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

The story didn't finish here...

 

In 2009 LPTime, Spain released this album in Mini LP with new remaster (factory pressed disc):









However, the story didn't end here either:

 

Warner Japan released this album last year with a new remaster by Parlofone in the series 'Jazz Masters Collection 1200', where 1200 means a price - 1200 yen (about $11). This is a limited SHM print and it is considered a low price release in Jewel case.







I compared both discs:
Speaking ahead, both discs stand firmly in the category "Very Good" with a fairly even sound.
Nevertheless, difference is and this is more on the personal side of the preference:
The LPTime disc sounds softer and warmer, more suitable for the Ilene Woods gentle style.
While the Warner disc has a better separation between the instruments, a little more air and sounds more 3-dimensional due to the SHM material, I believe. It sounds like Stereo, being a Mono 1956 recording.
Only in the Track #5 "What a Difference a Day Makes", where the sound has a bit of vocal brightness (on both discs), the difference between the two CDs was less obvious.

From a musical point of view, "Cinderella" did an excellent job.
Here is her stunning version of "While We're Young" with very tasty and supporting violins (rare thing). I didn't like this song much, but she convinced me otherwise, having reached the level of Rosemary Clooney.



Unfortunately, Japanese swept SHM release, but it's still can be found on eBay for $14.50.

 

Thanks for covering her, Eric. Your experience mirrors mine. I too bought that Kate Smith LP, and I too had an unexpectedly positive reaction to what I heard.

I bought it only because it was on Capitol (a fact that arose my curiosity) and because I came across a cheap copy ($2.99, which pleased my wallet) ... Actually, I simultaneously bought not one but two Capitol LPs by Kate:




Only when I got home did I realize that they were one and the same LP, with different artwork and an one-track substitution.

Let me clarify a bit further.

1) The album was first released in 1954, under the title TV Curtain Calls. Back then, it came in two formats: 10" LP and EP set. Those editions contain 8 tracks each. (See the 10" LP in the first of the images above.)

2) Some time in 1955 or 1956, TV Curtain Calls was reissued as a 12" LP. It has the same front cover, but differs from the earlier editions in the inclusion of 4 more songs, for a total of 12 tracks. (This 12" LP edition is the one that I bought. If I included above an image of the 10" LP, it was only because I could not locate an online picture of the 12" LP, and I don't have a scanner with which to scan my own copy.)

3) The album was reissued in 1957, as a 12" LP with a different cover and different title (Kate Smith). That's the edition that Eric and I too have. It contains 12 tracks. One track is different, however, from the 12" LP edition of TV Curtain Calls: "Ridin High" can be found in Kate Smith only, while "Somebody Loves Me" can be found in TV Curtain Calls only.

4) For those who might want to listen and own the entire 13-track released output, one option is the following CD, on the budget label Curb:



5) There are three more Capitol songs by Kate Smith that remain unissued. All of them were conducted by Nelson Riddle as well, and all are from the same session that produced "Ridin' High."

I'd be lying if I said that I am a fan of Kate's voice or style. I do agree, though, that some of her early songs have an appealing dose of pizzaz. And, as I mentioned earlier, I was definitely if uncharacteristically pleased by her Capitol work -- thanks at least in part to the backing of Nelson Riddle.

YouTube offers an interesting opportunity to hear how Kate approached an uptempo interpretation with and without Nelson Riddle. Here is a TV version of "Ridin' High":



And here is the Capitol version of the same song, with Riddle:

Ridin' High

Both are a bit loud and brassy. Musically, I find the Riddle version far more interesting than the other one.

 

To keep continuity, here are the earlier messages about Susannah, posted last year. (One is a reply from John B. Good; the other two are from me.)




Sweetest Sounds was Susannah Young's very first recording ... and also her last. What a shame. In her one and only outing, this British tympanist proved to be a tasteful, smart, tuneful, melodious -- in a word, solid -- singer.

The album was originally released in the United Kingdom (1966), then in the United States (1967). It's interesting to see not only the change of artwork but also the re-organization of the track listing:



I highly appreciate her version of "Witchcraft." Half way through it, you will hear the song's verse ("... Lucretia Borgia ...") which was not sung by Frank Sinatra, nor by those who covered the song in the wake of Frank's top 20 hit version. Here's Susannah's vocal:



(Cy Coleman, the song's composer, also sang this verse, and placed it in the middle as well. Meanwhile, Ella Fitzgerald sang it at the beginning. I actually like it best in the middle.)

Since "Witchcraft" is an uptempo, and starts off the American version of the album, let me also showcase a ballad from the LP. Here is the track with which the British version of the album opens: Susannah Young...."Lazy Afternoon" »

While we are at it, let's also add the informative liner notes to this thread.

 

The pictures of an album by Ilene Woods (at the top of this page) reminded me of this other album, pictured right above. My mind mixes up these two albums because both were originally released on the Jubilee label, both are from around the same year, and both have a lot of green coloring in their respective front covers. If memory serves, the vaseline-dipped front cover of DeLovely Delys actually won a photography award.

DeLovely Delys has been reissued in Japan. Here is the 1997 EMI-Roulette CD issue:




Decades earlier, in 1986, Audiophile had also released what looked like a reissue:



Well, guess what: despite having the same title and front cover, the Audiophile LP is not a reissue of the Jubilee LP. Instead, it is basically a new album of songs that Ms. DeLys is said to have recorded in the 1960s and 1970s. Of the 13 Audiophile numbers, only 3 are titles also found among the 12 tracks of the Jubilee LP. (They might or might not be the same three versions. I haven't checked.)

The Audiophile LP has also been issued on CD, by Audiophile itself, as a twofer with an awful front cover:



Let's now talk about the singer, whose stage name was spelled for some time as Helayne DeLys, and for another period of time as Helen Delys. Eventually, she went just by "DeLys."

The daughter of a major newspaper publisher and a vaudeville songstress, New Jersey-born DeLys spent some of her lifetime working in advertisement and public relations, but also enjoyed a minor career in music. In high school, she led her own all-boy band.

From those dealings with boys, she graduated to playing piano and singing in the cabaret circuits of New York and Rome. Her Roman times involved working at the establishment of a celebrated European cabaret personality, Bricktop, for whom DeLys also served as manager for a while.

Along with some single(s) for MGM, the Jubilee and Audiophile albums seem to complete this singer's entire output on record. Those who knew DeLys seem to remember her more for her classiness and generosity than for her singing and interpretive skills.

One of the two or three men whom she married was a famous Italian boxer:




Tiberio Mitri. They named their one daughter Tiberia.

 

I enjoy your posts a lot... Keep it this way, Ridin'High. Good job!

 

I think Anne Phillips deserves more to talk about her:



Born Anne Latta Dinsmore, 17 February 1935, Philadelphia. As a child, Anne played piano by ear non-stop, later studying piano and voice. She attended Oberlin College, singing with the college big band. After attending the New England Conservatory, she relocated to New York City. There, she performed on a number of live TV shows. At the time she sang a lot of demo songs for songwriters.

Her 1959 debut Born To Be Blue resulted in a highly successful career in the studios. Anne became one of the most respected and in-demand studio performers in the music business in NY City. Throughout the 60's, she wrote, arranged and produced commercials for the American Gas, Kent, Campbell, Pepsi and others. She sang in backing groups on countless recording sessions. Anne formed her own choir for recording and broadcasting. She wrote lyrics and music for The Great Grey Ghost Of Old Spook Lane, a children’s show that has been produced by many theatrical groups. Her husband, tenor saxophonist Bob Kindred took part in some of her projects.
From the early 90's, she directs and arranges for the NYU Jazz Choir. From 2000, she returned to an own-name recording session and was active in numerous projects.

The Story Behind Born To Be Blue Album
(in her own words)


"Born To Be Blue" happens to be a positively gorgeous and sublime female vocal album with a top jazz rhythm section, trumpet, sax and strings.
Trust me, this tasty album will quickly become one of the finest and warmest female vocal albums in your collection. It's particularly perfect for an autumn evening." -- Marc Myers (Oct. 25, 2011)


"When I came to New York in 1954, I started out singing and playing piano in clubs. At some point I heard you could make decent money singing demos for songwriters. Back in the '50s, writers would compose songs and then take them to publishers. If a publisher liked a song, it would pay to have a demonstration recording made. Once it had the demo record, the publisher would submit it to a singer with hopes that the artist would record the song on his or her next session. Hot pop singers back then included Connie Francis, Perry Como, Steve Lawrence and Johnny Mathis.


[Photo of Anne Phillips in the studio listening to a playback courtesy of Anne Phillips]

I was a quick study. I found I could record a demo in an hour with piano, bass, drums, guitar and, if necessary, back-up voices, which actually meant one singer overdubbing his or her voice twice, from one mono machine to another. Back then, there were no separate tracks. You ran the tape and sang over it while another machine taped the result.

There were three small studios in New York that were busy all day making these demos: Associated, Allegro and Dick Charles, which was on 7th Ave at about 50th St. Most of the demos I did were for people like Burt Bacharach and Rod McKuen and new young writers like Carole King and Gerry Goffin, Jeff Barry and Ellie Greenwich, and Barry Mann and Cynthia Weil.

But one demo session turned out a little differently from the rest. In 1958, I was called in to sing demos for three songs by a composer named Vladimir Selinsky. He composed music for a weekly TV drama show called The Kraft Theater. Words were added to some of his themes by lyricist Walter Marks. The songs were beautiful and very unusual.

Several months after the session, I got a call from Dick Charles, in whose studio we had recorded the demos. He told me to call Joe Reisman, who was one of Roulette Records' top pop producers. I learned later that Joe had called Dick Charles and said, 'I can’t use the songs you sent over—but who was that singer?'
When I called Joe, he said he had a song in his files called Lonelyville and had been waiting for the right singer to come along. Then he told me he wanted me to record an entire pop album. He called in a magnificent arranger, Kermit Levinsky, to write for the session and let us pick the other tunes.

We recorded the album in 1959 over three, three-hour sessions at Bell Sound Studio—four tunes on each session. I sang with the world’s greatest musicians: Doc Severinsen on trumpet, Kermit’s brother Walt Levinsky on alto, 10 strings and a magnificent rhythm section: Bernie Leighton on piano, George Duvivier or Milt Hinton on bass, Osie Johnson on drums, and Barry Galbraith or Mundell Lowe on guitar.


[Photo of Anne Phillips and Kermit Levinsky reviewing an arrangement, courtesy of Anne Phillips]

"I was in the same room with the musicians, surrounded only by a gobo [an acoustic screen]. We recorded onto two-track stereo—no editing, no fixing in the mix, no Pro-Tools, no pitch correction, no nothing. It was all live
The first tune on the first session was For Heaven’s Sake. It started with me alone singing 'For heaven's sake…' followed by those luscious strings. What they heard next in the booth from me after was hilarious—a croaking second line '… let's fall in love…' I could hardly get a sound out I was so excited. After I got over the initial thrilling shock, we did another take and the session went smoothly.
At the end of the song's first run-through, a beautiful thing happened. Every musician in the room put his instrument down and applauded—not for me but for Kermit. Some years later I learned that Kermit had been 'ghosting' for many arrangers for some time. I think this was his first session with his name on the work, and the musicians were overjoyed for him.

The album was pressed but not yet packaged when Joe discovered that someone else had recorded Lonelyville as a title song. So he had Lonleyville flipped to the B-side of the single and Born to Be Blue became the A-side. I was much happier with that. Many years later I met Bob Wells, the song's lyricist who composed extensively with Mel Torme. He told me that my recording of the song was his favorite. That gave me chills.



Born to Be Blue received great reviews when it came out later that year. This was from Billboard:
'Miss Phillips has a willowy, wistful sound that is used to listenable effect on an attractive group of tunes. Sparked by Kermit Levinsky’s fine arrangements she registers well on the album title tune, You Don’t Know What Love Is, There Will Never Be Another You, etc. Her phrasing is good and her approach to a song doesn’t invite comparison. A talent to watch.'

"Curiously, when I re-released the album a few years ago, it again received glowing reviews, even in People:
'Imagine: Britney and the Backstreet boys wake up tomorrow to find that a brand new genre of music has swept them from the pop charts, rendering them overnight has-beens. Impossible … or wishful thinking? Well, that’s precisely what happened to a generation of breathy balladeers whose dominance of the 1950’s hit parade ended abruptly with the coming of rock and roll. Despite a few worshipful reviews, this album was shelved along with Anne Phillips’ pop dream shortly after its release. Although it lacks the essential ingredient that made rock and roll … this reissue is a lovely reminder of how dreamy pop once was. Bottom Line: Sublime. —Steve Dougherty'

"With the rise of rock, my album days were over. But I continued to be in demand for record demos and background singing on pop singles throughout the '60s. For instance, I sang all the other voices on Carole King's It Might as Well Rain Until September in 1962. Carole was about seven months pregnant at the time, and I was eight months along.


[Photo from the session]

The session was supposed to last from 7 to 10 p.m. but went until 3 a.m. When the session finally ended, I went into what turned out to be false labor. My son Alec likes to say he was almost born on a Carole King recording date.

Some years later when I took my kids to see Leader of the Pack on Broadway with songwriter Ellie Greenwich, Ellie said to them, 'I'm your pre-natal influence.' She wasn't too far off!" -- Marc Myers (author of "Anatomy of a Song" and "Why Jazz Happened")

The story of the Burn To Be Blue didn't end here:

 

LPTime, Spain released the album In 2010 with new remaster (factory pressed disc).









But again, the story indeed continued:

 

Yes again, Warner Japan re-released this Roulette album in his 'Jazz Masters Collection 1200' series this year, using Parlofone mastering system and SHM limited pressing.







I was happy to compare both discs:

Anne Phillips Born To Be Blue 2010 LPTIME, Spain Mini LP CD vs. 2017 Warner Japan SHM-CD

Review
I started with LPTime disc. From the first notes it strikes with open, airy and well-balanced sound. Especially impressive were the huge soundstage and deep bass, as on my best reference CDs. I was about to put this CD in "The Best" category, but the brightness of the trebles pushed it down on the border with "Very Good" section. It was not so awful, but it's noticeable in the vocals, and in the Track #11 "It Could Happen To You" in the string section - some harshness of the violins, who took the leading role for a moment in peak power, appeared.

The same thing happened with Warner's disc: neither the 2017 remaster, nor the SHM pressing did not fix the trebles' issue. Such a track-by-track similarity in the sound of both discs gives me an idea that this problem probably lies in the recording itself. Although they didn't say anything in the credit notes, I suspect that both labels used the so-called Flat Transfer from Original Master tape, which sounds great when tape was rightly done. (Given the large number of CDs they remastered-"unremastered" for the short period of time, the flat transfer does make sense).

This applies to trebles, but the mid-range and the lower end were excellent on both discs.

Was the sound of SHM different? Yes, and the difference was in the sound presentation. No blind test was required.
The SHM had more immediate sound with a faster bass, better separation and overall more sharper and precise "image".
The Mini LP sounded warmer, ambient and slightly laid back against the SHM, but it served perfectly to the Anne's "blue warm brandy" approach.
In this comparison, SHM did not beat Mini LP in the depth of the soundstage (as it did in many other cases) due to the fact that in both discs sound filled up entire (17' x 23') living room wall-to-wall.

Speaking of music, many good words have been said about this album in the last 58 years...
After listening to it again, let's say shorter: a beautiful voice + great arrangements...

The couple of my favorites:



Anne Phillips You Don't Know What Love Is

Conclusion:
Despite one drawback, both CDs are highly recommended.
If Ilene Woods "It's Late" (see Post #1152) in Mono sounds like Stereo, this pair in Stereo sounds like Surround Sound... yes, Natural Surround Sound.

System used:
Player: Cary Audio 360 Pro SACD
Power amp: Coda Technologies 'KiloWatt Monoblocks'
Preamp: Coda Technologies
Speakers: B&W Nautilus 802
Interconnects: Acoustic Zen Absolute Silver
Speaker Cables: Acoustic Zen Absolute Silver Shotgun

P.S.
There is a chance to jump into the last train to buy this album from the Japanese retailers on eBay for $14.50

 

I think I’ve mentioned this before, and supposedly according to Anne she retains (one of?) the master(s), which is how she’s able to do this... She still sells Born to Be Blue on CD at CD Baby (along with her other recordings.) So while the jacket sleeve reproduction might not be as crisp, etc. you’re actually supporting the original artist instead of just giving your money to some faceless company. Just my two cents!

CD Baby Mobile

 

Plus shipping and handling.

Whenever you order from CD Baby, they have a celebration. The following is taken from a typical email I get after ordering from them. No wonder shipping is expensive these days:

"Your CDs have been gently taken from our CD Baby shelves with sterilized contamination-free gloves and placed onto a satin pillow.

A team of 50 employees inspected your CDs and polished them to make sure they were in the best possible condition before mailing. Our world-renowned packing specialist lit a local artisan candle and a hush fell over the crowd as he put your CDs into the finest gold-lined box that money can buy.

We all had a wonderful celebration afterwards and the whole party marched down the street to the post office where the entire town of Portland waved "Bon Voyage!" to your package, on its way to you, in our private CD Baby jet on this day, August 11, 2016.

We hope you had a wonderful time shopping at CD Baby. In commemoration, we have placed your picture on our wall as "Customer of the Year." We're all exhausted but can't wait for you to come back to CDBABY.COM!!

Thank you, thank you, thank you!"

 

- That’s cute!

Shipping is insane for anything today. I’m flabbergasted at all the $12-18 shipping charges on eBay for vinyl anymore!

 

In the past, it had to be a very rare LP for me to pay $10 just for the LP alone.

 

June Christy!

 

I would not be surprised if that is a consequence of all the people who continually return vinyl. Plus those cardboard boxes themselves cost more than the record used to cost in a used shop

 

Thanks for all the posts in recent times .........really makes me pay more attention to those records in the thrift store bins that you think are all easy listening hell but on occasion turn out to be pure heaven.
I recently picked up a soundtrack 'Murder Inc.' featuring Sarah Vaughn for 10 cents , in the middle of the devil's own vinyl spawn .
I really love the background stories on these wonderful lost artists.

 

Sometimes those budget sampler albums with generic covers pressed on brittle plastic have some incredible performances too.

 

It Is Time to Move On


Audiophiles - people who are sick with Audiophilia
(from my unpublished book "Audiophilia")



I didn't know about CDBaby, but even if I knew...

Sorry, I did not warn you, guys, but I am a man, deeply sick with a dangerous mental illness called Audiophilia.
All Audiophiles believe in one illusory idea: Sound Reproduction can finally achieve the quality of Live Performance.

Thus, all these sick people are wasting their money to put together their dream-system, constantly upgrading it, selling old components at half price. Some of them are stuck in this process forever, since they cannot stand do not buy new models. This whole Game is named High-End Audio or simply Hi-End. Other people take advantage of these poor sick people by manufacturing and selling those models. And the rule is: for each 20% of improvement you have to pay min twice.
Hi-End Shows, Listening session, Seminars, Magazines, Golden Ear, Awards, Books, Guides, Stores, Personal contacts, Individual orders, Custom-built, Hand-made, KiloWatt Monolocks, From the best available materials, Solid Aluminum Casing, Motorized Volume Control, No-compromise-design, Price-no-object, 30 days free rent, 20 years warranty, Kevlar, Beryllium, Continuum, Diamond Tweeter, Cables Library, Burn-in Machine, Cryogenic Treatment, Solid Core, Single Crystal Cooper, Single Crystal Silver, Teflon Dielectric, Seismic Podium, Clean Power - all of this stuff just to suck your money from your pockets.

As a rule, women have immunity to this disease for many reasons. The number of ladies somehow involved in this disorder is so small that it should be omitted. And they can never go as far as men do: put their habits ahead of the family, friends, business and work.

Another crazy idea that stuck in Audiophile's head forever:
You must update your CD collection to the best sounding digital copy.

Music industry is taking care of Audiophiles in this respect very meticulously: HDCD, K2HD, XRCD24, DXD, DSD, 24-K Gold CD, SACD, 5.1 SACD, SHM-CD, SHM-SACD, HQCD, Ultimate HQCD, Platinum SHM-CD, 32-bit UltraCD, Blu-specCD2, DVD-A, Blu-ray Audio, Crystal Disc CD, Deluxe Limited Edition, Super Deluxe, Mini LP CD, Promo Boxes, Exceptional Craftsmanship and Print quality, Gate-fold Covers, Only-Japanese-can-do, Pleasure-to-hold-it-in-hands and the other Hold-Your-Pocket-Wider CDs. Did I mention HI-Res HDTracks, Colorful and Initial Pressing LPs?

The thing is:
Of course, we must first support an original artists.
But in my twisted mind priority always goes to the best sound. And my support automatically goes to those who invested in a new releases, those who put part of their soul in a new remaster, tape research and restoration, Artwork, new covers, and supervised every step from the stamper to printing of the small line of product.
There is no way that the "sick-o", like me, would prefer the 2006 CDBaby version for $15 over the Japan SHM-CD with new 2017 Remaster at the same or even cheaper price. Sorry about that...

I like what Anne did in 2006, and CDBaby releases mostly have a good sound. But 11 years have passed - it's time to move on...

 

Sounds like a disease that all of us are in risk of contracting at any minute!

Talking about research and treatment, I need to make a "consultation" with you, Toilet Doctor. I gather that you read Japanese, right? In the following thread:

Looking for more info: Japanese boxed sets Capitol Jazz Classics/Vocal Classics (Japan, 1991-1992)

another forum member and I have expressed curiosity about two Japanese CDs sets, including one called Jazz Vocal Classics. We are wondering who was the mastering engineer, etc. (Unfortunately, no photos of the CD's booklet have been provided. That's too bad, because the booklet is probably where we may find specific information about the mastering. At least, I did find a photo of the back cover, and posted it there; perhaps there is some interesting information at the bottom of that back cover.)

And thank you, Toilet Doctor, for your kind words, in one of your posts above.

Florandia, you have a hot item in your hands. That's a LP worth holding on to -- or, alternatively, worth selling to some big fan of Sarah, and/or a fan of movie soundtracks in general. It is a rarity. As explained by YouTube uploader Michael McKenna:

These performances by Sarah Vaughan - taken from the soundtrack of (and her appearance in) the 20th Century Fox film "Murder Inc." from 1960 - are two of the rarest Vaughan vocals captured on wax - primarily because of the scarcity and almost total unavailability of the soundtrack album.

At the time of the film's production and the album's release - Miss Vaughan was under an exclusive recording contract with Roulette Records. When the small Canadian-American label (Santo & Johnny; Linda Scott, etc.) procured the rights to the soundtrack of the "Murder Inc." film, they were unaware of Miss Vaughan's exclusive Roulette contract. Upon the album's release, Roulette took the film's producer and 20th Century Fox to court (but interestingly enough, not the Canadian-American label), and when the judge subsequently found in favor of Roulette, it was agreed that the "Murder, Inc." albums already issued could remain on the market, but NO additional pressings could be manufactured or distributed by Canadian-American after a certain date. Thus, the scarcity of this album has made it a true collector's item, for both soundtrack fans and Sarah Vaughan collectors. While the Canadian-American label remained in business for another 7 years or so, they were strictly prohibited from pressing any additional copies of this LP.​

Here is the trailer of the movie, with all its talk about hoodlums and babes, as well as a snippet of Sarah, in the act of singing:



And, from the above-quoted YouTube uploader, here are Sarah's soundtrack performances: The Awakening / Fan My Brow.




While we are on this off-topic discussion, let me also mention, in passing, a recently published list of best jazz singers, in which Sarah ranked #5. If curious, check this thread:

The 50 Best Jazz Singers Of All Time

 

Ridin'High, you said it right: there is no credit info on the box.
Although I speak in 3 languages, none of them is Japanese. To translate from Japanese, I just copy Japanese text into the Goggle translator.

 

Cora Lee Day
(1914-1996)


"They are beautiful and talented. And I appreciate whatever they decided to use their talent.
Whether they go in their own distinctive way or inspired by someone else,
or completely transform themselves into the another artist.
They touch my soul and that is main thing."
(from the Post #895)



I want to introduce one of my favorite and a new to the thread singer, one time shooter Cora Lee Day.
I didn't quoted these two posts accidentally: if Marilyn Moore is my Billie No.2, Cora Lee Day is my Billie No. 3.

Cora Lee Day was born on April 15, 1914. She was an actress, known for Passing Through (1977), Fun with Dick and Jane (1977), Bush Mama (1979), Grand Canyon (1991), My Brother Wedding (1991), One Good Cop (1991), Daughters of the Dust (1992),What's Love Got To Do With It (1993) and She also appeared on many TV shows. She died on November 1, 1996 in Sarasota, Florida, USA.

This is all the info I only could find on Cora Lee Day. Is not it crazy?
To tell more, I found pictures of Cora Lee only from her 70's and 90's movies:


Core Lee (left) at 65 in the film "Bush Mama" (1979)

I do not know if it's true or not, but I read in a review on one Japanese site that Cora Lee was seen by someone from Roulette at some musical event where she impersonated Billy Holiday and this led to the album "My Crying Hour". At that time she was 46 years old. And this is just a picture of her, I could find - on the cover of the album. There are no pictures of Cora Lee at her younger age.
Cora Lee could not start earlier, because, as Marilyn Moore said, "I sing how I feel," and Cora Lee felt like Billy Holiday. But unlike Marilyn, she did not dare to express her feelings while Billy was alive.

Billie did not like when famous singers took her signature songs, but she was amazed at how Marilyn Moore had so deeply immersed herself in her soul that she could regenerate it. It was something surreal, like magic...
(By the way, the same thing happened to Julie Wilson - my Billie No.4)
The same was with Cora Lee Day.
[People still don't know the mechanism of how this kind of energy, called Spiritual Energy or Soul, works; how it transforms from different kinds of energy by our brain. They still cannot detect it like they couldn't detect X-Ray 200 years ago. But the existence of Art proves the existence of the Soul.]

My Crying Hour

From the liner notes:
"Cora Lee Day is a new discovery destined for greatness. Here is a voice that is unlike any other being heard today on a records; a voice so unique, a style so different as to immediately catch your attention and make you sit up and take notice.
There can be no mistaking the voice of Core Lee Day; you can get away from that remarkable, intangible quality that singles her out as a rare-find on the jazz scene today.
There is no question but that Cora Lee bears a striking vocal resemblance to another legendary "Day" - the immortal "Lady Day", Billie Holiday. This resemblance is truly a sincere coincidence - so much that even Cora Lee family's name happens to be Day. The resemblance, however, can only be carried so far. You will discover as you listen that Cora Lee has evolved a style of her own which is distinct and which comes from deep within herself. It expresses her own personality and empathy within the lyrics and melodic structure of the songs.
In this her debut album, Cora Lee moves from a small orchestra, with arrangement by Jerry Valentine to a small jazz combo backing, with sketched arrangement by Jimmie Jones, giving musicians plenty of room for improvisation. And they takes a solid advantage of Jimmy's sketches...
Cora Lee Day is a voice you will be hearing from for a long time to come.
Her haunting, unforgettable first album makes this Crying Hour her triumphant, shining hour..."

At first, I was stunned by the resemblance of Billie Holiday, they mentioned, which is a dominant here. But after more and more listening, I began to understand what they are talking about - "her own personality within the melodic structure of the songs".

Personals:
Cora Lee Day(vo), Harry Edison(tp), Illinois Jacquet(ts), Jimmy Jones(p), Barry Galbraith(g), Eddie Jones(b), Osie Johnson(ds)
Recorded in New York City, June 1960. Originally Issued on Roulette SR-52048.

Tracklist:
1.My Crying Hour 2.When Your Lover Has Gone 3.Trouble Is A Man 4.The Very Thought Of You 5.I See A Million People 6.Ainft No Use 7.It Isn't Fair 8.You taught Me How To Cry 9.Weeping Willow 10.Try A Little Tenderness 11.I'm Gonna Laugh You Out Of My Life 12.The Masquerade Is Over

Unfortunatelly, there are only 3 samplers on youtube. The first one is one of my favorite. But there are at least 5 more at the same level, I'd like to post here. However the rest are not so far behind.

The Very Thought Of You
(Here is a picture of Cora Lee at 78 in the movie Daughters of the Dust (1992)
Cora Lee Day - The very thought of you - Female Voices 1103

When Your Lover Has Gone
Cora Lee Day

Cora Lee Day - Trouble Is A Man









Both CDs, I am lucky to have, are in Stereo and sound very good (similar to Ilene Woods CDs - Post #1153) , while 2011 LPTime Mini LP is a CD-R.
2017 Warner remaster in 'Jazz Master Collection 1200' series is highly recommended.

I found great deal on 2017 CD from the big retailer importcds through eBay for $14.78 with free shipping:
Cora Lee Day - My Crying Hour [New CD] Shm CD, Japan - Import 4943674257256 | eBay

 

RevUp64 said: ↑
From 1956. I haven't been able to find out anything about Martha Hayes, but this album is gorgeous and has one of the best renditions of "Black Coffee" I've heard.

Warner included this album in his 'Jazz Master Collection 1200' series with 2017 remaster on SHM - sound is very good:







I didn't get into her from the first listening - only partially. Than, after two more tries, things were getting better. I even can point to the couple of highlights: excellent version of Little Girl Blue and Yesterday.

Please try from 24:30 on (nice piano there by Steve Foster):


Only month ago all these CD were available in Japan - not anymore. But they reappear at the retailer's stores with great price $14.29 + free shipping:
Martha Hayes - Hayes Named Martha [New CD] Shm CD, Japan - Import 4943674257263 | eBay
and now with a deal: buy 1 and get 3 more at 15% off - I do this all the time.

 

Let's talk about Marry Ann McCall more:

 

As I recall, Mary Ann McCall is all over one of the Mosaic Woody Herman Boxsets.

The Wikipedia article on her is minimal. Maybe someone here can add to it!