Pages in category "Scat singers"
The following 35 pages are in this category, out of 35 total. This list may not reflect recent changes (learn more).
The following 35 pages are in this category, out of 35 total. This list may not reflect recent changes (learn more).
1. Louis Armstrong – Louis Armstrong, nicknamed Satchmo or Satch, was an American trumpeter, composer, singer and occasional actor who was one of the most influential figures in jazz. His career spanned five decades, from the 1920s to the 1960s and he was also skilled at scat singing. Armstrong was one of the first truly popular African-American entertainers to cross over and he rarely publicly politicized his race, often to the dismay of fellow African Americans, but took a well-publicized stand for desegregation in the Little Rock crisis. His artistry and personality allowed him socially acceptable access to the upper echelons of American society which were restricted for black men of his era. Armstrong often stated that he was born on July 4,1900, although he died in 1971, it was not until the mid-1980s that his true birth date, August 4,1901, was discovered by the researcher Tad Jones through the examination of baptismal records. Armstrong was born into a family in New Orleans, Louisiana. He spent his youth in poverty, in a neighborhood known as the Battlefield. His father, William Armstrong, abandoned the family when Louis was an infant and his mother, Mary Mayann Albert, then left Louis and his younger sister, Beatrice Armstrong Collins, in the care of his grandmother, Josephine Armstrong, and at times his uncle Isaac. At five, he moved back to live with his mother, her relatives and he attended the Fisk School for Boys, where he most likely had early exposure to music. He hung out in dance halls close to home, where he observed everything from licentious dancing to the quadrille, after dropping out of the Fisk School at age eleven, Armstrong joined a quartet of boys who sang in the streets for money. He also started to get into trouble, Cornet player Bunk Johnson said he taught Armstrong to play by ear at Dago Tonys Tonk in New Orleans, although in his later years Armstrong gave the credit to Oliver. It has given me something to live for and he also worked for a Lithuanian-Jewish immigrant family, the Karnofskys, who had a junk-hauling business and gave him odd jobs. They took him in and treated him like family, knowing he lived without a father and he later wrote a memoir of his relationship with the Karnofskys, Louis Armstrong + the Jewish Family in New Orleans, La. the Year of 1907. Armstrong wore a Star of David pendant for the rest of his life and wrote about what he learned from them, how to live—real life, professor Peter Davis instilled discipline in and provided musical training to the otherwise self-taught Armstrong. Eventually, Davis made Armstrong the band leader, the home band played around New Orleans and the thirteen-year-old Louis began to draw attention by his cornet playing, starting him on a musical career. At fourteen he was released from the home, living again with his father and new stepmother, Gertrude, Armstrong got his first dance hall job at Henry Ponces, where Black Benny became his protector and guide. He hauled coal by day and played his cornet at night, later, he played in brass bands and riverboats of New Orleans, and began traveling with the well-regarded band of Fate Marable, which toured on a steamboat up and down the Mississippi River. He described his time with Marable as going to the University, in 1919, Joe Oliver decided to go north and resigned his position in Kid Orys band, Armstrong replaced him
2. Esra Dalfidan – Esra Dalfidan was born in 1975, of Turkish parents, and raised in the German industrial town of Solingen. After a brief career as a music therapist, and after 10 years of studying classical guitar, she decided to switch her life round and she was admitted to the Amsterdam Conservatory to study jazz singing and completed her Masters degree in 2007 with honours. She now lives in the Netherlands, as a singer she is difficult to categorize, but it would be fair to say that the core of her music is founded on the broad carpet of musical styles that we call jazz. Her own compositions are crisp and precise and full of irregular and changing tempi, 5/4, 7/4, each of her songs tells a story, and leads the listener on a journey through the singers and listeners landscape of memories and emotions. Its probably not for nothing that her CD liner notes contain the brief reminder Based on a true story, all this makes for a musical experience quite unlike any other. Her voice is always on the move, in her songs, the presence and absence of her voice provides a nice balance between her singing and playing time for her band members. She sings words and scats, she is loud, she is soft, she is in ballad mode, the pure sound of her voice opens up the mind like Coltranes tenor sax could, when playing tunes like India, Spiritual, Olé. There is a similarity in timbre and straight sound with no or minimal vibrato. With this variety and complexity the music never sounds complex or difficult, on the contrary, it sounds natural, not least because her band members are so well attuned to her and her band is called Fidan, a Turkish word meaning twig or branch. The instrument suits the music, and is played brilliantly, echoing the genius of Eric Dolphy at times, award winning pianist who moves in and out of and around the singers tunes weaving a carpet of patterns that supports the whole band beautifully. At times reminiscent of McCoy Tyner in the famous Coltrane group of 1960-1965, Sean Fasciani is an award winning bassplayer who rejoined Fidan in 2009, after spending time in New York City. With his distinct sound and groovy basslines Sean brings a sexy swing to the band, supports the complex tempi and rhythms effortlessly without ever sounding facile, and there are duets between voice and drums that are breathtaking. As her main influences and source of inspiration Esra mentions the Azeri singer and pianist Aziza Mustafa Zadeh, Aziza developed a unique blend of jazz, modern, and Azeri traditional music, called mugam jazz. To get a taste of Azizas music click here, Maria João created a style similar to Esras, mixing jazz, traditional Portuguese, modern and world music. Check out Maria Joãos fan clubs website to see and hear some of her performances, the Turkish popular singer Nilüfer features as a secondary influence. The second half of 2008 is marked by new compositions and collaborations, notably a series of concerts with the Tineke Postma Group, Esra also features in an ensemble called Gandhi Bazaar, created and led by Ned McGowan. Particularly remarkable is the interplay between two master percussionists in the group, Indian drummer B. C, manjunath and Spanish percussionist Enric Montfort. The Gandhi Bazaar concert tour was commissioned by the Dutch Fund for the Performing Arts and her debut CD Colors contains 11 tracks,9 compositions of her own, and two traditional songs from Azerbeidjan
3. Ella Fitzgerald – Ella Jane Fitzgerald was an American jazz singer often referred to as the First Lady of Song, Queen of Jazz and Lady Ella. She was noted for her purity of tone, impeccable diction, phrasing and intonation, Fitzgeralds rendition of the nursery rhyme A-Tisket, A-Tasket helped boost both her and Webb to national fame. Taking over the band after Webb died, Fitzgerald left it behind in 1942 to start a career that would last effectively the rest of her life. With Verve she recorded some of her more noted works. These partnerships produced recognizable songs like Dream a Little Dream of Me, Cheek to Cheek, Into Each Life Some Rain Must Fall, in 1993, Fitzgerald capped off her sixty-year career with her last public performance. Three years later, she died at the age of 79, Fitzgerald was born on April 25,1917, in Newport News, Virginia, the daughter of William Fitzgerald and Temperance Tempie Fitzgerald. Her parents were unmarried but lived together for at least two and a years after she was born. Initially living in a room, her mother and Da Silva soon found jobs. Her half-sister, Frances Da Silva, was born in 1923, by 1925, Fitzgerald and her family had moved to nearby School Street, then a predominantly poor Italian area. She began her education at the age of six and proved to be an outstanding student. Fitzgerald had been passionate about dancing from third grade, being a fan of Earl Snakehips Tucker in particular, Fitzgerald and her family were Methodists and were active in the Bethany African Methodist Episcopal Church, and she regularly attended worship services, Bible study, and Sunday school. The church provided Fitzgerald with her earliest experiences in music making. During this period Fitzgerald listened to recordings by Louis Armstrong, Bing Crosby. Fitzgerald idolized the Boswell Sisters lead singer Connee Boswell, later saying, My mother brought home one of her records, in 1932, her mother died from serious injuries she received in a car accident when Fitzgerald was 15 years of age. This left her at first in the care of her stepfather but before the end of April 1933, following these traumas, Fitzgerald began skipping school and letting her grades suffer. During this period she worked at times as a lookout at a bordello, Ella Fitzgerald never talked publicly about this time in her life. When the authorities caught up with her, she was first placed in the Colored Orphan Asylum in Riverdale, in the Bronx. However, when the orphanage proved too crowded, she was moved to the New York Training School for Girls in Hudson, New York, eventually she escaped and for a time she was homeless
4. Mike Patton – Patton was also the founder and lead singer of Mr. Bungle, and has played with Tomahawk, Fantômas, Lovage, The Dillinger Escape Plan, and Peeping Tom. Known for his influences and experimental projects, Patton has earned critical praise for his diverse array of vocal techniques. VVN Music found Patton to possess the highest vocal range of any singer in popular music. He has worked as a producer or co-producer with artists such as John Zorn, Sepultura, Melvins, Melt-Banana and he co-founded Ipecac Recordings with Greg Werckman in 1999, and has run the label since. Pattons vast number of musical endeavours and constant touring have led to him being identified as a workaholic. Patton was born and raised in Eureka, California, where he formed Mr. Bungle, with Trey Spruance and Trevor Dunn, according to Steffan Chirazis 1993 book The Real Story, Patton first met Faith No More during 1986. In the book, Patton was quoted as saying Faith No More played Eureka in a pizza parlour place Mr. Bungle played dozens of times, there were 6 people there and 3 of them were my friends. It was really bad, a really pathetic show and I remember them standing around the van really upset, puffy was really uptight wanting to know where to get weed. Nobody was talking to him, I think he asked us because we were just hanging around and their situation then never even registered with me, touring was unreal, Warner Bros. was like a Tom and Jerry cartoon. At that time I didnt wanna know any of that shit. Patton was approached to join Faith No More after they heard Mr. Bungles demo tapes in 1988 and this forced him to quit his studies at Humboldt State University. In January 1989, he officially replaced Chuck Mosley as lead singer of the group, Mosley subsequently formed the bands Cement and VUA, and has had several special one-off performances at shows with Faith No More and Patton. Faith No Mores The Real Thing was released in 1989, the album reached the top ten on the US charts, thanks largely to MTVs heavy rotation of the Epic music video. Faith No More released three studio albums before disbanding in 1998. To coincide with the reunion tour, Rhino released the sixth Faith No More compilation. The same line-up eventually released a new album called Sol Invictus in 2015, when interviewed about his lyrical content with Faith No More, Patton responded, I think that too many people think too much about my lyrics. I am more a person who works more with the sound of a word than with its meaning, often I just choose the words because of the rhythm, not because of the meaning. During his time in Faith No More, Patton continued to work with Mr. Bungle and his success in mainstream rock and metal ultimately helped secure Mr. Bungle a record deal with Warner Bros
5. Sarah Vaughan – Sarah Lois Vaughan was an American jazz singer, described by music critic Scott Yanow as having one of the most wondrous voices of the 20th century. Nicknamed Sassy and The Divine One, Sarah Vaughan was a four-time Grammy Award winner, the National Endowment for the Arts bestowed upon her its highest honor in jazz, the NEA Jazz Masters Award, in 1989. Sarah Vaughans father, Asbury Jake Vaughan, was a carpenter by trade and played guitar and her mother, Ada Vaughan, was a laundress and sang in the church choir. Jake and Ada Vaughan had migrated to Newark, New Jersey from Virginia during the First World War, Sarah was their only biological child, although in the 1960s they adopted Donna, the child of a woman who traveled on the road with Sarah Vaughan. The Vaughans lived in a house on Brunswick Street in Newark for Sarahs entire childhood, Jake Vaughan was deeply religious and the family was very active in the New Mount Zion Baptist Church at 186 Thomas Street. Sarah began piano lessons at the age of seven, sang in the choir and occasionally played piano for rehearsals. Vaughan developed a love for popular music on records and the radio. In the 1930s, Newark had an active live music scene and Vaughan frequently saw local. However, her adventures as a performer began to overwhelm her academic pursuits. Around this time, Vaughan and her friends began venturing across the Hudson River into New York City to hear big bands at the Apollo Theater in Harlem, biographies of Vaughan frequently stated that she was immediately thrust into stardom after a winning amateur night performance at Harlems Zeus Theater. In fact, the story that biographer Renee relates seems to be a bit more complex, Vaughan was frequently accompanied by a friend, Doris Robinson, on her trips into New York City. Some time in the fall of 1942, Vaughan suggested that Robinson enter the Apollo Theater Amateur Night contest, Vaughan played piano accompaniment for Robinson, who won second prize. Vaughan later decided to go back and compete herself as a singer, Vaughan sang Body and Soul and won, although the exact date of her victorious Apollo performance is uncertain. The prize, as Vaughan recalled later to Marian McPartland, was $10, after a considerable delay, Vaughan was contacted by the Apollo in the spring of 1943 to open for Ella Fitzgerald. Some time during her week of performances at the Apollo, Vaughan was introduced to bandleader and pianist Earl Fatha Hines, Billy Eckstine, Hines singer at the time, has been credited by Vaughan and others with hearing her at the Apollo and recommending her to Hines. Hines claimed later to have discovered her himself and offered her a job on the spot, regardless, after a brief tryout at the Apollo, Hines officially replaced his current male singer with Vaughan on April 4,1943. Vaughan spent the remainder of 1943 and part of 1944 touring the country with the Earl Hines big band that featured baritone Billy Eckstine. The Earl Hines band in this period is remembered as an incubator of bebop, as it included trumpeter Dizzy Gillespie, saxophonist Charlie Parker and trombonist Bennie Green
6. Cab Calloway – Cabell Cab Calloway III was an American jazz singer and bandleader. He was strongly associated with the Cotton Club in Harlem, New York City, Calloway was a master of energetic scat singing and led one of the United States most popular big bands from the start of the 1930s to the late 1940s. Calloway continued to perform until his death in 1994 at the age of 86, Calloway was born in Rochester, New York, on Christmas Day in 1907 to an upper-middle-class family. His mother, Martha Eulalia Reed, was a Morgan State College graduate, teacher and his father, Cabell Calloway, Jr. graduated from Lincoln University of Pennsylvania in 1898, and worked as a lawyer and in real estate. Cab Calloway grew up as an adolescent in a household in West Baltimores Sugar Hill, considered the political, cultural. Early on, his parents recognized their sons talent. He continued to study music and voice throughout his formal schooling, despite his parents and teachers disapproval of jazz, Calloway began frequenting and performing in many of Baltimores nightclubs. As a result, he came into contact with many of the local jazz luminaries of the time and he counted among his early mentors drummer Chick Webb and pianist Johnny Jones. After his graduation from Frederick Douglass High School, Calloway joined his sister, Blanche, in a touring production of the popular Black musical revue. His parents had hopes of their son becoming an attorney following after his father, at the Sunset Café, Cab cut his teeth as an understudy for singer Adelaide Hall. Here he met and performed with Louis Armstrong, who taught him to sing in the scat style and he eventually left school to sing with a band called the Alabamians. In 1930 Calloway took over a brilliant, but failing band called The Missourians, later on, they renamed it Cab Calloway, the Cotton Club in New Yorks Harlem was the premier jazz venue in the country. In 1931 Calloway and his orchestra were hired as a replacement for the Duke Ellington Orchestra while it was touring, Calloway quickly proved so popular that his band became the co-house band with Ellingtons, and his group began touring nationwide when not playing the Cotton Club. Their popularity was enhanced by the twice-weekly live national radio broadcasts on NBC from the Cotton Club. Calloway also appeared on Walter Winchells radio program and with Bing Crosby in his show at New Yorks Paramount Theatre, as a result of these appearances, Calloway, together with Ellington, broke the major broadcast network color barrier. Many of his records were vocal specialties with Calloways vocal taking up the majority of the record, in 1931 Calloway recorded his most famous song, Minnie the Moocher. Through rotoscoping, Calloway performed voiceover for these cartoons, but his dance steps were the basis of the characters movements and he took advantage of this, timing concerts in some communities to coincide with the release of the films in order to make the most of the publicity. As a result of the success of Minnie the Moocher, Calloway became identified with its chorus and he also performed in the 1930s in a series of short films for Paramount
7. Jonathan Davis – Jonathan Howsmon Davis, also known as JD and JDevil, is an American musician best known as the leading vocalist and frontman of the nu metal band Korn. Jonathan Howsmon Davis was born on Monday, January 18,1971 in Bakersfield, California and his parents were married on February 27,1970 in Kern, California. Davis ethnicity includes Scottish, English, Welsh, and German and he has a sister, Alyssa, a half-brother, Mark Chavez, and a half-sister, Amanda Chavez, by his mother. His father was a keyboardist for Buck Owens and Frank Zappa, while his mother was a professional actress and his parents divorced when he was three years old and he was raised by his father and stepmother Lillie in Bakersfield. Davis suffered severe bouts of asthma as a child, and had survived a near-fatal asthma attack when he was five years old and he also spoke of having a horrible relationship with his stepmother. He said she used to him and torture him, giving him tea mixed with Thai hot oil. He says the song Kill You was written about her, Davis has said that his earliest musical inspiration as a child was the Andrew Lloyd Webber musical Jesus Christ Superstar, and his favorite musical group was Duran Duran. He graduated from Highland High School in 1989 and he also attended the San Francisco School of Mortuary Science for a period of time. He was persistently harassed in Highland High School primarily by jocks for being different by wearing eyeliner, long clothes and he was teased, harmed, and beaten. Davis also was constantly called homophobic names, the Korn song Faget was inspired by Davis experience of being bullied. Davis HIV tattoo on his left arm also was inspired by his experience of being bullied. Davis says even teachers were mean to him and sent him to the counselor for wearing eyeliner, Davis has a cameo in Queen of the Damned as a ticket scalper. Davis plays a role as Ricky, a crack dealer. Davis also has a role as a clerk in the independent film The Still Life Davis was billed for the lead role in Sin-Jin Smyth. Davis worked on a script writer and director Clive Barker entitled Oblivion. Davis describes it as an opera about the end of the world. The project has been postponed for a period of time. He has also featured in many other bands music videos, sometimes with Korn
8. Betty Carter – Vocalist Carmen McRae once remarked, Theres really only one jazz singer—only one, Betty Carter. Carter was born in Flint, Michigan, and grew up in Detroit, as a child, Carter was raised to be extremely independent and to not expect nurturing from her family. Even thirty years after leaving home, Carter was still aware of and affected by the home life she was raised in. But there was…no real closeness, where the family urged me on and she studied piano at the Detroit Conservatory at the age of fifteen, but did not exceed a modest level of expertise. At the age of sixteen, Carter began singing, as her parents were not big proponents of her pursuing a singing career, Carter would sneak out at night to audition for amateur shows. After winning first place at her first amateur competition, Carter felt as though she were being accepted into the music world and decided that she must pursue it tirelessly. When Carter began performing live, she was too young to be admitted into bars, even at a young age, Carter was able to bring a new vocal style to jazz. The breathiness of her voice was a characteristic seldom heard before her appearance on the music scene, Detroit, where Carter grew up, was a hotbed of jazz growth. Gillespie is often considered responsible for her passion for scatting. In earlier recordings, it is apparent that her scatting had similarities to the qualities of Gillespies, at the time of Gillespies visit, Charlie Parker was receiving treatment in a psychiatric hospital, delaying her encounter with him. However, Carter eventually also received an opportunity to perform with Parker, as well as with his band consisting of Tommy Potter, Max Roach, and Miles Davis. After receiving praise from both Gillespie and Parker for her vocal prowess, Carter felt a strong burst in confidence, in 1948, Carter was asked by Lionel Hampton to join his band. Carter finally had her big break, Hampton obviously had an ear for talent and a love for bebop. Carter too had a love for bebop as well as a talent for it. Hamptons wife Gladys gave her the nickname Betty Bebop, a nickname she reportedly detested, despite her good ear and charming personality, Carter was fiercely independent and had a tendency to attempt to resist Hamptons direction, while Hampton had a temper and was quick to anger. Hampton expected a lot from his players and did not want them to forget that he was the bands leader and she openly hated his swing style, refused to sing in a swinging way, and she was far too outspoken for his tastes. Carter honed her singing ability while on tour, which was not well received by Hampton as he did not enjoy her penchant for improvisation. Over the course of two and a half years, Hampton fired Carter a total of seven times, because of Hamptons hiring of Carter, she also goes down in history as one of the last big band era jazz singers in history
9. Scatman Crothers – Crothers was born in 1910 in Terre Haute, Indiana, the son of Donnie/Donel and Benjamin Crothers. He obtained the name Scatman when he auditioned for a show in 1932 at the former WSMK in Dayton. The director did not think his given name seemed catchy enough, so Crothers devised the handle Scat Man, although this talent, scat singing and he continued to enjoy this talent throughout his career, even teaching scat singing to college students. Later, the nickname was condensed to Scatman by Arthur Godfrey, in his early career, he also associated with many Cleveland-based acts and frequently played on the scene in Ohio. Crothers started his career as a 15-year-old drummer in a speakeasy band in his home town of Terre Haute. He played a variety of instruments, including drums and guitar, among the people for whom he performed was the notorious gangster, Al Capone. Crothers formed his own band in the 1930s and traveled to Oakland, California and he played piano at the Port O Call and Walts 405 Club. He also appeared in a 1950 episode of The Phil Harris-Alice Faye Radio Program performing Chattanoogie Shoe Shine Boy with Harris and he left Oakland to stay in Los Angeles in 1952. Crothers made his debut in the movie Meet Me at the Fair. He worked in movies and television, often taking bit parts. He also made musical shorts and played drums with Slim Gaillard in the mid-1940s, Crothers then landed a major supporting role in the 1970 animated film The Aristocats from Walt Disney Productions, providing the voice of Scat Cat. He also performed the theme song Evrybody Wants to be a Cat. Good friends with Jack Nicholson, he appeared in four of his films, The King of Marvin Gardens, The Fortune, Ralph Bakshis Coonskin, One Flew Over the Cuckoos Nest, and The Shining. An angel in Two of a Kind and finally Mr. Bloom and he is among the characters from the original Autobot lineup of the previous two seasons who survives the film. Some sources erroneously list him as a dancer in the Duke Ellington short, Symphony in Black, later, he encounters his jilted lover, played by the also uncredited Billie Holiday. They briefly have words, he pushes her down and exits with his new girlfriend before her song and this role was actually played by Earl Snakehips Tucker, who also appears at the end of the short. In the 1970s, fans recognized his voice as Hong Kong Phooey. In 1966 an animated special from the Hanna-Barbera studios aired called The New Alice in Wonderland, a hip take on the Lewis Carroll story that featured Sammy Davis, Jr. I. in 1980, and Taxi in 1983
10. Cliff Edwards – He had a number-one hit with Singin In The Rain in 1929. He also did voices for animated cartoons later in his career, Edwards was born in Hannibal, Missouri. He left school at age 14 and soon moved to St. Louis, Missouri and Saint Charles, Missouri, as many places had pianos in bad shape or none at all, Edwards taught himself to play ukulele to serve as his own accompanist. He was nicknamed Ukulele Ike by an owner who could never remember his name. He got his first break in 1918 at the Arsonia Cafe in Chicago, Illinois, Edwards and Carleton made it a hit on the vaudeville circuit. Vaudeville headliner Joe Frisco hired Edwards as part of his act, which was featured at the Palace in New York City, the most prestigious vaudeville theater, Edwards made his first phonograph records in 1919. He recorded early examples of jazz scat singing in 1922, the following year he signed a contract with Pathé Records. He became one of the most popular singers of that decade and he recorded many of the pop and novelty hits of the day, including California, Here I Come, Hard Hearted Hannah, Yes Sir, Thats My Baby, and Ill See You In My Dreams. In 1924, Edwards performed as the headliner at the Palace, also in that year, he was featured in George Gershwin and Ira Gershwins first Broadway musical Lady Be Good, alongside Fred and Adele Astaire. As a recording artist, his hits included Paddlin’ Madeleine Home, I Cant Give You Anything but Love, and the classic Singin In The Rain, which he introduced. Edwardss own compositions included Losing You, Youre So Cute, Little Somebody Of Mine and he also recorded a few off-color novelty songs for under-the-counter sales, including Im A Bear In A Ladys Boudoir and Give It To Mary With Love. Edwards, more than any other performer, was responsible for the popularity of the ukulele. Millions of ukuleles were sold during the decade, and Tin Pan Alley publishers added ukulele chords to standard sheet music, Edwards always played American Martin ukuleles favoring the small soprano model in his early career. In his later years, he moved to the sweeter, large tenor ukulele more suitable for crooning, Edwards continued to record until shortly before his 1971 death. His last record album, Ukulele Ike, was released posthumously on the independent Glendale label and he reprised many of his 1920s hits, but his failing health was evident in the recordings. In 1929, Cliff Edwards was playing at the Orpheum Theater in Los Angeles, California and his film company Metro-Goldwyn-Mayer hired Edwards to appear in early sound movies. He appeared in a total of 33 films for MGM through 1933 and he had a small role as Mike, playing a ukulele very briefly at the beginning of the 1931 movie Laughing Sinners, starring Joan Crawford. Edwards was very friendly with MGMs comedy star Buster Keaton, who featured Edwards in three of his films, Keaton, himself a former vaudevillian, enjoyed singing and would harmonize with Edwards between takes
11. Adelaide Hall – Adelaide Louise Hall was an American-born UK-based jazz singer and entertainer. Her long career spanned more than 70 years from 1921 until her death, Hall entered the Guinness Book of World Records in 2003 as the worlds most enduring recording artist having released material over eight consecutive decades. Adelaide Hall was born in Brooklyn, New York, to Elizabeth, in 1925, Hall toured Europe with the Chocolate Kiddies revue that included songs written by Duke Ellington. In 1926, Hall appeared in the short-lived Broadway musical My Magnolia that had a written by Luckey Roberts. Rogers, after which she appeared in Tan Town Topics with songs written by Fats Waller, Hall then starred in Desires of 1927, which toured America from October 1926 through to September 1927. In 1924, Hall married a British sailor Bertram Errol Hicks, born in Trinidad, soon after their marriage he opened a short-lived club in Harlem, New York, called The Big Apple and became her official business manager. Hall was hired to join the cast of the Chocolate Kiddies revue in New York, the initial tour started at Hamburg, Germany, on 17 May 1925, and ended in Paris, France in December 1925 visiting many major cities in-between. The revue was designed to give Europeans a sampling of black entertainment from New York, included in the cast were The Three Eddies, Lottie Gee, Rufus Greenlee and Thaddeus Drayton, Bobbie and Babe Goins, Charles Davis and Sam Wooding and his Orchestra. After the initial tour disbanded, Sam Wooding and his Orchestra continued touring the Chocolate Kiddies revue for several years later. In 1926, upon Halls return to New York after touring Europe with the Chocolate Kiddies, she was featured in Tan Town Topics, a revue containing songs written by Fats Waller and Spencer Williams. The cast included Fats Waller, Eddie Rector and Ralph Cooper, Adelaide Hall, Maude Mills, Arthur Gaines, Leondus Simmons and a dance troupe called the Tan Town Topics Vamps. The show opened at Harlem’s Lafayette Theatre on 5 April followed by a road tour on the eastern Theater Owners Booking Association circuit taking in Baltimore, Chicago. During July 1926, Hall appeared in residency with Lottie Gee, on Tuesday,5 October, Hall appeared again at Small’s Paradise at a special party, Handy Night, hosted by the venue to honour W. C. Handy and to celebrate the release of his published book Blues, An Anthology—Complete Words. For entertainment, Adelaide Hall, Lottie Gee, Maude White and Chic Collins provided a selection of jazz and blues numbers. From October 1926, Hall toured America playing the TOBA circuit until September 1927 in the highly praised show Desires of 1927, conceived by J. Homer Tutt, as the Pittsburgh Courier noted, Adelaide Hall and assistants have some show. Billed as the soubrette of the show, Adelaides performance included several songs. In October 1927, Hall recorded her wordless vocals on Creole Love Call, The Blues I Love To Sing and Chicago Stomp Down with Duke Ellington, the recordings were worldwide hits and catapulted both Halls and Ellingtons careers into the mainstream