Nancy Wilson

February 20, 1937, Nancy Wilson was the first of six children born to Olden Wilson (iron foundry worker) and Lillian Ryan (domestic worker) in Chillicothe, Ohio.  Nancy's father would buy records to listen to at home. At an early age Nancy heard recordings from Billy Eckstine, Nat Cole, and Jimmy Scott with Lionel Hampton's Big Band. Nancy says: "The juke joint down on the block had a great jukebox and there I heard Dinah Washington, Ruth Brown, LaVerne Baker, Little Esther".  Wilson became aware of her talent while singing in church choirs, imitating singers as a young child,and performing in her grandmother's house during summer visits.  By the age of four, she knew she would eventually become a singer.

At the age of 15, while a student at West High School (Columbus, Ohio), she won a talent contest sponsored by local television station WTVN. The prize was an appearance on a twice-a-week television show, Skyline Melodies, which she ended up hosting.  She also worked clubs on the east side and north side of Columbus, Ohio, from the age of 15 until she graduated from West High School, at age 17.
Unsure of her future as an entertainer, she entered college to pursue teaching. She spent one year at Ohio's Central State College (now Central State University) before dropping out and following her original ambitions. She auditioned and won a spot with Rusty Bryant's Carolyn Club Big Band in 1956. She toured with them throughout Canada and the Midwest in 1956 to 1958.  While in this group, Nancy made her first recording under Dots Records.
[From Wikipedia]


         Nancy Wilson - Jazz Scene USA 1962 - Complete Show


When Nancy met Julian "Cannonball" Adderley, he suggested that she should move to New York City, believing that the big city would be the venue in which her career could bloom. In 1959, she relocated to New York with a goal of obtaining Cannonball’s manager John Levy as her manager and Capitol Records as her label.  Within four weeks of her arrival in New York she got her first big break, a call to fill in for Irene Reid at "The Blue Morocco". The club booked Wilson on a permanent basis; she was singing four nights a week and working as a secretary for the New York Institute of Technology during the day. John Levy sent demos "Guess Who I Saw Today", "Sometimes I’m Happy", and two other songs to Capitol. Capitol Records signed her in 1960.

Nancy’s debut single, "Guess Who I Saw Today", was so successful that between April 1960 and July 1962 Capitol Records released five Nancy Wilson albums. Her first album, Like in Love, displayed her talent in Rhythm and Blues, with the hit R&B song "Save Your Love for Me." Adderley suggested that she should steer away from her original pop style and gear her music toward jazz and ballads.  In 1962, they collaborated, producing the album Nancy Wilson and Cannonball Adderley, which propelled her to national prominence, and Wilson would later appear on Adderley's live album In Person (1968). Between March 1964 and June 1965, four of Wilson's albums hit the Top 10 on Billboard's Top LPs chart. In 1963 "Tell Me The Truth" became her first truly major hit, leading up to her performance at the Coconut Grove in 1964 – the turning point of her career, garnering critical acclaim from coast to coast.  TIME said of her, "She is, all at once, both cool and sweet, both singer and storyteller."  In 1964 Nancy released what became her most successful hit on the Billboard Hot 100 with "(You Don't Know) How Glad I Am", which peaked at No. 11. From 1963 to 1971 Wilson logged eleven songs on the Hot 100, including two Christmas singles. However, "Face It Girl, It's Over" was the only remaining non-Christmas song to crack the Top 40 for Wilson (#29, in 1968)
[From Wikipedia]
           NANCY WILSON - (YOU DON'T KNOW) HOW GLAD I AM 


          Nancy Wilson, The Emotions - Don't Ask My Neighbors


          NANCY WILSON LIVE - GUESS WHO I SAW TODAY

After making numerous television guest appearances, Wilson eventually got her own series on NBC, The Nancy Wilson Show (1967–1968), which won an Emmy in 1975. Over the years she has appeared on many popular television shows from I Spy (more or less playing herself as a Las Vegas singer in the 1966 episode "Lori," and a similar character in the 1973 episode "The Confession" of The F.B.I. ), Room 222, Hawaii Five-O, Police Story, The Jack Paar Program, The Sammy Davis, Jr. Show (1966), The Danny Kaye Show, The Smothers Brothers Comedy Hour, Kraft Music Hall, The Sinbad Show,  The Cosby Show, The Andy Williams Show, The Carol Burnett Show, Soul Food, New York Undercover, and recently Moesha, and The Parkers. She also appeared on The Ed Sullivan Show, The Merv Griffith Show, The Tonight Show, The Arsenio Hall Show and The Flip Wilson Show.  She was in the 1993 Robert Townsend's The Meteor Man and in the film, The Big Score. She also appeared on The Lou Rawls Parade of Stars and the March of Dime Telethon.  She was signed by Capitol records in the late 1970s and in an attempt to broaden her appeal she cut the album Life, Love and Harmony, an album of soulful, funky dance cuts that included the track "Sunshine", which was to become one of her most sought-after recordings (albeit among supporters of the rare soul scene with whom she would not usually register).
[From Wikipedia]
          Nancy Wilson (Someone to Watch Over Me)


         Satin Doll / Count Basie Orchestra Live in Tokyo 1985

Wilson married her first husband, drummer Kenny Dennis, in 1960. In 1963, their son, Kenneth (Kacy) Dennis, Jr., was born, and by 1970, they divorced. On May 22, 1973, she married a Presbyterian minister, the Reverend Wiley Burton. She gave birth to Samantha Burton in 1975, and the couple adopted Sheryl Burton in 1976. As a result of her marriage, she abstained from performing in various venues, such as supper clubs. In this decade, she focused on her family, relocating to Pioneertown, California, to raise her children in a rural setting.
For the following two decades, she successfully juggled her personal life and her career. In November 1998, both of her parents died: she calls this year the most difficult of her life.  In August 2006, Wilson was hospitalized with anemia and potassium deficiency, and was on I.V. sustenance while undergoing a complete battery of tests. She was unable to attend the UNCF Evening of Stars Tribute to Aretha Franklin and had to cancel an engagement. All of her other engagements were on hold, pending doctors’ reports for that month. In March 2008, she was hospitalized for lung complications, recovered and claimed to be doing well. In the same year, her husband, Wiley Burton, died after suffering from renal cancer.

         Nancy Wilson- "Forbidden Lover"


         NANCY WILSON LIVE - I CAN'T MAKE YOU LOVE ME


         Nancy Wilson  - You Got the Move  

Hazel Scott

                                   Hazel Scott
By Karen Chilton
Smithsonian.com
Hazel Dorothy Scott was an internationally known, American jazz and classical pianist and singer; she also performed as herself in several films. She was prominent as a jazz singer throughout the 1930s and 1940s.  Wikipedia
She began her career as a musical prodigy and ended up breaking down racial barriers in the recording and film industries


           A Mix of Classical and Jazz
In a performance filmed for World War II soldiers, Hazel Scott begins with a Liszt's Hungarian Rhapsody #2 and ends with a jazzy tune.
Courtesy of: Army / Navy Screen Magazine

She was called the “Darling of Café Society” back in 1939 when New York City was alive with the sounds of swing. A sexy siren sitting bare-shouldered at the piano, Hazel Scott captivated audiences with her renditions of classical masterpieces by Chopin, Bach and Rachmaninoff. Nightly, crowds would gather at Café Society, New York’s first fully integrated nightclub, the epicenter of jazz and politics nestled in Greenwich Village, to hear the nineteen-year-old bronze beauty transform “Valse in D-Flat Major”, “Two Part Invention in A-Minor,” and “Hungarian Rhapsody No. 2” into highly syncopated sensations. “But where others murder the classics, Hazel Scott merely commits arson,” wrote TIME magazine. “Strange notes creep in, the melody is tortured with hints of boogie-woogie, until finally, happily, Hazel Scott surrenders to her worse nature and beats the keyboard into a rack of bones.”

Born in Port of Spain, Trinidad on June 11, 1920, Hazel Dorothy Scott was the only child of R. Thomas Scott, a West African scholar from Liverpool, England and Alma Long Scott, a classically-trained pianist and music teacher. A precocious child who discovered the piano at the age of 3, Hazel surprised everyone with her ability to play by ear. When she would scream with displeasure after one of Alma’s students hit a wrong note, no one in the household recognized the sensitive ear she possessed. “They had been amused, but no one regarded my urge as latent talent,” she recalled. Until one day, young Hazel made her way to the piano and began tapping out the church hymn, “Gentle Jesus”, a tune her grandmother Margaret sang to her daily at nap time. From that moment on, Alma shifted her focus from her own dreams of becoming a concert pianist, and dedicated herself to cultivating her daughter’s natural gift. They were a tight knit pair, sharing an extremely close bond throughout their lives. “She was the single biggest influence in my life,” Hazel said. Her father, on the other hand, would soon leave the family and have a very small presence in his daughter’s life.

Following the breakup of the Scott’s marriage, the three of them—mother, daughter and grandmother—would migrate to the States in search of greater opportunity for themselves and the gifted young pianist. In 1924, they headed to New York and landed in Harlem, where Alma took a job as a domestic maid.

She struggled, however, and returned to what she knew best—music. She taught herself the saxophone, and eventually joined Lil Hardin Armstrong’s orchestra in the early 1930s. Alma’s associations with well-known musicians made the Scott household “a mecca for musicians,” according to Hazel, who benefited from the guidance and tutelage of jazz greats Art Tatum, Lester Young and Fats Waller, all of whom she considered to be like family.

In 1928, Hazel auditioned for enrollment in the prestigious Juilliard School of Music. She was only eight-years-old, and too young for standard enrollment (students had to be at least 16), but because of some influential nudging by wealthy family friends and Alma’s sheer determination, Hazel was given a chance. Her performance of Rachmaninoff’s “Prelude in C-Sharp Minor” made a strong impression on staff professor Oscar Wagner. He proclaimed the child “a genius,” and with the permission of the school’s director, Walter Damrosch, offered her a special scholarship where he would teach her privately.

Career progress was swift. A spirited young woman with an outward demeanor that was effervescent and engaging, Hazel’s life was not that of an ordinary teenager. While still in high school, Hazel hosted her own radio show on WOR after winning a local competition, and performed gigs at night. At times, she felt burdened by the demands of her talent, admitting, “There were times when I thought that I just couldn't go on.” Still, she managed to graduate with honors from Wadleigh High. Not long after, she made her Broadway debut in the musical revue Sing Out the News. Commercial recordings of her ”Bach to Boogie” repertoire on the Signature and Decca labels would break sales records nationwide.

By the age of 16, Hazel Scott regularly performed for radio programs for the Mutual Broadcasting System, gaining a reputation as the “hot classicist.”[1] In the mid-1930s, she also performed at the Roseland Dance Hall with the Count Basie Orchestra. Her early musical theatre appearances in New York included the Cotton Club Revue of 1938, Sing Out the News and The Priorities of 1942.[1]
Throughout the 1930s and 1940s, Scott performed jazz, blues, ballads, popular (Broadway songs and boogie-woogie) and classical music in various nightclubs. From 1939 to 1943 she was a leading attraction at both the downtown and uptown branches of Café Society. Her performances created national prestige for the practice of “swinging the classics”

There was little separation between Hazel’s performance and her outspoken politics. She attributed it to being raised by very proud, strong-willed, independent-minded women. She was one of the first black entertainers to refuse to play before segregated audiences. Written in all her contracts was a standing clause that required forfeiture if there was a dividing line between the races. “Why would anyone come to hear me, a Negro, and refuse to sit beside someone just like me?,” she asked.

By the time Hollywood came calling, Hazel had achieved such stature that she could successfully challenge the studios’ treatment of black actors, demanding pay commensurate with her white counterparts, and refusing to play the subservient roles in which black actors were commonly cast. She would wear no maid uniforms or washer woman rags, and insisted that her name credit appear the same in all films: “Hazel Scott as Herself.” She performed in five major motion pictures in the early ‘40s, including I Dood It, directed by Vincente Minelli and featuring Lena Horne and the Gershwin biopic Rhapsody in Blue. But it was the on set of The Heat’s On starring Mae West that Hazel’s characteristic brashness was unleashed. In a scene where she played a WAC sergeant during WWII, Hazel was angered by the costumes the black actresses were given to wear. She complained that “no woman would see her sweetheart off to war wearing a dirty apron.”
                            Takin' A Chance--Hazel Scott


Hazel promptly staged a strike that went on for three days, a battle that was finally rectified by removing the aprons from the scene altogether. The incident came at the cost of Hazel’s film career, which was short-lived as result of her defiance. "I've been brash all my life, and it's gotten me into a lot of trouble. But at the same time, speaking out has sustained me and given meaning to my life,” she said.

It was during these peak years of her career that Hazel began a romantic affair with the controversial Harlem preacher/politician, Adam Clayton Powell, Jr. who was making a bid for the U.S Congress. Twelve years her senior, married, and a reputed womanizer, Powell pursued her unabashedly. At first, she was annoyed by his advances, but eventually irritation gave way to real interest and passion. The couple began seeing each other in secret. Amidst a great deal of scandal, the couple married in August of 1945; she was the grande vedette of Café Society and he was the first black congressman from the East Coast. “They were stars, not only in the black world but the white world. That was extraordinary,” commented journalist Mike Wallace at the time.

As Hazel settled into domestic life in upstate New York, her career took a backseat to being a political wife and mother of their only son, Adam Clayton Powell III. She gave up nightclubs at Powell’s request and while he was away in Washington, she performed concert dates across the country.

In the summer of 1950, Hazel was offered an unprecedented opportunity by one of the early pioneers of commercial television, the DuMont network—she would become the first black performer to host her own nationally syndicated television show. As the solo star of the show, Hazel performed piano and vocals, often singing tunes in one of the seven languages she spoke. A review in Variety stated, “Hazel Scott has a neat little show in this modest package. Most engaging element in the air is the Scott personality, which is dignified, yet relaxed and versatile.”

But before she could fully enjoy her groundbreaking achievement, her name would appear in Red Channels, the unofficial list of suspected communists. Hazel’s association with Café Society (which was a suspected communist hangout) along with her civil rights efforts made her the target of the House Un-American Activities Committee (HUAC). Since she was neither a member of the Communist Party or a communist sympathizer, she requested to appear voluntarily before the committee despite her husband’s admonitions against it.

“It has never been my practice to choose the popular course,” she said. “When others lie as naturally as they breathe, I become frustrated and angry.” Her cogent testimony challenged the committee members, providing solid evidence contrary to their accusations. They had a list of nine organizations, all with communist ties, for whom she had performed. She only recognized one of the nine, the others she had never heard of. Yet, she explained that as an artist she was booked only to perform and rarely knew the political affiliations of the organizers who hired her. After hours of fierce questioning, she stated:

“…may I end with one request—and that is that your committee protect those Americans who have honestly, wholesomely, and unselfishly tried to perfect this country and make the guarantees in our Constitution live. The actors, musicians, artists, composers, and all of the men and women of the arts are eager and anxious to help, to serve. Our country needs us more today than ever before. We should not be written off by the vicious slanders of little and petty men.”

The entertainment community applauded her fortitude, but the government’s suspicions were enough to cause irreparable damage to her career. Weeks after the hearing, The Hazel Scott Show was canceled, and concert bookings became few and far between.

Around this same time, her marriage to Powell was crumbling under the weight of career demands, too much time apart, competitive jealousy and infidelity. After eleven years of marriage, the couple decided to part ways. Hazel sought refuge overseas. With her young son in tow, she joined the burgeoning black expatriate community in Paris.
                              Hazel Scott in Rhapsody In Blue


Her apartment on the Right Bank became a regular hangout for other American entertainers living in Paris. James Baldwin, Lester Young, Mary Lou Williams, Dizzy Gillespie, and Max Roach were regular guests, along with musicians from the Ellington and Basie bands. Hazel’s music softened during the Paris years; she played more serene tunes with less and less of her old boogie-woogie style. On a brief visit to the States in 1955, she recorded Relaxed Piano Moods with Charlie Mingus and Max Roach on the Debut label, an album now considered by jazz critics and aficionados as one of the most important jazz recordings of the twentieth century. Most recently, it was inducted into National Public Radio’s Basic Jazz Record Library.

After a decade of living abroad, she would return to an American music scene that no longer valued what she had to offer. Replaced by rhythm & blues, the Motown sound and the British bands, jazz was no longer popular music, and Hazel Scott was no longer a bankable talent. Once the “darling of Café Society,” Hazel continued to perform, playing small clubs to a devoted fan base, perfecting her style and constantly exploring new ways of expressing herself musically. In October of 1981, she passed away from pancreatic cancer. Though she may not be as widely recognized as many of her contemporaries, her legacy as one of the pioneering women in entertainment endures.

                                 What Ever Happened to Hazel Scott?

                              Hazel Scott plays Black & White AMAZING !

                          
                               Hazel Scott for the March of Dimes


                                 Hazel Scott in the Army(Hazel in Caisson Number)


             Hazel Scott - Female Flying Fingers

                                   Hazel Scott in 'Le désordre et la nuit (1958)


    
Karen Chilton is the author of Hazel Scott: The Pioneering Journey of a Jazz Pianist, from Café Society to Hollywood to HUAC.

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Esperanza Spalding

 Esperanza Spalding Took on Bieber, Now Takes on Jazz
The innovative bassist and winner of the Smithsonian American Ingenuity Award for performing arts is taking jazz to a whole new place


By dream hampton
Smithsonian magazine, 
Esperanza Spalding, the 28-year-old bassist, composer and vocalist, is shushing her audience - many of whom have paid good money for the privilege. During the middle of her set at Chicago’s City Winery, a trendy restaurant and music venue, she holds the microphone close and admonishes: “Sssshh.” Her virtuoso bass playing and spellbinding vocals had the audience in the palm of her hand for the first half of her show. But an extended instrumental interlude showcasing her band has been marred by talking in the crowd. “I wanna hear them,” she tells her listeners, gesturing toward her 12-piece ensemble.

There’s nervous laughter from the audience. A woman near me indignantly objects that this is a supper club - but does so only in a whisper. The entire moment lasts no more than ten seconds. The audience immediately complies, obliging the performers with attentive silence.

In 2011, Spalding found herself onstage and on millions of television screens, collecting a Grammy Award in the Best New Artist category (and sending fans of pop post-teen sensation Justin Bieber, who lost out, into irate Twitter rants).

Her youth and beauty and progressive fashion-she accepted her Grammy in a deconstructed citron chiffon dress and a very intentional afro coaxed into a pompadour-were also an undeniable part of her appeal. Village Voice music critic Greg Tate calls Spalding the “sexiest and best thing to happen to jazz since Wynton.”

Her latest release at the time of the Grammy, Chamber Music Society, was actually her third album. She had already dazzled critics with her 2008 major-label debut, Esperanza, recorded when she was 23; it stayed on the Billboard jazz chart for 62 weeks, peaking at No. 3. In 2009, she performed twice at the White House and, at President Obama’s request, at the ceremony when he was awarded the Nobel Peace Prize in Oslo that year. “I wanted to offer something important from our culture, from our music,” she says. “It seemed significant to play jazz there.” (She donated the dress she wore to the Smithsonian National Museum of American History.)

Spalding went on to elicit praise for this year’s Radio Music Society, executed, according to Los Angeles Times music critic Chris Barton, “with disarming assurance.” The new album, wrote jazz critic Larry Blumenfeld in the Wall Street Journal, “celebrates sophisticated musical structures that ride accessible grooves.”

Her work is grounded in original compositions and performances moored artfully in jazz, but incorporating influences as varied as soul, Brazilian pop, funk, contemporary classical, blues and hip-hop. Spalding’s vocal compositions range from “Little Fly,” a William Blake poem set to music, to “Land of the Free,” based on the exoneration of Cornelius Dupree, recently released from prison after a wrongful conviction, and “Radio Song,” a paean to the serendipitous pleasure of discovering a song over the airwaves.

Legendary bass player Ron Carter, who collaborated with Miles Davis, helping him shift the music from bop to cool, says Spalding is “on the right track, she’s got a great voice and a great sound. I like the combination of her lyrics with the sound she gets from her bass. I can’t talk and play at the same time, let alone sing, so she’s a step ahead of me.” Electric bassist Meshell Ndegeocello-known for her own capacity to rap while she plays-is also impressed with the scope of Spalding’s gifts. “What makes her so phenomenal is she can speak so fluidly with her bass and her vocals.”

Spalding seems to have developed a healthy relationship with her still emerging fame. She’s often a tour headliner, as she is this evening in Chicago, where onstage she is radiant in a diaphanous ivory dress. In four-inch stilettos, she alternates between playing an electric bass and her mammoth upright bass. (Her website features a collection of dresses produced by designers concerned with creating sustainable couture.) “I feel like whenever I end up in some high-profile place like the Oscars or the Grammys, it’s a fluke,” she told me earlier that day. “I feel like I’m already there representing the underrepresented.” After answering typical red-carpet questions at those events about who she was wearing, she asked a friend to help her locate eco-friendly designers. “Since people are talking about fashion, I want them to also talk about the fact that there’s an alternative to sweatshops, synthetics and toxic dyes.”

Spalding is equally likely, however, to perform in a supporting role with someone like multi-instrumentalist Joe Lovano. She has given a great deal of thought to collaborative accomplishment. “There’s a cultural myth that’s rampant in the entertainment industry that minimizes collaboration, that overemphasizes soloists and stars and focuses on the individual,” Spalding says. “I don’t ever want to cater to that myth in our culture. Because, inevitably, there are people who aren’t written into history; you know, the teachers, all the teachers that Bird [Charlie Parker] studied with? The bands that he first started playing with? Aren’t they just as integral as his gift?”
                   Esperanza Spalding Endangered Species
Spalding considers collaboration to be a kind of learning lab, where musical ideas and life philosophy are explored. “When I play with Terri Lyne Carrington or Geri Allen or even Prince, yes, what we’re doing musically is one element of what we’ve come together to do, but 95 percent of it is hanging around and talking about everything from buying a house to leading a rehearsal. I learn so much every day from those kinds of interactions.” Inside the music, where instrumentalists are communicating new ideas in the moment, she insists, innovations are still part of the larger group’s exchange. “Particularly in any music that revolves around improvisation, the magic and the beauty of it is that every night something new and different happens. Because we’re inviting the question ‘What will we do tonight?’ ‘What will we do right now?’”

At the same time, Spalding acknowledges that the individual creative process also sustains her. How and when does inspiration strike? “Something new, a melodic idea, will come to you,” she says. “You wonder, ‘Wow, where’d that come from?’” That is the moment, she adds, when it’s important to “stop and take notice.”

She and her older brother grew up with their mother, a single parent, in Portland, Oregon. Spalding dropped out of her magnet school at age 16 because high school, she says, “wasn’t so much about learning, it was about social programming, which can be fun, if you aspire to reign over the social strata of the school.” Eventually she completed her GED. When she wasn’t losing herself in a book, she volunteered at environmental conservation organizations or homeless shelters. “I got that from my mom, she’s a conscientious person,” Spalding says. “She doesn’t like the talking part but the doing part, which I appreciate.” Her bass teacher at the time encouraged her to audition for a scholarship at Portland State University. Later, she moved cross-country to Berklee College of Music in Boston.

She still seems to be discovering who she is onstage as the main attraction. In the tradition of the best blues women, she’s comfortable telling stories as preludes to songs. These conversational moments likely serve to help her audience, who may or may not be well versed in jazz, connect to the music. Spalding and backup singer Chris Turner in- voke the name of slain Florida teen- ager Trayvon Martin as they introduce the song “Black Gold,” her meditation on the hopes and fears of African-American boys. Before performing “Land of the Free,” she alludes to Dupree, who was incarcerated for decades before being cleared by DNA evidence. “I’m not 30 years old yet, I can’t wrap my head around...30 years in prison for a crime I didn’t commit.” She announces that part of her merchandise sales will be donated to the Inno­cence Project, the organization dedicated to exonerating the wrongfully convicted.

It’s the music that Spalding thinks most about. “An idea announces itself and it seems like there’s something meaningful to be found by exploring that idea,” she says of the imaginative habits that underlie her creation of original material. “It’s a process of sitting down over days, or hours, months, sometimes years, and trying to coax that idea into its full state of beingness.”

In that same way, she hopes to push jazz into the future. “I’m searching for the most beautiful version of ideas that I receive, leaving the windows open for influences outside jazz,” Spalding says. Ultimately, she adds, she aspires to “create an invitation to explore the music for a larger cross-section of listeners.”
                     Esperanza Spalding "Crowned ; Kissed" - Jazz à Vienne 2012
         
       ESPERANZA SPALDING RADIO MUSIC SOCIETY - Hold on me

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