna... she radiates...