Lee Wiley's guest appearances

Lee Wiley

Big Band Serenade

La odisea de la música afroamericana

Forgotten Songs from the broom cupboard

Bud's Corner

Mildred Bailey

Anita O'Day

Bob Crosby

Fletcher Henderson

Ella Fitzgerald

Peggy Lee

Woody Herman

Carroll Gibbons

Artie Shaw

Don Byas

Hal Kemp

Helen Humes

Don Redman

Benny Goodman

Jimmie Lunceford

OwlTail

Burl Ives

Dick Haymes

Two folky tunes from Burl Ives start us off. A jolly orchestrated(Percy Faith) version of Oh! Dear! She's wonderful beautiful and the more pared down Bonnie Wee Lassie. Ives spent the 1930s travelling the USA as an Itinerant musician and developed his singing career via the radio. He was also a well known actor, his most famous acting role was probably as Big Daddy in Cat on a Hot Tin Roof. Old favourites Carroll Gibbons, Len Fillis Roberto Murolo, Archie Lewis, Ted Heath, Bob and Alf Pearson and Harry Roy return. Edna Kaye does vocals for Gibbons. A new Italian singer joins us though, Carlo Butti.  We have Miss Lee Wiley, whose jazz singing career was at its peak from the 1930s to 50s. She had a short tempestuous marriage to Jess Stacy, the jazz pianist. Great voice. Big Bill Campbell was a Canadian born purveyor of Cowboy music here in Britain- I'm Rocking to the Rockies is jolly and cheesy. Nowt wrong with that. Ted Wallace and his Campus boys provide some lovely 30s music and vocals. Wallace was Wallace T Kirkeby, manager of the highly prolific Californian Ramblers. Must play them again. Penultimate record is Jimmie Rodgers, Blue Yodel from 1927. So bluesy, great lyrics. Just to prove we like a good mix of music on Forgotten Songs we go out with The Jacques String Orchestra and Berinice by Handel.  How Highfalutin is that!  

Two folky tunes from Burl Ives start us off. A jolly orchestrated(Percy Faith) version of Oh! Dear! She's wonderful beautiful and the more pared down Bonnie Wee Lassie. Ives spent the 1930s travelling the USA as an Itinerant musician and developed his singing career via the radio. He was also a well known actor, his most famous acting role was probably as Big Daddy in Cat on a Hot Tin Roof. Old favourites Carroll Gibbons, Len Fillis Roberto Murolo, Archie Lewis, Ted Heath, Bob and Alf Pearson and Harry Roy return. Edna Kaye does vocals for Gibbons. A new Italian singer joins us though, Carlo Butti.  We have Miss Lee Wiley, whose jazz singing career was at its peak from the 1930s to 50s. She had a short tempestuous marriage to Jess Stacy, the jazz pianist. Great voice. Big Bill Campbell was a Canadian born purveyor of Cowboy music here in Britain- I'm Rocking to the Rockies is jolly and cheesy. Nowt wrong with that. Ted Wallace and his Campus boys provide some lovely 30s music and vocals. Wallace was Wallace T Kirkeby, manager of the highly prolific Californian Ramblers. Must play them again. Penultimate record is Jimmie Rodgers, Blue Yodel from 1927. So bluesy, great lyrics. Just to prove we like a good mix of music on Forgotten Songs we go out with The Jacques String Orchestra and Berinice by Handel.  How Highfalutin is that!

FS 48: Burl Ives to Miss Lee Wiley and Dick Haymes

Benny Carter

Doble protagonismo en la entrega 75 de La Odisea de la Música Afroamericana. Luis Escalante termina el repaso de la carrera de Benny Carter, y revisa la carrera de la cantante Lee Wiley, que tuvo gran popularidad en las décadas de los años 30, 40 y 50 del siglo XX. Dan de ello fe sus grabaciones en compañía de orquestas como las de Eddie Condon, Victor Young, o de su esposo el pianista Jess Stacy. Abren y cierran el programa la cantante Carmen Lundy y Clarence Gatemouth Brown.La Odisea de la Música Afroamericana es un programa de radio dirigido, presentado y producido por Luis Escalante Ozalla, autor del libro Y se hace música al andar con swing.Toda la información de HDO 75 en http://www.tomajazz.com/web/?p=27975Toda la información de HDO en http://www.tomajazz.com/web/?cat=13297

Doble protagonismo en la entrega 75 de La Odisea de la Música Afroamericana. Luis Escalante termina el repaso de la carrera de Benny Carter, y revisa la carrera de la cantante Lee Wiley, que tuvo gran popularidad en las décadas de los años 30, 40 y 50 del siglo XX. Dan de ello fe sus grabaciones en compañía de orquestas como las de Eddie Condon, Victor Young, o de su esposo el pianista Jess Stacy. Abren y cierran el programa la cantante Carmen Lundy y Clarence Gatemouth Brown. La Odisea de la Música Afroamericana es un programa de radio dirigido, presentado y producido por Luis Escalante Ozalla, autor del libro Y se hace música al andar con swing. Toda la información de HDO 75 en <a href="http://www.tomajazz.com/web/?p=27975" rel="nofollow" target="_blank">http://www.tomajazz.com/web/?p=27975</a> Toda la información de HDO en <a href="http://www.tomajazz.com/web/?cat=13297" rel="nofollow" target="_blank">http://www.tomajazz.com/web/?cat=13297</a>

Benny Carter (II) - Lee Wiley. La Odisea de la Música Afroamericana (075)

Her husky, surprisingly sensual voice and exquisitely cool readings of                pop standards distinguished her singing, but Lee Wiley earns notice as                one of the best early jazz singers by recognizing the superiority of                American popular song and organizing a set of songs around a common                composer or theme -- later popularized as the songbook or concept LP.                She was also a songwriter in her own right, and one of the few white                vocalists with more respect in the jazz community than the popular one.                Even more tragic then, that while dozens of inferior vocalists recorded                LPs during the late '50s and '60s, Wiley appeared on record just once                between 1957 and her death in 1975.

Her husky, surprisingly sensual voice and exquisitely cool readings of pop standards distinguished her singing, but Lee Wiley earns notice as one of the best early jazz singers by recognizing the superiority of American popular song and organizing a set of songs around a common composer or theme -- later popularized as the songbook or concept LP. She was also a songwriter in her own right, and one of the few white vocalists with more respect in the jazz community than the popular one. Even more tragic then, that while dozens of inferior vocalists recorded LPs during the late '50s and '60s, Wiley appeared on record just once between 1957 and her death in 1975.

Big Band Serenade 213 Lee Wiley Her Life and Music