KSDS 88.3 Blog

Peggy Lee grew up in North Dakota and began singing on local radio as a young teenager. It was the program director at WDAY who suggested she change her name from Norma Egstrom  to Peggy Lee and by age 17, she was off to Los Angeles to make her way in music.  She landed a gig with Benny Goodman's band and she spent two years on the road with them from 1941 to 1943.  As she got more into the jazz world, her vocal style would set her apart.  Lee's sublte, sultry voice offered an understated, yet powerful presence in music...and led to a career that spanned seven decades. 

Lee's string of hit songs included the definitive version of "Fever" which was released in 1957.  But, her first Number 1 hit came in 1942 with "Somebody Else is Taking My Place", followed by another Number 1 chart topper in 1943, "Why Don't You Do Right?"  The latter would make her famous.  Lee then made her name as more than a girl singer.  She was an acccomplished songwriter, penning such classics as "What More Can A Girl Do" recorded by Sarah Vaughan, "Mañana (Is Soon Enough for Me)", and music for the enduring Disney film "Lady and The Tramp" (a film for which she not only wrote music, but voiced four of the characters.)  She was nominated for an Oscar for her work in the film "Pete Kelly's Blues" and also appeared alongside in the 1952 remake of "The Jazz Singer."  She recorded for Capitol Records and Decca Records,  Throughout her life, she was nominated for 12 Grammy Awards and was honored with a  Grammy Lifetime Achievement Award in 1995. 

Nancy Wison was a multi-faceted entertainer who enjoyed a lengthy career in music, television, film, and radio. She was singing in clubs while still in high school and gave her final live perfomance in 2011, seven years before her death.  When it came to music, Wilson described herself as a "song stylist" and moved smoothly through jazz, blues, R & B, pop, and soul music.  She worked with some of the finest musicians of her generation: Hank Jones, Ramsey Lewis, and, perhaps most notably, Julian "Cannonball" Adderley.  Their 1962 Capitol Records recording "Nancy Wilson and Cannonball Adderley" not only boosted her recognition at the time, but remains a classic among jazz fans. 

Wilson would go on to have further recording success, including Billboard chart toppers for Capitol Records, and ultimately released over 60 albums and singles, earning 3 Grammy Awards in her lifetime.  She was named an NEA Jazz Master in 2004 and has a star on the Hollywood Walk of Fame.  In addition to her success as a vocalist, Wilson also found success in television and film, appearing in shows like "I Spy" and "Hawaii 5-0."  She brought her multiple talents to radio as the host of NPR's "Jazz Profiles" from 1996 through 2005.  

As versatile as she was as a singer, actor, and radio host, Wilson is also remembered for her commitment to equal rights and human rights.  She marched in Selma with Martin Luther King, Jr. and in 1993 received an award from the Martin Luther King Jr. Center for Nonviolent Social Change in 1993; the NAACP Image Award – Hall of Fame Award in 1998. She was also awarded the NAACP Lifetime Achievement Award.  

Helen Merrill's first recording was with the Earl Hines band in 1952 and would be the start of a busy recording and performing career lasting six decades.  She signed with the EmArcy label (an offshoot of Mercury Records) in 1954, becoming the first artist to release a single on the newly-formed imprint, "Alone Together" with the B-side "This Is My Night To Cry." Her self-titled first album for EmArcy included trumpeter Clifford Brown and bassist Oscar Pettiford.

Merrill's debut found such success that EmArcy signed her for additional albums, including one produced and arranged by Gil Evans.  It was expressive, emotional approach to songs that made her such a sought-after singer.  Listening to her sing is almost like watching a film; her often heart-broken character coming alive through the song. She could swing just as comfortably as she caressed a ballad.  She would work with the cream of the instrumentalist crop throughout her career...Frank Wess, Marian McPartland, Bill Evans, Quincy Jones, Hal Mooney, Gil Evans, Milt Hinton, and Osie Johnson. One of her most notable projects was "Duets" released in 1989 with bassist Ron Carter. 

Throughout her lifetime, Helen Merrill has taken her music worldwide, even co-hosting a radio program while she lived in Japan.  She is a first generation American and her 1999 release "Jelena Ana Milcetic" paid tribute to her Croatian heritage and blended jazz, pop, folk, and traditional Croatian music.  Merrill was inducted as a Living Legend into ASCAP's Jazz Hall of Fame in 2014.

Another way to join KSDS San Diego's Jazz 88.3 is with the listening stream. There's the KSDS APP. Please search 'KSDS Jazz' in your respective Google or Apple store.

Her legend includes being Miles Davis' favorite singer, worthy praise from a master musician who didn't offer such things lightly.  Shirley Horn had an exquisite voice...a dusty, warm sound of her own, with plenty of swing and soul.  Her style utilized the space that Davis sought in much of his own music.  Horn was one of those rare musicians who was both master of her internal instrument, her voice, and master of her external instrument, the piano.

Her piano sensibility for jazz grew on top of her foundation in classical music.  At one point in her early life, she was accepted to The Julliard School of Music, but her mother put the brakes on her daughter going off alone to New York City.  Her ears turned to jazz and she said, "Oscar Peterson became my Rachmaninov, and Ahmad Jamal became my Debussy."  She would record her first jazz album in 1960, "Embers And Ashes" for a small label in New York City.  That was the album that caught the attention of Miles Davis.  His invitation to play between sets during his stints at the famed Village Vanguard raised her profile significantly and she was signed by Quincy Jones to Mercury Records in 1962.

Shirley Horn would go on to record 25 albums as a leader, including collaborations with Miles Davis, earning nine Grammy Award nominations.  In 1999, her tribute album to her friend Davis earned her the Grammy Award for Best Jazz Vocal Performance.   In 2005, months before her death, she was honored by the National Endowment for The Arts as an NEA Jazz Master. 

With one of the most distinct and recognizable voices in jazz, singer and pianist Blossom Dearie entertained audiences for nearly 55 years.  She hit the scene just after high school singing with the Woody Herman Orchestra's Blue Flames and Alvin Rey's Blue Reys. 

Dearie embarked on a solo career and, after some time in Paris, came back to the United States to record a half dozen albums for Verve Records from 1957 to 1960.  These included her self-titled debut, as well as the classics "Give Him the Ooh-La-La" and "My Gentleman Friend." Her wispy, almost child-like voice set her apart from other singers and she worked with vocalist King Pleasure and longtime friend Bob Dorough.  She even shared the bill with Miles Davis at The Village Vanguard.  The 1970s would see a whole new generation introduced to her through the children's television program "Schoolhouse Rock."  Dorough was doing much of the music for the series and Dearie would appear on several songs, among them "Unpack Your Adjectives" and "Figure Eight."  The project "Multiplication Rock" with Dorough and other earned a Grammy nomination in 1973 for Best Recording for Children.

Not only was she a successful player and singer, she was also a pioneer in the record industry, by launching her record label Daffodil Records in 1973...she was the first woman to do so. Her early love of performing in intimate nightclubs continued through the remainder of her life.  Dearie performed her last live show at the age of 82.  Her voice continues to be one of a kind.

Julie London was one of the most versatile and talented women of her generation.  Her more than forty-year career showcased her gifts not only as a singer, but also as an actress.  Her film career spanned 35 years and included starring roles alongside Robert Mitchum and John Cassavetes. A later generation would know her by her role in the television show "Emergency."  The show ran for six years and London's lead character, nurse Dixie McCall, appeared in every episode.  

As a singer, London began in nightclubs in Los Angeles while still a teenager.  Her vocal style has often been described as sultry and low-key...that was the style that lead to her first hit in 1955, the classic "Cry Me A River." The song went to #9 on the U.S. record charts and the album it was on, her debut recording "Julie Is Her Name," peaked at #2 on the charts.  London had firmly made her mark and was named Billboard magazine's Most Popular Female Vocalist in 1955, 1956, and 1957.  Throughout the late 1950s and 1960s, she balanced a busy schedule of singing, appearing in multiple films, and guest starring on popular television shows.  During this time, she recorded 29 studio albums for Liberty Records, as well as live recordings.

When considering the breadth of her career, it's somewhat surprising that she was also noted as an introverted and very private person.  But, when viewing the list of artistic endeavors and her success in each of them, Julie London's legacy speaks for itself. 

March is Women's History Month and KSDS-FM is celebrating by shining the spotlight on listener's favorite female vocalists. Listen every weekday throughout the month to hear daily musical features with some of the greatest singers in Jazz history, counting down to your number one favorite. For details about each singer go to the KSDS Blog to learn more. 

February 28, 2020- Today's BHM topic is: Central Avenue

From the beginning of the 20th Century, Los Angeles’ Central Avenue was the main thoroughfare of the African American Community. The Avenue itself stretched from downtown all the way to Watts. In the early years the black community was located around 12th and Central where the burgeoning African American music business was headquartered at The Spikes Brothers Music Store.

By World War II the center of the black community had moved further south. The black population of Los Angeles grew substantially during the war with people coming west to work in the defense plants. There were black owned businesses of all kinds up and down the avenue. The locals referred to it as “the main stem.” It was a city within the city, a very tight knit community that had tremendous cultural pride.

Defense workers had money in their pockets and there was a large nightlife district that provided entertainment around the clock. It was all centered around 42nd and Central. The classy Hotel Dunbar was the central attraction. The Club Alabam was the showplace of the avenue with floor shows, chorus girls and a house band that could hold its own against anybody.
Almost all African American celebrities that came to town stayed at the Dunbar. This included traveling bands like Ellington, Basie and Lunceford. When they got off work in Hollywood or Culver City it wasn’t uncommon to find the sidemen sitting in with the locals at the many Central Ave clubs.

And there were plenty of choices.

The Elk’s Auditorium had all kinds of events including big bands and jam sessions plus the likes of T-Bone Walker or Big Jay McNeely. The Last Word featured jump bands like Joe Lutcher and Jimmy Liggins. Jazz combos were featured at The Downbeat. Wardell chasing Dexter and The Buddy Collette, Baron Mingus Stars of Swing among others.

After the festivities ended for the night at those venues the after hours joints continued on till dawn.

Alex Lovejoy’s, home of the big-legged chicken was Art Tatum’s favorite place to hangout. There was also Backstage and Brothers where you brought your own bottle. If you didn’t have one there was always a guy in the parking lot of the market at 53rd St. selling booze after 2AM.

Jack’s Basket Room also known as Bird in the Basket featured late night jam sessions and local live broadcasts. Clora Bryant, Sonny Criss, Teddy Edwards, Gene Montgomery, Art and Addison Farmer, J.D. King, Russell Jacquet and Freddie and Maurice Simon went almost every night. In addition to the music there was their famous fried chicken. If you didn’t like Jack’s chicken there was also ex-Ellington vocalist Ivie Anderson’s Chicken Shack. When Roy Porter formed his bebop big band in 1948 they rehearsed every afternoon at Ivie’s. A very young Eric Dolphy was a member of the Porter band reed section.

Jefferson High School students would drop by after school to listen. It was an amazing scene. Hollywood stars used to show up in their big limousines to hear the likes of T-Bone Walker and Johnny Otis. It wasn’t uncommon to see the likes of Dorothy Dandridge, Joe Louis, Lana Turner and Humphrey Bogart sitting ringside at the Club Alabam.

There was no racial segregation on the avenue. White patrons were welcome, especially musicians. The avenue was swinging nightly for years but totally under the radar to most Los Angeles residents. There were never mentions in the LA Times of happenings on the Avenue yet The Los Angeles Sentinel covered everything from music to sporting events and community functions.

We would know a lot less about what happened today had it not been for some local entrepreneurs who started record companies in their garages to try for the elusive jukebox hit. In doing so small labels like Aladdin, Modern, 4-Star, Exclusive, Excelsior, Bop, Dial, Bel-tone and Dolphin’s of Hollywood documented much of the music that was happening on the stem.

By the end of the forties things were changing and many of the Central Ave. clubs were closing their doors for good.