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Posts tagged as “Nancy Wilson”

MUSIC MONDAY: “Summer Breeze” – Summer Songs Playlist for 2023 (LISTEN)

by Jeff Meier (FB: Jeff.Meier.90)

This July, as we endure the latest triple digit temperature heatwave, or navigate flight cancellations in our attempts at a vacation, we can always count on summer music to lighten the mood and keep our heads cool in the comfort of our own backyard.

So, with that in mind, we’re back again this holiday week with the latest update to our popular playlist entitled Summer Breeze – Soulful Summer Songs.” We introduced this playlist a few years ago and have been updating it annually with both new and old musical finds uncovered deep in the recesses of Spotify.

[spotifyplaybutton play=”https://open.spotify.com/playlist/1xgE7qFwobhbEshljcxyPs?si=f9ead573a45d4295″]

The goal of the playlist is simple – find music by Black artists (or, in a few cases, soul-influenced artists of various ethnic backgrounds) that have the word “summer” in their song title – these songs are literally written about summer.

Some are big BBQ standards, like “Summer Breeze” by the Isley Brothers, Will Smith‘s “Summertime”, Sly & The Family Stone‘s “Hot Fun in the Summertime” and “Summer” by War.

But many are lesser known from across the decades, from artists ranging from Nat King Cole and Nancy Wilson to Anderson.Paak and Aloe Blacc – all unified by their seasonal theme.

This year we’ve added 35 new songs, sprinkled throughout the list. Some are fresh out of the oven, like Chris Brown‘s “Summer Too Hot” and “Summer Renaissance” by Beyoncé. Others include older songs we found anew on Spotify since our last update, from name artists like Uncle Charlie Wilson (“Just Like Summertime”), Rick James (“Summer Love”), Tony! Toni! Toné! (“Til Last Summer”), reggae group Big Mountain (“Reggae Inna Summertime”) and Kelly Rowland (“Summer Dreaming”).

For this OG soul music fan, the most fun, perhaps, is uncovering via the magic of Spotify all sorts of artists new to my ears. Many are already successful with millions of monthly Spotify listeners, such as SiR (“Summer in November”), Fana Hues (a lovely cover of Stevie’s “Never Dreamed You’d Leave in Summer”), girl group FLO (“Summertime”), Khruangbin (a cool new take on “Summer Madness”) and KYLE (“SummertimeSoul”). 

We’ve also got songs from newcomers like Kenya Vaun (“Summer”), Tay Iwar with Juls (“Summer Breeze”), and NoMBe (“Summer’s Gone” remix with Sonny Alven and Thutmose).

Spotify has opened up American ears to artists from all over the globe that we may never have heard before the internet. South Africa’s Soweto-born DJ Kent brings us the hypnotic “Summer Heartbreak.” Suriname-born Jeangu Macrooy (“Summer Moon”) has represented Netherlands in Eurovision. Pheelz (“Pheelz Like Summer”) is a prolific Nigerian producer/artist with a following in both his home country and throughout Europe. And from the UK comes newcomer Debbie, with her tune “Summer in December.”

Of course, we also had to dig for a few more deep classics. Those include the Chic-like British soul tune “Summer Grooves” by Mirage, doo-wop classics from Ruby & The Romantics (“My Summer Love”), The Danleers (“One Summer Night”), and The Tymes (“Summer Day”), and some newly found standards, including a lovely version of “The Summer Knows” from Leslie Uggams and Sarah Vaughan‘s “The Green Leaves of Summer.” And, love it or hate it, you simply must check out LGBT icon Sylvester‘s version of the Porgy & Bess standard “Summertime” in which the disco star merges Gershwin with Soft Cell’s “Tainted Love.”

If you’ve enjoyed this playlist in the past, here’s the annual reminder to check in with it again for some fresh additions. And if you are new to it, check out all the above and more on what is now a full day’s worth of summer songs with a soulful sensibility to explore. Feel free to let us know in the comments your favorite “summer” songs, including any we’ve missed!

Enjoy!

Celebrating Vocalist Nancy Wilson for #JazzAppreciationMonth (LISTEN)

by Lori Lakin Hutcherson (@lakinhutcherson)

In continued celebration of #JazzAppreciationMonth, today we drop in on the underappreciated yet cherished and deeply talented song stylist Nancy Wilson, who was at one time in the 1960s the second most popular act on Capitol Records behind only the Beatles.

To read about Wilson, read on. To hear about her, press PLAY:

[You can follow or subscribe to the Good Black News Daily Drop Podcast through Apple Podcasts, Spotify, Google Podcasts, rss.com or create your own RSS Feed. Or just check it out every day here on the main website. Full transcript below]:

Hey, this is Lori Lakin Hutcherson, founder and editor in chief of goodblacknews.org, here to share with you a daily drop of Good Black News for Tuesday, April 12, 2022, based on the “A Year of Good Black News Page-A-Day Calendar” published by Workman Publishing.

Ohio native Nancy Wilson claimed her gift early, knowing by age four she was meant to be a singer. Encouraged by jazz saxophonist and bandleader Julius “Cannonball” Adderley, Wilson moved to New York in 1959 and landed a contract with Capitol Records.

The success of Nancy’s debut single “Guess Who I Saw Today,” led to a rush of album recordings, and to that tune becoming one of the signature songs of her career:

[Excerpt of “Guess Who I Saw Today”]

Wilson’s classic 1962 album recorded with Cannonball Adderley [Nancy Wilson/Cannonball Adderley] contained her first Billboard R&B chart hit, the gorgeous ballad “Save Your Love for Me”:

[Excerpt of “Save Your Love for Me”]

From her 1964 album of the same title, Wilson scored her first pop hit, reaching number 11 on the Hot 100 chart with “How Glad I Am”:

[Excerpt of “How Glad I Am”]

Wilson won her first Grammy for that song and had four top 10 albums on the Billboard charts between 1964 and 1965, becoming during that period Capitol Records’ second-biggest selling act behind only the Beatles.

Wilson released more than 70 albums in her five-decade recording career, and won two more Grammys 40 years after her first win, both for Best Jazz Vocal Album, in 2005 for R.S.V.P. (Rare Songs, Very Personal) and 2007 for Turned to Blue.

[Excerpt of “That’s All” from R.S.V.P.]

In 2004, Nancy Wilson was honored as a Jazz Master by the National Endowment for the Arts, and for her work as an advocate of civil rights, which included participating in the 1965 Selma to Montgomery march in Alabama.

She received an award from the Martin Luther King Jr. Center for Nonviolent Social Change in 1993 and also in 1998 she won an N.A.A.C.P. Hall of Fame Image Award.

Although Wilson was lauded as a jazz vocalist, she preferred to think of herself a song stylist, as she drew from a variety of influences, which she spoke about in detail during an interview on grammys.com:

“So, consequently, I was exposed to male influences. From early on, I heard Nat Cole I heard [?????] Jackson and Louis Jordan – loved Louis Jordan. I heard Billy Billy, Mr. B. I mean, he was just, I mean, my father thought Billy Eckstine was like, couldn’t – he walked on water. He loved B. And I heard Little Jimmy Scott with Lionel Hampton‘s big band. I would imagine that was when I was around 10. So basically, it was all male. And, and not gospel. I heard Jimmy Cleveland, James Cleveland, and C.L. Franklin, and his choir from my mom used to play that. So, I got to hear it all. And I enjoyed all of it. And then of course, I became a teenager. I mean, I was allowed to go out.

And there was a jukebox where I heard Little Esther, and I heard Little Miss Cornshucks. I heard LaVern Baker. I definitely heard Dinah and I heard Ruth Brown – I used to love Ruth Brown. That was where I got the exposure to R&B females. Was a quite a while – I think I was pretty much almost grown like 15 when I became exposed to – Sarah had some hit pop songs and I heard Sarah Vaughan and that I loved. “I Ran All the Way Home” was my big song. Also one of my big numbers was the Ravens tune called “You Saw Me Crying in the Chapel.”

So I sang these songs in variety shows and I’m like ninth grade, 10th grade, so, these were the things that really made things happen for me. The fact that I did not I had no idea that you were supposed to be afraid, or that you needed to be nervous. Because to me that had no part of what I did. I was not nervous about it at all. Loved to sing – loved the lyrics to songs always. Yeah.”

 

To learn more about Nancy Wilson, check out the Jazz Profiles series she hosted on National Public Radio, read her 2007 interview on the National Endowment for the Arts website, watch her 1994 interview on Detroit Black Journal on YouTube, her 1962 appearance on Jazz Scene USA currently on YouTube, an 80-song Nancy Wilson playlist curated by yours truly on Apple Music or Spotify, and of course, buy or stream as much Nancy Wilson music as you can online.

Links to these sources and more provided in today’s show notes and the episode’s full transcript posted on goodblacknews.org.

This has been a daily drop of Good Black News, based on the “A Year of Good Black News Page-A-Day Calendar for 2022,” published by Workman Publishing.

Intro and outro beats provided by freebeats.io and produced by White Hot.

All excerpts of Nancy Wilson’s music included are permitted under Fair Use.

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Sources:

[Photo: David Redfern/Redferns]

MUSIC MONDAY: “The Song Is You” – a Tribute Playlist to Legendary Song Stylist Nancy Wilson (LISTEN)

by Lori Lakin Hutcherson (@lakinhutcherson)

Hey, it’s Lori, GBN’s Editor-in-Chief, stepping in with this week’s Music Monday share. As yesterday was what would have been song stylist Nancy Wilson’s 85th birthday, I have crafted an 85-song tribute playlist that spans her six decades-long recording career.

A prolific singer who recorded and released 52 albums, three-time Grammy Award winner Wilson was one of the greats who often is not given her just due in popular music history. For a time in the 1960s, Wilson was the second biggest recording artist at Capitol Records – the biggest being the Beatles.

Born on February 20, 1937 in Chillicothe, Ohio, Nancy Sue Wilson knew by the time she was four years old she would be a singer. By her teen years she won a talent contest and began performing on a local television program called Skyline Melodies, then became its host.

She soon met jazz saxophonist and bandleader Julius “Cannonball” Adderley, who was impressed with her talent and suggested she move to New York City. The move lead to Wilson landing a recording contract with Capitol and releasing her first single and album in 1960.

The first five songs that kick off this compilation are some of Wilson’s best known recordings, some of which charted on Billboard Magazine’s pop and/or R&B charts: “(You Don’t Know) How Glad I Am” – Pop #11; “Save Your Love For Me” – R&B #11; “Tell Me The Truth” – R&B #22 – others which are considered Nancy Wilson standards.

From Wilson’s rendition of  “Fly Me To The Moon” off her first album, Like in Love, until the playlist’s conclusion, I’ve ordered the songs to play mostly in chronological order, to offer a sense of how Wilson’s music and voice developed from the 1960s on.

Highlights include her recordings with George Shearing and Cannonball Adderley (The Swingin’s Mutual and Nancy Wilson/Cannonball Adderley are two classic Nancy Wilson albums that deserve to be purchased and heard in their entirety), and the live tracks from The Nancy Wilson Show recorded live at the Cocoanut Grove in Los Angeles, and the tracks from one of my personal favorite Nancy Wilson albums, 1971’s But Beautiful, where she is backed brilliantly by the Hank Jones Quartet.

I’d also like to point out Wilson’s superlative cover of “Raindrops Keep Fallin’ On My Head” from her 1970 album Can’t Take My Eyes Off You and the utterly surprising and borderline funky “Tell The Truth” from her 1974 All in Love is Fair LP written by Wilson along with Tennyson Stephens. And YES, the first line is “Bitches taking money and they livin’ well.” Seriously, enjoy.

There are more treasures than I can count in this playlist, especially her later recordings towards the end of her career before she stopped recording such as “When October Goes,” “Peel Me A Grape” and “The Golden Years.”

Wilson passed in 2018 but her music deserves and needs to continued to be appreciated and shared for generations to come. To quote GBN music contributor Jeff Meier from his Facebook tribute to Wilson when she passed:

“While she was probably not a jazz purists favorite jazz performer, a pop fan’s favorite pop singer, nor a soul fan’s top soul artist, she was something in the middle, an accurately self-proclaimed ‘song stylist’ who was a true pioneer in African-American ‘supper club’ entertainment, blending the best from the American songbook – pop, jazz, blues, show tunes into one stylish mix.

In the vein of Johnny Mathis and Lena Horne, she was beautiful, elegant, classy – and therefore also the perfect archetype of ‘guest’ to help integrate television in the early ’60s, when she was regularly featured on variety shows like Andy Williams, Hollywood Palace, Danny Kaye, Smothers Brothers, Carol Burnett and many more.

She is undoubtedly what Columbia Records was trying to turn Aretha Franklin into before Aretha broke free for Atlantic to become her true self. Good thing, because just as there was only one Aretha, there was also only one Nancy Wilson.”

I hope you enjoy this playlist, and please know we are still working behind the scenes on re-creating and offering our playlists via Apple Music for those who would like a non-Spotify option. As soon as they are ready, I’ll be sure to post and let you know.

2/22/22 UPDATE:

Good Black News is now officially on Apple Music! Going forward, we will offer all MUSIC MONDAY playlists on both platforms. Slowly but surely, we will add the playlists from past Music Mondays on Apple Music as well. Enjoy!

MUSIC MONDAY: “Cool Yule” – A Jazzy Christmas Collection (LISTEN)

by Lori Lakin Hutcherson (@lakinhutcherson)

With Thanksgiving firmly in our rearview, it is officially time to bring on the peppermint, egg nog and, best of all (at least in my mind), Christmas music playlists!

This season Good Black News is starting off with a playlist chestnut we dropped last Christmas Eve, perhaps missed by anyone who was traveling, already out and about or otherwise engaged in the spirit. So one more again, I am happy to bring to you “Cool Yule”: A Jazzy Christmas Collection:

From Take 6 to Duke Ellington to Geri Allen to Oscar Peterson, this playlist includes vocal and instrumental jazz renditions of traditional and modern Christmas and end-of-year classics for all to enjoy.

Ella Fitzgerald, Nancy Wilson, Sarah Vaughan, Lena Horne, Betty Carter, Dianne Reeves, Etta James, Dinah Washington, Esperanza Spalding and Billie Holiday are among the female jazz vocalists represented on “Cool Yule,” with Billy Eckstine, Nat King Cole, Leslie Odom, Jr. and Louis Armstrong lending their deeper pipes to the playlist.

Also represented are jazz titans Miles Davis, John Coltrane, the Count Basie Orchestra, Benny Carter, Kenny Burrell, Wynton Marsalis, Roy Hargrove, the McCoy Tyner Trio, Jimmy Smith, the Elvin Jones Quintet and the Ramsey Lewis Trio.

Wishing you all the best as we warm into the winter season, and in the coming new year. Enjoy!

MUSIC: “Cool Yule” – GBN’s Jazzy Christmas Playlist (LISTEN)

by Lori Lakin Hutcherson (@lakinhutcherson)

Whether you are among those celebrating the Christmas holiday with loved ones (via Zoom or in the same room) or doing it solo, you may want some mellow-yet-festive holiday music playing as you spend the day.

Earlier this month, Good Black News offered the comprehensive, 465-song Ultimate Soul of the Season Christmas Soundtrack on Spotify as well as Silver Bells: An Afroclectic Christmastime Playlist for 2020. Today, on Christmas Eve we offer Cool Yule: A Jazzy Christmas Collection.

From Take 6 to Duke Ellington to Geri Allen to Oscar Peterson, this playlist includes vocal and instrumental jazz renditions of traditional and modern Christmas and end-of-year classics for all to enjoy.

[spotifyplaybutton play=”spotify:playlist:2rCXw95SjIgNZllitaQ8Fb”]

Ella Fitzgerald, Nancy Wilson, Sarah Vaughan, Lena Horne, Betty Carter, Dianne Reeves, Etta James, Dinah Washington, Esperanza Spalding and Billie Holiday are among the female jazz vocalists represented on “Cool Yule,” with Billy Eckstine, Nat King Cole, Leslie Odom, Jr. and Louis Armstrong lending their deeper pipes to the playlist.

Also represented are jazz titans Miles Davis, John Coltrane, the Count Basie Orchestra, Benny Carter, Kenny Burrell, Wynton Marsalis, Roy Hargrove, the McCoy Tyner Trio, Jimmy Smith, the Elvin Jones Quintet and the Ramsey Lewis Trio.

Wishing you all the best tomorrow and in the coming new year. Enjoy!

“Surprise! We’re Still Making Great Music!” – Playlist of New Songs to Savor from 30 R&B/Soul Favorites (LISTEN)

by Jeff Meier (FB: Jeff.Meier.90)

Many of our Spotify playlists on Good Black News celebrate the songs of years past – but today we’re going to twist it up a little.

With our Surprise! We’re Still Making Great Music playlist, we’re going to spotlight 30 favorite artists from throughout the years who you maybe didn’t know had something new to offer.

[spotifyplaybutton play=”spotify:playlist:0X0ZZTJ6z2yxX5Uu7R7j3G”/]

With major record companies so focused on the youth/hip hop market, it’s often just part of the accepted path of a musician that after the hit-making years are over, an artist’s career shifts – sometimes concerts/touring, sometimes acting/performing in musicals, sometimes just retiring or changing careers.

But as the technology for recording gets less expensive, and the ability to distribute music electronically becomes simpler – more and more favorite acts are deciding to record new music.  However, just because they’ve made new music, doesn’t mean its been easy for us to find out about it.  Not many radio stations play new soul from veteran artists, and on the streaming services, these tracks are often not well-promoted – even to their likely audiences.

So we started exploring, and we’ve stumbled across dozens of fresh recordings from artists that we haven’t checked out in awhile, often in decades! Some artists have been recording all along – and we didn’t realize it. Some seem to be testing the waters – can they reignite their fanbase? And, this year in particular, with musicians stuck at home – and with news events and protests inspiring the artistic desire to say something, many are using their art to address the politics of today.

So, here are 30 favorite artists (+ one bonus artist) – a mixture of men, women, and groups with recent music from the last couple years you can check out now electronically.  Let us know in the comments who you are happy to see back in action behind the mic:

#AAMAM: “Just A Shot Away” – Rediscovering Legendary Session Singer Merry Clayton (LISTEN)

by Jeff Meier (FB: Jeff.Meier.90)

As part of Good Black News’ celebration of African-American Music Appreciation Month (#AAMAM), we are taking some time to honor quality artists whose music has nevertheless remained unappreciated.  Last week, we brought you a playlist from Ronnie Dyson.

This week we’d like to introduce/re-introduce you to Merry Clayton.

[spotifyplaybutton play=”spotify:playlist:0UQqIFHfA6XNloP3Gww8nH”/]

Back in March 2014, as she was experiencing 50 years in the music business, legendary session singer Merry Clayton got one more chance at stardom when the documentary 20 Feet From Stardom, about the world’s most renowned backup singers, won the Best Documentary Oscar.

The doc brought renewed attention to performers such as Lisa Fischer, Judith Hill, Gloria Jones, and Clayton – whose voices you’ve undoubtedly heard, but whose names are a little less than familiar.

In the early ‘60s, Merry (who got her name because she was born on Christmas day) launched into a music career as a young teen, cutting a few one-off soul singles, and singing duet “Who Can I Count On?” with then 26 year-old pop hitmaker Bobby Darin when she was just a 14 year-old girl with a commanding voice.

Merry Clayton

By the late ‘60s, Merry Clayton’s role as a star backup singer hit its stride on The Rolling Stones’ “Gimme Shelter” opposite Mick Jagger.  Her cries of “Rape, Murder/It’s just a shot away” are known to any classic rock fan. The story goes that she got the random session call late at night from one of the song’s producers during an all-night mixing session – and showed up in curlers, heavily pregnant, belting out the iconic vocals in just a few takes before heading back home (where she subsequently suffered a miscarriage).

During that same era, Merry Clayton was also one of the backup crew on countless legendary records by Carole King, Joe Cocker, Barbra Streisand, Lynyrd Skynyrd, Linda Ronstadt, Billy Preston, Tori Amos, and, as recently as 2015, Coldplay.

Her prominent rock backup turns earned the attention of rock music producer/impresario Lou Adler, who signed her to his Ode Records label (most famous for Carole King’s Tapestry LP).  In 1972, she further cemented her rock bonafides by appearing as The Acid Queen in the first London stage production of The Who’s rock opera, Tommy.

The very enjoyable 20 Feet (you can check it out on Netflix right now) essentially argued that if only these women had gotten the chance, they could have been big stars.

A Remembrance of Jazz Legend Ella Fitzgerald on Her Birthday and Playlist (LISTEN)

Ella Fitzgerald receiving her Honorary Doctorate in Music at Harvard University in 1990 (photo: Charles Krupa)

by Lori Lakin Hutcherson (@lakinhutcherson)

Although I’m typically calm-if-a-bit-nerdy when I meet artists I admire, there is one time in my life I fully lost my natural mind for someone. That someone was the woman and musical legend Good Black News is celebrating today, April 25, on what would have been her 103rd birthday – Ella Fitzgerald.

To set the scene, it was the day of my college graduation in June of 1990. I was standing in my black cap and gown next to my roommates, as the graduating class formed something akin to a Soul Train line for alumni, professors and distinguished guests to walk through on the way to taking the stage for the ceremony. I’d spent four long, great years earning a bachelor’s degree at Harvard in American History and Literature with a minor in African-American Studies. I also DJ’d at the college radio station 92.3FM WHRB all four of those years.

In addition to being all about hip-hop, house, R&B and dance music, I fell in love with jazz at WHRB, too. So much so that I got up several mornings a week to jock the 6-8am “Jazz Spectrum” program at WHRB, and even found a way to incorporate jazz into my senior thesis by comparing jazz autobiography to the slave narrative. Not exactly everyone’s idea of a page-turner, I know, but it was nice and egghead-y, earned me high honors from my department, and was a sneaky way to earn credit while spending time deepening my nascent love of jazz and jazz history.

So when I heard Ella Fitzgerald – the singer whose interpretation of “Lullaby of Birdland” took my heart and mind to heights of joy so unexpected that I immediately began to consume her versions of every standard as if they were musical narcotics – was on the list of people receiving honorary degrees from Harvard that year, I was beyond thrilled. Ella, Billie Holiday, Sarah Vaughan and Nancy Wilson were my personal Mt. Rushmore of jazz singers, and having her name indelibly connected to my class was momentous.

But I also knew she’d had some recent health issues (she was 73 at the time) and did not expect her to accept her doctorate in person. In fact, I was saying pretty much that to my roommate Susan as several of the distinguished graduation guests filed past us. And then I turned. And saw her. Elegant. Beautiful. Smiling. Ella.

There was a consistent smattering of applause accompanying every step she took. When I finally caught my breath, all that came roaring out of my mouth was the primal scream – “ELLLLLLLAAAAA!!!!  ELLLLLLLAAAAA!!!” I couldn’t stop. I was hopping up and down and cheering and – as I said before – losing my natural mind.

I saw on my roommate’s face and other faces around me that amused “Damn, what exactly is happening to her right now?” look, but that was all in slow motion and I did not care because a national treasure was walking towards me. The architect of vocal improvisation and scatting and so much pure jazz singing greatness was in my sights, and I could not contain myself.

I think Ella heard me before she saw me, because I saw her glance my way, smile, then veer close enough to lay her hand on my forearm. Yes, that’s right, I can now and forever brag that the one and only Ella Fitzgerald touched me.

As I observed her small but mighty hand on my forearm, it reminded me of my grandmother’s. From it I felt a gentle squeeze – and in that squeeze she communicated her amusement, her thanks, and, if I’m being 💯 about it, encouragement to get a gotdamn grip on myself and attempt some level of decorum. I was at my college graduation ceremony, her hand reminded me, not Showtime at the Apollo. And then she kept going down the line and when no more dignitaries were left to file past us, we collapsed the Soul Train line and headed to our seats.

https://youtu.be/or1kqkeGXrI

I have no idea what else was said or done during the rest of that ceremony – I spent most of it plotting with my wing woman Karen Moody on how to get close enough to the stage so I could ask Ella for her autograph. Moody offered to distract the security guard once the ceremony was over – she turned on her gift of gab and I was able to glide by and up to Miss Fitzgerald with a pen and the only paper I had, my graduation program. Ella graciously signed it and smiled at me once again as security quickly became undistracted and pointed me away.

Thirty years later, when I look back on this moment, I can’t help but ask myself exactly why I went so crazy. The obvious answer is, duh – ELLA FITZGERALD – but it was such lightning bolt of energy that came through me, it was more than that. Back then I didn’t know much about her life, her professional or personal struggles, but something in me knew to honor the totality of who she was, what she’d gone through and what she gave to this world.

Ella Fitzgerald deserved (and got) a full body-and-soul shout out from the younger generation through me that day. To let her know that she was seen, heard, loved and would never be forgotten, particularly by those, like me, who present to the world in the same type of package.

And here I am again, thirty years later, shouting out love and appreciation for the one and only Ella, master of tone, phrasing, intonation, improvisation and interpretation, so the next generation may know her and pass on to the next their appreciation for one of the best to ever do it.

Below is a playlist compiled in her honor, as well as several other resources and links to foster even more awareness of the “First Lady of Song.” Love you always, Ella!

[spotifyplaybutton play=”spotify:playlist:0LIoz4OZ7wvTwLWZcrevPt”]

Read more: http://www.ellafitzgerald.com/about/biography or https://www.biography.com/musician/ella-fitzgerald or

 Ella Fitzgerald: A Biography of the First Lady of Jazz by Stuart Nicholson

To see the trailer for upcoming documentary Ella Fitzgerald: Just One of Those Things, watch above.

BHM: Let’s Honor Oprah! Entrepreneur, Media Maven, Philanthropist, Actor, Influencer… Genius

by Lori Lakin Hutcherson (@lakinhutcherson)

Not many people on Earth have their names become synonymous with genius in their profession, let alone genius in general. Einstein, Shakespeare, Mozart, even Spielberg and Prince easily come to mind. Notably, they are all men, mostly White, and only one is known by his first name. But when you say, “Hey, where are the women? What women do you think of when someone says ‘Who are the geniuses?,'” an immediate response would (or should) be… Oprah.

It may seem like opinion, but I want to go on record that saying “Oprah Winfrey is a genius” is a fact, and one that should be touted widely. Oprah’s status as a cultural icon, media mogul and inspirational leader is taken as a given, but when you look back and reflect on her journey from rural poverty in Mississippi to global icon, you too will recognize how much intelligence, excellence and genius it took to get there and what’s more – stay there.

What follows below in regards to recognizable achievement, vision and success rightfully will only add credence to the “Oprah Winfrey is a genius” fact, but I submit that the secret sauce of Oprah’s claim to that title has been best articulated (and realized) by Oprah herself:

Everybody has a calling. And your real job in life is to figure out as soon as possible what that is, who you were meant to be, and to begin to honor that in the best way possible for yourself. – Oprah Winfrey

Oprah Gail Winfrey, originally named “Orpah” after the biblical figure in the Book of Ruth but had it misspelled and mispronounced so much that “Oprah”  stuck, recently celebrated her 65th birthday on January 29, 1954. Winfrey was born in Kosciusko, Mississippi, to Vernita Lee, an unmarried teenage mother and housemaid, and Vernon Winfrey, a coal miner turned barber turned city councilman who had been in the Armed Forces when Oprah was born.

According to wikipedia.org, Winfrey spent her first six years living with her maternal grandmother, Hattie Mae Lee, who was so poor that Winfrey often wore dresses made of potato sacks, and the local children made fun of her. Her grandmother, ever in Oprah’s corner, taught her to read before the age of three and took her to church, where she was nicknamed “The Preacher” for her preternatural ability to recite Bible verses and command the stage.

Despite parental neglect from her mother, sexual abuse by family members from the age of nine, and the stillbirth of a son at age 14, Oprah’s intellect and ability to speak powerfully in public earned her a full ride to HBCU Tennessee State University on an Oratory Scholarship.

As Oprah honed her skills through education and experience, she became the youngest news anchor and the first black female news anchor at Nashville’s WLAC-TV. Oprah then became an anchor in the larger market of Baltimore, MD before taking over the hosting position of low-rated AM Chicago in 1984.

Oprah aligned her talents, smarts, professionalism and relatability to catapult her over Phil Donahue’s long-venerated talk show Donahue for the top-rated slot. Oprah then wisely took advice from movie critic Roger Ebert to make a syndication deal with King World Media and have ownership in her program – the beginning of the Oprah brand.

The Oprah Winfrey Show debuted September 8, 1986 and topped daytime talk show ratings for 25 years until she retired from the show. Oprah really hit her stride and pinpointed her brand when she followed her instincts in the 1990s to shift away from “tabloid-style” shows to ones with a focus on literature, self-improvement, mindfulness and spirituality. Even though she briefly took a ratings dip during the change, she soared to the top again and outlasted several popular talk show hosts of the time such as Sally Jesse Raphael, Ricki Lake, Montel Williams, Donahue, Jenny Jones, and Jerry Springer.

R.I.P. Grammy Award Winner, Legendary Song Stylist and Civil Rights Activist Nancy Wilson, 81

by Jim Farber via nytimes.com

Nancy Wilson, whose skilled and flexible approach to singing provided a key bridge between the sophisticated jazz-pop vocalists of the 1950s and the powerhouse pop-soul singers of the 1960s and ’70s, died on Thursday at her home in Pioneertown, Calif. She was 81.

Her death was confirmed by her manager, Devra Hall Levy, who said Ms. Wilson had been ill for some time; she gave no other details.

In a long and celebrated career, Ms. Wilson performed American standards, jazz ballads, Broadway show tunes, R&B torch songs and middle-of-the-road pop pieces, all delivered with a heightened sense of a song’s narrative.

“I have a gift for telling stories, making them seem larger than life,” she told The Los Angeles Times in 1993. “I love the vignette, the plays within the song.

Some of Ms. Wilson’s best-known recordings told tales of heartbreak, with attitude. A forerunner of the modern female empowerment singer, with the brassy inflections and biting inflections to fuel it, Ms. Wilson could infuse even the saddest song with a sense of strength.

In her canny signature piece from 1960, “Guess Who I Saw Today”(written by Murray Grand and Elisse Boyd), a woman baits her husband by dryly telling him a story in which he turns out to be the central villain. In her 1968 hit, “Face It Girl, It’s Over” (by Francis Stanton and Angelo Badale), Ms. Wilson first seems to throw cold water in the face of a deluded woman who fails to notice that her lover has lost interest in her. Only later does she reveal that she is the benighted woman scorned.

“Face It Girl,” an epic soul blowout, became one of Ms. Wilson’s biggest chart scores, making the Top 30 of Billboard’s pop chart and Top 15 on its R&B list.ing News

Her biggest hit came in 1964, when “(You Don’t Know) How Glad I Am”(Jimmy Williams and Larry Harrison), a rapturous R&B ballad delivered with panache, reached No. 11 on Billboard’s pop chart.

Three years later she became one of the few African-Americans of her day to host a TV program, the Emmy-winning “Nancy Wilson Show,” on NBC.

Ms. Wilson released more than 70 albums in a five-decade recording career. She won three Grammy Awards, one for best rhythm and blues recording for the 1964 album “How Glad I Am,” and two for best jazz vocal album, in 2005 and 2007. In 2004, she was honored as a Jazz Master by the National Endowment for the Arts. Nancy Wilson’s album “How Glad I Am,” from 1964, won a Grammy Award for best rhythm and blues recording.

For her lifelong work as an advocate of civil rights, which included participating in a Selma to Montgomery, Ala., protest march in 1965, she received an award from the Martin Luther King Jr. Center for Nonviolent Social Change in Atlanta in 1993 and an N.A.A.C.P. Hall of Fame Image Award in 1998.

In 2005, she was inducted into the International Civil Rights Walk of Fame at the Martin Luther King Jr. National Historic Site, also in Atlanta.

“As an artist then, taking such a political stand came with professional risks,” she told the blog Jazz Wax in 2010. “But it had to be done.”