I DO NOT REMEMBER HER FACE OR HER NAME, AN ACTRESS! SHOULD I BE ASHAMED? I THINK SO.

DUE IN PART TO THE COLOUR/TONE OF THEIR SKIN THEY WERE SHUNNED, KEPT OUT OF THE SPOTLIGHT AS MUCH AS POSSIBLE. I THINK DUE TO THE FACT THEY COULD ACT, THEY LOOKED FABULOUS, THEY COULD DO EVERYTHING THEIR EUROPEAN/AMERICAN COUNTERPARTS COULD DO AND MORE. SO SHALL WE BEGIN?

EVELYN ELLIS SILENT/SOUND SCREEN ACRTRESS STAGE ACTRESS STAGE DIRECTOR AFRICAN/AM 2-2-1894 to 5-6-1958 Evelyn was born in Boston, Massachusetts. We know very little about her personal life, her family her education, how she survived; but she did and went on to having a long a relatively successful career, considering the period she lived in and how the African/American was treated. So Evelyn gained her 1st experiences in acting, with the New Lincoln Players; who were briefly in residence at the Lincoln Theatre, Harlem-1916. Having failed to establish itself it disbanded, the members transferred their allegiance to The Lafayette Players. There with their help and guidance, she became an outstanding performer/actress. Making indelible impressions in "Othello"-1919, her 1st major role. In 1921 Evelyn appeared in a silent film from Reol Productions titled, "Easy Money." Then on to a Chinese play "The Love of Choo Chin"-1922. Evelyn was a performer in "Roseanne," an all-African revival in 1923, by Nan Bagby Stephen, which was performed in Greenwich Village. In 1927 Evelyn co-organised the All-Star Coloured Civic Repertory Theatre; an outstanding short-lived dramatic company , that resided in the Alhambra Theatre, Harlem, through the Spring/Summer of 1927. This same year Evelyn appeared beside Rose McClendon and Frank H. Wilson in "Porgy." She was also in Ernest Howard Culbertsons' "Goat Alley," about the slums of Washington DC. Then because of The Great Depression, there was a lean period from which she seemed to emerge even stronger. She started directing, playing various roles, spending time with The Dunbar Players of Philadelphia. Evelyn started a drama school on Long Island for the younger enthusiasts; from which she directed "Horse Play," in 1937. Then directed and staged "Little Woman," in 1938, with the junior department of The Negro Little Theatre. In 1947 Evelyn along with Sheldon D. Hoskins co-organised the Penthouse Players, a technically competent theatre + dance group in Harlem, that thrived ~10 years. They produced many imaginative, outstanding plays. Her most notable work as a director/actress was on the all-African production of "Tobacco Road." Evelyn made her last Broadway appearance in 1953, another appearance in a strangely titled film "Supper For The Dead," ended her acting career in 1955, with her final film "Interrupted Melody." I shall list her stage performances first. (1) "Goat Alley" Princess Theatre Broadway NYC Drama Revival as Lucy Belle Dorsey 20-4-1927 to 30-4-1927 13 performances. (2) "Porgy" Guild Theatre Broadway NYC Drama Original as Bess 10-10-1927 to 1-8-1928 367 performances. (3) "Porgy" Martin Beck Theatre Broadway NYC Drama Revival as Bess 13-9-1929 to 1-10-1929 34 performances. (4) "Native Son" St. James Theatre Broadway NYC Drama Original as Hannah Thomas 24-3-1941 to 28-6-1941 114 performances (5) "Native Son" Majestic Theatre Broadway NYC Drama Revival as Hannah Thomas 23-10-1942 to 2-1-1943 84 performances. (6) "Blue Holiday" Belasco Theatre Broadway NYC Musical Original as Herself 21-5-1945 to 26-5-1945 8 performances. (7) "Deep Are The Roots" Fulton Theatre Broadway NYC Drama Original as Bella Charles 26-9-1945 to 16-11-1946 477 performances. (8) "Tobacco Road" 48th Street Theatre Broadway NYC Drama Revival as Ada Lester(Evelyn directed as well) 6-3-1950 to 18-3-1950 7 performances. (9) "The Royal Family" City Centre Broadway NYC Comedy Revival as Della 10-1-1951 to 21-1-1951 15 performances. (10) "Touchstone" Music Box Theatre Broadway NYC Drama Original as Aunt Emma 3-2-1953 to 7-2-1953 7 performances. Now to her silver screen successes. (1) "Easy Money" 1921 silent film Reol Productions. (2) "A Son Of Satan" 1924 silent film director/writer Oscar Micheaux. (3) "The Lady From Shanghai" 1947 1hour 27 minutes Columbia Pictures with Rita Hayworth Evelyn as Bessie (like to see the film : youtube.com/watch?v=ZWqoDUvduz0) (4) "The Joe Louis Story" 1 hour 28 minutes 1953 Certified "U" Evelyn as Mrs. Barrows (like to see film : youtube.com/watch?v=TC5wJ_tqC8) (5) "Supper For The Dead" 1954 (6) "Interrupted Melody" 1 hour 46 minutes 1955 MGM Certified "U" Glenn Ford Evelyn as Clara. Miss Evelyn Ellis had been hospitalised from December 1957, at The Variety Club Will Rogers Memorial Hospital, Saranac Lake, New York City. Sadly 6 months later Miss Evelyn Ellis passed away, from a heart ailment.

CORA GREEN birth-name Cora Chambers(aka : THE FAMOUS CREOLE SINGER) STAGE/SCREEN ACTRESS SINGER ENTERTAINER AFRICAN/AM born : 10-12-1895 BALTIMORE, MARYLAND. (youtube.com/watch?v=PW6_qeBbQpo : Heaven Help This Heart of Mine-1938) The mother and father of Cora were Elizabeth Sorrell Chambers, Alexander Chambers. Cora Green as far as we can tell had no formal training in singing, acting, dancing, so we guess it came naturally and assisted when required. Apparently while at school in Baltimore she sang in their productions. She began performing in her pubescent years ~14, her natural contralto voice took her to the steps of the stage; where obviously someone noticed, then helped her the rest of the way. Cora teamed up with William Pugh, for several successful engagements. In fact they also met a James Green, then became The Green Trio from ~1910 to 1912 as a song/comedy act. In 1914 Cora had met another singer Mattie Hite in NYC, at The Baron Wilkins Club, where a friendship flourished. Also at some point the blues singer Alberta Hunter meets up with the Panama Trio, describing the voice of Cora. "Cora Green was nice and had an in-between voice, between sweet and jazz." Then ~1916 Florence Mills a newcomer to Chicago, met up with Cora Green, Ada "Bricktop" Smith, at the black/tan Panama Cafe, there they formed The Panama Trio. All 3 ladies were exceptional performers in their own right, but when they joined forces? They became an instant success making a big name for themselves, also touring on the Pantages Circuit.(Alexander Pantages impresario in the western US/Canada, owned/operated 84 theatres), so a good circuit to be involved with. Also as their popularity gained/grew it had been noticed by 1 astute businessman, Claude Albert Barnett. He was working for and advertising Kashmir Cosmetics, which was developed especially for the African woman; so he was always on the look-out for glamorous elegant ladies. He felt he had just found 3 that would push the cosmetics forward. Claude featured the 3 celebrities in several brochures, describing them as Chicagos' favourite cabaret entertainers. First the incident that closed The Panama Cafe, just as the trio were creating this sensation around themselves. The Panama Trio performed at the cafe, which was a notorious honky-tonk on State Street, on the south-side of Chicago. It was inevitable due to the lawlessness, serious trouble hit the cafe; it had already had its license revoked by the Police Chief more than once already. This was late-December 1916; Sylvester Russell(performer/Af/am arts critic) reported the trio still worked there. "The cabarets have a merry programme for the holidays. The bill includes Ada(Brick) Smith, Cora Green, Florence Mills, Corrine Bowen, downstairs." However very early-1917 the police had closed The Panama Cafe

. A local character known as "Curley" got into a fight at the bar, where the other man was stabbed to death; both men were employees of the cafe. On January 30th 1917, Police Chief Schuetter rebuked the cafe, revoked the Panama license for the last/final time. It was around this time ~1917 that Ada left The Panama Trio, as she thought her destiny lay in other avenues of the entertainment business. ~ 1918 apparently the young Miss Cora Green attempted suicide. Then a young lady named Carolyn Williams replaced her in the trio. all was going well so in 1919 they entered into an epic 5 month tour, across the Pantages Circuit, Which covered the Midwest, Canada, West Coast.(would you like to hear 1 of the songs from Coras' repertoire : youtube.com/watch?v=m4bkJ8VxkyA : The Lonesome Road.) Also along the way the 3 young ladies picked up the new title of "The Syncopated Maids," due to their singing style. The schedule started Monday 30-6-1919, in Minnesota which finished in late-November, they played 25 cities; the Panama Trio-

3 coloured talented ladies that could sing, dance, cut-up even got the audience revved up, even when they sang a Hawaiian melody. They returned for an encore which got the audience even more excited. Then onward and forward into Canada, Winnipeg, then into Regina and Saskatoon; then into the Rocky Mountain city of Edmonton, followed by Calgary; wherever they went they gained a following of appreciative admirers. When they arrived in Calgary the city was just warming up to its' Stampede, in the week of July 28th. Then after they left Calgary the schedule got frantic/hectic nearly non-stop, as they advanced to Montana. The cities included in the tour were Great Falls, Butte, Helena, Anaconda, Missoula, finishing in Spokane. At each new venue there was not a lot of time, but the performers had to quickly adjust/adapt to each peculiarity, of the stage, conductor, orchestra, stagehands, theatre manager, changing rooms. Now it was September the troupe along with The Panama Trio, were performing in Vancouver., once again to enthralled audiences. Next was Victoria, Vancouver Island, followed by a visit to the West Coast via Tacoma then into Portland; there they had their stay extended by a week, because the audiences wanted more of them. They then ventured to San Francisco once again, they were booked for another week. Then as the tour reached California they performed at all the high hot-spots, Oakland, Los Angeles, San Diego, Long Beach. They also played at The Cadillac Club, where Jelly Roll Morton was their accompanist. This segment of the tour ended early-November, with a week at Long Beach. Sometime during this period Miss Carolyn Williams decided to stay in Los Angeles, to marry her boyfriend. She played out the remaining Californian dates, then left the trio. As the trio approached the end of their epic tour, following the departure of Carolyn, Cora and Florence were now known as The Panama Duo from the Salt Lake City performance. Then the last 2 dates were not completed in Ogden, Utah; Denver, Colorado. As the tour finished, broke-up Cora and Florence said their goodbyes both going their separate ways. Cora stayed on in the West working as a solo performer at Purchells Cafe, San Francisco. Coras next big step was to form a partnership with Hamtree Harrington(James Carl "Hamtree" Harrington American comedian early-1900s). Cora a stately, honey coloured singer from Baltimore, teamed up with a corked-faced comedian, which made the act 1 of the favourites of vaudeville, where they worked the foremost vaudeville houses along with such big names like The Cotton Club, Connies Inn, where Duke Ellington & Cab Calloway were the music. She appeared with him on Broadway in the revue "Put and Take" 1921. This musical revue toured for 30 weeks as "Broadway Rastus," before opening at NYC Town Hall, from the 23rd August to 23rd September, for 34 performances. Even though "Put and Take" was the only African show in town, numerous complaints had been raised by the portrayal it displayed, with the freedom, self-worth, dignity of the African. This portrayal scared, even humiliated the hostile, bigoted whites in the community. So after 2 weeks it had to close, even though it had been grossing nearly $8000 a week. After which it continued to tour including : Cora Green, Hamtree Harrington, Mildred Smallwood, Mae Crowder and others. Then again in "Strut Miss Lizzie" in 1922. In between time Cora worked as a solo artist at, "De Luxe Cafe," Chicago, ~1921. Cora and Hamtree played vaudeville between ~1925-28, with an act called "Nobodys Girl," which consisted of song, dance, comedy. Then 1924 became a busy year for Cora, with Hamtree, there was the "Dixie to Broadway" revue where Cora sang "He Only Comes To See Me Once In A While"; the duo also recorded for Brunswick Records, on 10th July 1924 in New York City, with James O' Keefe as an accompanist. 13510-12 "If I can't come in please don't let nobody else come out." Br 2655 Vo15015. The duo performed in "Vaudeville at the Palace" 1927. Also in 1927 Cora was off to England, to appear in the West-End; in "Blackbirds of 1927," at The Strand Theatre, from Monday 30-5-1927 to Saturday 25-6-1927, which covered 32 performances. In and around ~1928, the Green & Harrington partnership was dissolved, both parties going their separate ways. Then in 1929 Cora headlined the revue "Ebony Showboat." In January 1929 the revue premiered at The Lafayette Theatre, Harlem, after the debut the company went to Philadelphia, for a 2 week engagement. The company then returned to perform at several of the Loew Theatres, around New York City, as a presentation act. As well as showcasing the international star Cora Green, it also displayed the gifts and charms of Mabel Ridley, Sterling Grant and Alex Lovejoy. She also recorded a Vitaphone short the same year, the videos of the time. She recorded 3 tracks August 28 1929, on a single disc which were : "Brother-in-Law Dan," "Travelin' all alone" "I'll tell the world." Vitaphone 825 VA825 The film is considered "Lost" but the soundtrack still survives. 1930 Cora appeared in the revue "Harlem After Dark." In ~July/August 1931 Cora appeared with the Fletcher Henderson Orchestra, at The Loew State Theatre, one of her songs was "Three Little Words." Also in 1931, Cora appeared at The Alhambra Theatre in the musical drama, "Red Light Mazie." She also had sole star billing in Oscar Micheaux 1938 all-African film "Swing." In which she sang "Heaven Help This Heart of Mine, " "Bei Mir Bist Du Schon" (Yiddish for "I think You Are Beautiful"). Would you like to hear Cora sing the 1st song? The excerpt is ~26 minutes, if you go to the 20 minute mark, this is where she appears.(youtube.com/watch?v=9pUiglA-kNc). She also starred in Edgar G Ulmer 1938 film, "Moon Over Harlem." She was starring in the musical stage show "Policy Kings,"1939. It was another musical revue at The Nora Bayes Theatre, NYC, it was set for a short run from 30-12-1939 to 1940. The principal cast was : Cora Green, Irene Cort, Willor Guilford. At this juncture I am going to show Coras' Broadway appearances. (1) "Strut Miss Lizzie" This revue started off-Broadway so it stretched across 3 theatres. (i) National Winter Garden Theatre Hudson Street Vaudeville Musical Revue in 2 acts Original as Herself opened 3rd June 1922 16 performances. (ii) Times Square Theatre 19th June 1922 to 8th July 1922 (iii) Earl Carroll Theatre 10th July 1922 to 26th August 1922 = on Broadway for 80 performances. In Act 1 Cora sang : "Nobodys Gal" + "Lonesome Longing Blues." Act 2 : "Hoola" + "Sweet Angeline." (2) "Dixie to Broadway" Broadhurst Theatre Broadway NYC Musical Revue in 2 acts Original as herself 29-10-1924 to January 1925 77 performances. Next Miss Cora appeared in 2 films here they are. (1) "Swing" 1 hour 9 minutes 1938 Musical Drama Cora Green as Amanda "Mandy" Jenkins Director/Writer Oscar Micheaux (youtube.com/watch?v=H4sEgqD2vo) (2) "Moon Over Harlem" 1 hour 9 minutes 1939 Crime Drama Romance Cora Green as Minnie Director Edgar G. Ulmer Distributors Sack Amusements (youtube.com/watch?v=nMB9bxUwmQs). Also towards the end of WW II, Cora joined the USO then went out to entertain the US troops in the Persian Gulf. USO Troupe number 339 arrived in the Persian Gulf in early-1945. The all-African troupe had come to entertain the soldiers of the 380th Port Battalion, 675th Port Company, the 153rd Bakery Unit. Lillian Thomas and Cora Green were the 1st African women the troops had seen in 2 years. Lillian played "St. Louis Blues" with solid bass, finished with "My Ideal." Cora Green was a hit as well, with her renditions of "The Laziest Gal In Town, " " Stormy Weather." Apparently after the war she settled in Annapolis, Maryland, where she cooked in a home for the aged. Perhaps that is where Miss Cora Green settled as well, as her trail grows cold, after early-1945. I have found a few newspaper articles as a bonus to the biography. (1) New York Clipper Wednesday 23-5-1923 "Dramatic and Musical section : Cora Green and Hamtree Harrington have been added to the new Plantation Revue, at the Plantation, New York. (2) The Talking Machine World Friday 15-8-1924 Page 167 Brunswick Records 2655 "If I Can't Come in, Please Don't Let Nobody Come Out." Cora Green and Hamtree Harrington. (3) TIME Monday 10-11-1924 Theatre New Plays Dixie to Broadway Florence Mills is seconded by Shelton Brooks Cora Green and Will Voderys Band. (4) This is a flyer advertising the weeks entertainment at The Lafayette Theatre, NYC. LAFAYETTE Beginning Saturday May 16 1931 First Modern ALL TALKING Drama of Negro Life "THE EXILE" Written Directed by Oscar Micheaux With a cast of COLORED STARS Distributed by FAYETTE PICTURE CORPS NYC. Also Leonard Harpers Peppy Revue "BLUE RHYTHM" With Hamtree Harrington Cora Green Maud Russell Mills Blue Rhythm Band. (5) Billboard 6-6-1925 Cora Green and Hamtree Harrington reviewed at The Hippodrome Theatre New York City Monday 25-5-1925 Comedy Singing 20 minutes. Hamtree Harrington and Cora Green were featured performers in "Dixie to Broadway" the coloured revue. Harrington and Miss Green do a skit called "Nobodys Gal," where the details are in the song. Miss Greens' 1st number "I Had Somebody Else before I Had You." then goes on to sing "I'm Nobodys Gal." Then they do an encore. Miss Green sings "Sweet Georgia Brown" and dances. (6) New York Age Saturday 19-7-1930 Page 6 At The Lafayette Theatre. It is seldom that the Lafayette Theatre, is able to offer two big headlines on the same stage program. Yet that will be the case next week, when the renowned vaudeville headliners Bud Harris and Frank Radcliffs, join the equally famous Cora Green as the star players of the comedy attractions, the revue "Harlem After Dark." (7) New York Age Saturday 10-10-1931 Page 6 Advertisement ALHAMBRA THEATRE NYC Week Starting Saturday CORA GREEN In The Drama of the Underworld RED LIGHT MAZIE with Maud Woodson A. B. Comathiere And a Big Cast Afternoons 15c + 25c Nights 25c + 35c.

MATTIE HITE BLUES/CABARET SINGER RECORDING ARTIST MUSICIAN (aka : MATIE HITE & NELLIE HITE) AFRICAN/AM ~1890 to ~1935 (youtube.com/watch?v=KUjHKfJPgnM : see if you like Matties mournful blues.) Mattie was born in New York City, thought to have been the niece of Les Hite, a 1930s saxophonist/big band leader. Mattie was based in New York City, was active by 1913, in August 1914 she was noted in the Indianapolis Freeman, as singing popular songs at Baron Wilkins Astoria Cafe, 2275 Seventh Avenue; this is where she met Miss Cora Green. In the fall of 1915, they travelled together to Chicago. Where Mattie was to appear at The Panama Cafe with Alberta Hunter, Ada "Bricktop" Smith, Florence Mills, pianist Ollie Powers. At this time Mattie was paid $12 a week. As it turned out Cora ended up forming "The Panama Trio" with Florence & Ada. Mattie also repeated the same journey the following year, where she appeared at Chicagos' Elite Cabaret. In 1919 Mattie did a long spell at Baron Wilkins Cafe for 12 years, she supported herself by performing at other high-spots as well, Edmunds Cellar 1920; Leroys 1920; Lafayette Theatre 1928; Lincoln Theatre 1928. The height of her career coincided with prohibition(1920-33), which may have dampened her achievements, importance. This prompted "speakeasies" with illegal alcohol, the influence of gangsters, female singers to attract the customers. Which I am guessing as an outsider, would not have kept any significant records, of who was where at any time. In the Spring-1919 Mattie played the organ on a Columbia Label recording of Bert Williams "Elder Eatmores Sermon on Generosity." in August 1919 Mattie was in Atlantic City, at the Paradise Gardens singing with Frankie "Half-Pint" Jaxon and his Jazz Entertainers. He remembers Mattie as long. tall, an expressive singer/specialist of risque blue songs. Alberta Hunter also remembers Hattie as, tall, dark, brown-skinned woman with a heavy voice. Mattie was known for her emotional renditions/risque style, which we have already mentioned, due to her increasing following it led to the chance of recordings. This started to happen in 1921, with her 1st studio recording with Julian Motley, with Victor Records, but this was not released. Mattie then recorded with Fletcher Henderson-1923, on the Pathe Label; Bell Label 1923-24; Columbia Label 1930 with Cliff Jackson. In the late 1920s Mattie joined other singers in revues, that ran on/off Broadway for a few weeks at a time : Hot Feet-1928; Tip Top-1928; Chocolate Blondes-1929; Temple of Jazz-1929; Desires of 1930. In spite of her innovative contribution to the female blues/blues overall, she was not financially successful. Mattie broke the barriers for African female singers, as her songs became known for their subtleties, emotional depth, her "depressed" qualities. Her contribution to the jazz-blues age was substantial; she directly influenced the following generation of female singers. Mattie was revered for her heavy down-beat music, with her voice that matched the bass involved, her exaggerated toughness, in all those barely integrated racial clubs, dance floors; where the sad, lonesome, reflective tone of blues ruled the ambience. Matties skill/craft was her full tone/warmth/genuine feel/nothing hidden, her vocals invited the listener in to her world of woes. The struggle, pain through her interpretation of the words, with the music. Although her live performances far outweighed her recording sessions, her last known performance was at the Lafayette Theatre -1932. Miss Mattie Hite Discography : (1) New York City late-November 1923 Pathe Label : Graveyard Dream Blues + Mason-Dixon Blues(like to listen? youtube.com/watch?v=WamiYz-6kic : enjoy) (2) New York City January 1924 Bell Label : An Awful Moanin' Blues + If You Don't, I know Who Will. (3) New York City 6th March 1924 Bell Label : Black Man Be on Your Way + Do Right Blues. (4) New York City 27th January 1930 Columbia Label : St. Joes Infirmary + Texas Twist(here we are : youtube.com/watch?v=9T6W6z-MRGg). I have a cutting from The Indianapolis Freeman Saturday 12-9-1914 Cabaret/Entertainment Section : At Barons Astoria Cafe 2275 Seventh Avenue the cabaret revue this week with artists Miss Bessie Brown Mattie Hite Ethel Hill and Tony Donovan are the attractions. The Jazz Review Magazine March/April 1960 the author James Johnson, called Mattie Hite. "One of the greatest cabaret singers of all time."

EVA TAYLOR(birth name : Irene Joy Gibbons aka : Irene Gibbons) billed as "THE DIXIE NIGHTINGALE" VAUDEVILLE + BROADWAY ACTRESS BLUES/JAZZ SINGER RADIO + RECORDING STAR 22-1-1891 or 1895-St. Louis Missouri to 31-10-1977 Mineola NYC. would you like to listen 1st? Here we are then, 14-2-1929 "Shout Sister Shout" (youtube.com/watch?v=Lu9LTkfykZo) Eva herself recalls her early life for us. "My father had died when I was aged fifteen months and, my mother had a hard time providing for us, so when Miss Josephine asked if I could join her act, my mother let me go." Eva used her birth name first of all when she entered show business. 1 of 12 children she was raised by another family named Taylor. Like many African children her entry onto the stage was as a picaninny. She toured with Josephine Gassman/(she was a European/Am who corked her face), from 1898 to 1906. Eva recalls what it was like, what it was to experience life as a travelling performer in racist America. "Whenever possible we used to stay with a family, rather than book a hotel. Some of the families were very nice, we used to look forward very much to seeing them. But others were not so nice. At the end of the season Miss Josephine used to take us to see our mothers. She never allowed them to visit us; I suppose she worried in case we got upset." The Gassman show toured the Orpheum Circuit regularly-1898-1904. The year of 1901, saw the troupe go international, they departed from San Francisco where the troupe toured Hawaii, Australia, New Zealand. The Sydney Morning Herald announced the arrival of The All-American Vaudeville company, arriving on the liner "Sierra." Within that vast troupe was 1 Josephine Gassman, her maid, 2 picaninnies-of which 1 was Eva. Their 1st appearance was to be at The Sydney Palace Theatre, August 1901. From there they ventured into Europe where they toured Paris, France; The Netherlands, Frankfurt, Hanover, Berlin, Magdeburg, Germany; London, England. As the Troupe retuned to the States, young Eva Taylor stayed in England to perform at The London Hippodrome. But she was back in the USA ~1911. Eva recalls again life in the Southern States when she was younger. "In the States we used to play a season, usually working from NYC down to California and, then back through most of the southern states. We had an East Indian lady who came along to teach us and, take care of us. You know there some towns in the South where they wouldn't even let Negroes in, so whenever we were walking down the street and we passed someone, we used to talk a lot of mumbo-jumbo, so they would think we were Indians." She managed to work in the chorus line of Vera Violetta, then re-joined the Gassman Troupe for their 2nd South Pacific Tour-1914. Notices of the imminent return on Miss Josephine, appeared as an advertisement in The National Amphitheatre, giving the starting date as 5-3-1914. They were to arrive on the RMS Ventura, Monday 2-3-1914. This time Josephine had 4 picaninnies; 2 new ones both young girls, Mabel Brown + Kathleen. She had kept Eva and the other ninny, describing them as being trained on the imperial Russian dancing system. Josephine and her Picaninnies were mentioned in The Sydney Morning Herald again on Monday 16-3-1914. They returned to the USA-1915. It was in 1919 that Eva had finally decided to settle in NYC, where she established herself as a performer in the Harlem nightspots. She met Clarence Williams about the same time, he and his associate Armand Peron had moved from New Orleans-1917. But Peron preferred New Orleans so the partnership was dissolved, Peron went back to New Orleans. Then within 12 months of meeting Clarence(d-1965), they were married. The newlyweds worked together on records, radio and the stage. With Clarence now managing her musical career, she came to prominence, they recorded together very often. Eva was the Band/Session Leader for : (1) Eva Taylor-Clarence Williams Band. (2) Eva Taylor accompanied by Clarence Williams Blues Five. (3) Eva Taylor accompanied by Clarence Williams Trio. (4) Eva Taylors Southernaires. (5) The Riffers. (6) Irene Gibbons accompanied by Clarence Williams Jazz Band. (7) Irene Gibbons and her Jazz Band. Eva worked with other great female Blues singers Sippie Wallace, Bessie Smith. In 1922 Eva recorded for Black Swan Records, who billed her as "The Dixie Nightingale." The same year she appeared on Broadway in the musical "Queen of Hearts." She also starred in vaudeville at : Lincoln Theatre, Harlem; Howard Theatre, Washington DC; she was also appearing on radio in its infancy, so she was there when it became big business. Due to her crisp diction, her willingness to sing popular music this helped her win over the public, along with other sponsorship. Throughout the Great Depression this helped by giving Eva a great outlet. for her voice/songs. She recorded dozens of tracks/records for Victor, Edison, Okeh + Columbia. She adopted the stage name of Eva Taylor : Eva was the name of a sister; Taylor was the name of the foster family that cared for her. Whilst working for Columbia she was 1 of the many vocal talents, that was used for the studio recordings of the original "Charleston Chasers-1925 to 1931." Would you like to listen to Eva?(youtube.com/watch?v=WR1MgsqIeuY). 1927 saw Eva appear in her husbands creation on Broadway "Bottomland." In 1929 Eva had her own NBC radio show "Cavalcade," she also appeared on the Paul Whiteman Show-1932. She also created some noise on WOR-New York; WEAF; WUZ; WGBS. When WW II arrived Eva stepped up and sang in military hospitals, to cheer-up the patients. Eva stopped performing in 1940s, but then returned when the revival happened in the mid-1960s, after Clarence died. She even toured Europe again. During her early recording career Eva performed as (1) Irene Gibbons. (2) Catherine Henderson. (3) Eva Taylor. (4) Irene Williams. All to avoid contractual disputes with her various labels. Also Evas' 2 stage appearances are as follows : (1) "Queen of Hearts" George M. Cohan Theatre Broadway NYC Musical Comedy Original as Georgia 10-10-1922 to 11-11-922 40 performances Musical in 2 parts. (2) "Bottomland" Princess Theatre Broadway NYC Musical Comedy Original as May Mandy Lee 27-6-1927 to 13-7-1927 19 performances Musical in 3 parts. (3) "Vera Violetta" Winter Garden Theatre Broadway NYC 1act Musical as chorus line 20-11-1911 to 24-2-1912 112 performances Then in 1977 sadly Eva passed away from having cancer. She was interred with husband Clarence, she was buried as : Irene Joy Williams. Buried at : St. Charles Cemetery East Farmingdale Suffolk County NYC Memorial ID :6668766. She was mother to : Clarence Williams Jr. Joy Williams-singer/actress(performed with the stage-name Irene Williams) 1931 to 1970. grandmother to Clarence Williams III-actor. There is a nice photo gallery at : blackkudos.tumblr.com/post/156169511697/eva-taylor syncopatedtimes.com/eva-taylor then 1 final song which is a tribute to Miss Florence Mills : youtube.com/watch?v=WAx7oAsqSd4.

ROSA HENDERSON(birth name : Rosa Beauchamps) BLUES SINGER VAUDEVILE ACTRESS 2-11-1896 Henderson, Henderson County, Kentucky to 6-4-1968 Roosevelt Island, New York County, Manhattan, New York City. If we start with Rosa singing. (youtube.com/watch?v=Lf-mp1AJ_Kk). Rosa left home at an early age by joining her uncles travelling circus. where she played tent and plantation shows all over the south. Rosa and her uncle had 1 long extended run, in Texas for 5 years

. Rosa sung but only performed the blues, then she did have the voice to achieve this. Also during this time-1918 Rosa met and married Douglas "Slim" Henderson-comedian, solo vocalist(d-1928). This is when Rosa professionally became "Rosa Henderson." She entered vaudeville with her husband in New Orleans, 1 of her most abiding memories was seeing Lizzie Miles(Blues/Jazz singer) sat astride an elephant in a carnival. Rosa also starred in The Perrin & Henderson Lyric Road show, as reported in Billboard 18-11-1920 : "Sid Perrins' Company played a special performance for whites after the usual show on Thanksgiving Night, in the Lyric Theatre, New Orleans and packed the house. Rosa Henderson, Slim Henderson, Iris Hall, Inez Denver, George Wiltshire, Helen Dolly, Ida Wilson, Willie Richardson, Willie Eldridge, Mattie Spencer, Isobel Johnson, constitute the company." Her husband joined up with John Mason, to form a troupe which included Rosa. They played the country from 1 end to the other, then in the mid-1920s the Mason-Henderson Troupe hit the big-time, with headline attraction billing, in many larger theatres. Rosa also received star billing in some independent ventures/venues. Rosa also appeared/or performed on radio again by way of Billboards' Radio listings; Saturday 25-8-1923 Noon Station WDT-NYC Programme included : Rosa Henderson Blues Artist with Fletcher Henderson on piano. Which is then backed with a snippet from The Pittsburgh Courier-11-6-1932 : "Miss Vaughn De Leath speaks of the great radio programmes In 1927 Rosa appeared in 2 musical comedy revues : "The Harlem Rounders," at the New Alhambra Theatre. "The Seventh Avenue Strollers." In the same year Rosa was on the stage in "Ramblin' Around," from May 1927 to September 1927, where Amanda Randolph + Eddie Hunter starred as well. In this show Rosa and her husband Slim had a delightful number, "On A South Sea Isle," which was always a show-stopper when they performed it. Rosas recording career began in 1923, her 1st release was "So Long To You and The Blues." Would you like to listen? (youtube.com/watch?v=_H2psCFS4E). So Rosa did not break any contractual rights she used other aliases for other labels. Here are some of the others she used, across the 100 tracks she recorded. (1) Mae Harris + Flora Dale on the Domino Label. (2) Mamie Harris on the Pathe Label. (3) Josephine Thomas on the Perfect Label. (4) Sally Ritz(her sisters name) on the Banner Label. (5) Sarah Johnson. (6) Gladys White. (7) Rosa Green. (8) Bessie Williams. The other labels she recorded for were : Victor; Paramount; Vocalion; Columbia; Ajax; Brunswick; Silvertone; Emerson; Oriole; Regal; Edison; Marathon. How about we listen to a couple? You like that idea. OK. the 1st one is under the moniker of "Sally Ritz," in 1924. (youtube.com/watch?v=_PvDgZGnvXk). Then a track from 1925 as Rosa Henderson. (youtube.com/watch?v=XDus3BjHDKY) Rosa spoke highly of Fletcher Henderson who helped her out immeasurably, with her recordings. She can remember Fletcher scoring her music on the subway, on their way to the studio; to actually record the song he was scoring. She always had a great deal of respect for Mattie Hite(blues singer-on this page as well). In 1927 Rosa was at her apex of performance, the height of her career. Then just 12 months later she quit show business, due to the death of her husband Slim. Rosa was disheartened, heartbroken, she made 1 final appearance in a Frank Montgomery production in Atlantic City. Then the curtain came down on Mrs. Rosa Henderson. In August 1951 she made her final recording with Fletcher Henderson for Columbia. Then Rosa retired to become a mother, her daughter entered show business where she became a top chorine in many shows. After her retirement Rosa spent the rest of her time working in a NYC department store.(Parts of Rosas' biography were taken from an interview in April 1966. So this following detail relates to the time of the interview) : Today Rosa is a great-grandmother with a great-grandson who she idolises. In January 1964, Rosa did venture out once more as a guest at Victoria Spiveys' Mamie Smith benefit, at the Celebrity Club, Harlem. It was hoped Rosa would sing but she declined. The ovation she received when Master of Ceremonies Boots Marshall, introduced her was heart-warming and very sincere; proving her fans/followers had not forgotten Rosa Henderson. Have you forgotten Rosa? just in case you have try a couple more tracks. (youtube.com/watch?v=JR4DJezJ6zc : Get It Fixed) (youtube.com/watch?v=KGtvZeY9vZK : Don't Advertise Your Man) Sadly Mrs. Rosa Henderson was admitted to Bird S. Coler Hospital, Roosevelt Island, New York City, where she died from a heart attack, leaving behind 2 children. How about 1 last listen to Rosa and her blues. (youtube.com/waych?v=2eBdl0gRB28) if you would like to see Rosas' discography go to : syncopatedtimes.com/rosa-henderson-1896-1968.

LENA WILSON BLUES SINGER SOPRANO RECORDING ARTIST SONGWRITER LYRICIST STAGE ACTRESS ~1898 to ~1939 Lena was born in Charlotte Northern Carolina, where she and her older brother Danny were adopted by an African/Am family, she was a mixed race child herself.

By 1918 the brother/sister had concocted a musical act, her brother Danny the pianist, Lena singing with her melodious soprano voice. They signed on to the TOBA and toured the circuits 1920s-1930s; performing in Chicago, Kansas City, New Orleans, Atlanta, Cincinnati, Richmond, Louisville. It was in Louisville Danny met Edith Goodall, who would turn out to be the great Edith Wilson. They turned the act into a trio, then eventually Lena left in the early 1920s to start her solo career. She started her recording career in the 1922, when she also settled down in New York City(would you like to listen? youtube.com/watch?v=KOxsIPiB804 May 1923 I Need You to Drive My Blues Away with Fletcher Henderson). Lenas' 1st record was "The Wicked Fives Blues" "You've Got Everything A Sweet Daddy Needs But Me," recorded on Long Island for Black Swan Label BS 14129 Also in 1922 Lena appeared in "The Flat Below," at The Lafayette Theatre May 8th; also in the revue at Club Maurice, "Buzzin' Around." In 1923, she had her 1st song published "I Need You," as a lyricist; it was recorded by Rosa Henderson/Fletcher Henderson for Columbia-7-12-1923. During her recording career she performed with the likes of : Percy Bradfords Jazz Phools; Conways Rag Pickers; Johnny Dunns Jazz Hounds; Fletcher Henderson Orchestra; Nubian Five. The labels Lena recorded for were : Black Swan, Paramount, Pathe, Victor, Vocalion, Silvertone, Clarion(part of Columbia), Velvet Tone, Brunswick, Ajax, Emerson, Perfect.(want to hear another track? youtube.com/watch?v=19sM8bsoGxA Michigan Water Blues Silvertone 3010-9-8-1923 NYC) At sometime in the 1920s, Lena married violinist/composer Ralph "Shrimp" Jones, she continued to perform/sing in the New York nightclubs, until the 1930s. Lena did appear on the Broadway stage in 2 musicals : (1) "Lucky Sambo" New Colonial Theatre Broadway NYC Musical Comedy Original as Lena March 6-6-1925 to 13-6-1925 7 performances. (2) "Deep Harlem" Hudson Theatre Broadway NYC Musical Comedy Original as Mrs. Jenkins 7-1-1929 to 12-1-1929 8 performances. Lena Wilson also appeared in "Rarin' To Go," a travelling musical revue in 2 parts from 1925-26. She appeared alongside Gertie Moore, Gladys Smith. On Monday 10-10-1927 at The Lafayette Theatre Lena was with Duke Ellington at "Jazzmania," where his orchestra performed on stage, as well as in the pit. Where she sang a duet with her sister-in-law Edith Wilson; they sang "Find What They Like." Also in the revue with the 2 sister-in-laws were : The Royal Balalaika Orchestra-Europe; comedians Johnnie Vigal + Henry Jones; song and dance teamBuck + Bubbles. Lena was the star of a touring vaudeville revue called "Nifties of 1928," alongside Shelton Brooks. The producer/actor/singer/composer Shelton Brooks cast included : Lena Wilson, St. Clair Dotson, Ivette, King Hunter, Anna & Wilbur White, Popo Warfield-vaudeville blues singer/pianist, recorded for Vocalion-1926. It was also in this year 1928, that sadly her brother Danny passed away from tuberculosis. Then from the Fall of 1929 to 1931 Lena performed at The Lennox Club, Harlem, with Clifton Luther Jackson Orchestra as her accompaniment.(want to listen to Lena? OK then. youtube.com/watch?v=sfoWXXMxxYA enjoy). Lenas' last 2 recording sessions were in 1930/1931, all for Columbia, all in New York City. (1) 4-2-1930 "Baby It Upsets Me So" Columbia 149960 + "Chiropractor Blues" Columbia 149961. (2) 6-2-1930 "I'm A Stationary Mama" Columbia 149970 + "Find Out What They Like" Columbia 149971 (3) 17-7-1931 "What's Your Price" Columbia 151690 + "My Man O' War" Columbia 151691. If you would to see some of Leanas discography, go to: adp.library.ucsb.edu/index.php/mastertalent/detail/109707/Wilson_Lena. Then sadly Lena died of pneumonia-1939. I have a short passage on Duke Ellingtons thoughts on the blues. "The way was paved for me by a few of the early blues, before the singers made money and acquired sophistication. The artless, tender singing of Lena Wilson in "I Need You to Drive My Blues Away" "I'm a Good Gal But I'm a Long Way from Home," struck me as the unworked stuff of pure folk music. I had a glimpse of how such material might be worked by a musician, who had the mind as well as the heart, the skilled hand as well as the natural voice-a musician who would compose as tenderly as Lena Wilson sang. But Lena Wilson come of age, with the rest of the blues singers when she toyed with delicate obscenity." We have 1 last track for you : "Memphis Tennessee" with The Nubian Five Columbia 81010 31-1-1923 New York City (youtube.com/watch?v=1GsFu4JIUkE)

VIOLA McCO

Y(birth name : AMANDA BROWN) BLUES SINGER RECORDING ARTIST CLUB OWNER ~1900 Memphis, Tennessee. to ~1956 Albany, New York State. Violas' actual biography seems to be difficult to come by, again an African blues singer possibly forgotten due to her race culture heritage, along with no-one taking the time to mark her life as it should have been portrayed. But what little I have discovered I will share gladly. Shall we listen to her 1st. (youtube.com/watch?v=pucDlq7ABoM) I Ain't Gonna Marry 11-2-1924. The earliest starting point I can find is Viola performing with a side-show annexe band attached to Sparks Circus-1916, where she performed the comic "Scaddle-de-Mooch," written by Cecil Mack-1915; as well as the blues number "Daddy." This may have been with : May1916 A.A. Wrights Band and Minstrels(with Sparks Circus) : A.A. Wright-manager; Miss Cleo Poteet & Viola McCoy-soubrettes; William Carr-cornet; Robert Oliver-clarinet; Issiah Wilds, James McDonald trombones; along with others. As Viola was fitting in to life with A.A.Wright, the Georgia Smart Set opened its inaugural season in March 1916, with Ernest Watts as the stage manager. The following year-1917, the line-up included the future blues star, Viola McCoy. Sometime in the 1920s Miss Viola McCoy moved to New York City. Viola McCoy appeared in cabarets, theatres from 1922-36. In and around mid-July to September 1924, Viola was headlining the show at Jacks Cabaret, Saratoga Springs for the Summer. A letter from Viola McCoy to The Chicago Defender-2nd August 1924, named her fellow artists as "Smiths Five Harmony Kings" they were putting-on some wicked music. Viola named them as : June Clark-clarinet, James Harrison-trombone, Bennett Carter-saxophone, Charles Smith-piano, James Carson-drums. That they would be in residence until 1st September 1924. She even opened her own club/cabaret "Jacks" on West 135th Street, Harlem in February 1927. Viola frequently performed at The Alhambra Theatre-1929 to 1931 Philadelphia-1935-36, The Lincoln Theatre, The Lafayette Theatre; Viola was in the travelling show, "Rarin' To Go." Which also apparently changed/alternated its name as, "Shake Rattle and Roll," so as well as The Lafayette Theatre, it travelled to The Park Theatre, Connecticut, as well as The Royal Theatre, Baltimore. She also toured the TOBA vaudeville circuit. When she started recording her most frequent accompanist was Porter Grainger. Later that came to include Fletcher Henderson, Louis Hooper, Bob Fuller and others. A few of her recordings are enlivened by her solo kazoo performances. By 1930 Viola owned/operated a nightclub in Saratoga, New York State; then in 1938 she settled in Albany, New York State, leaving the music business behind for the rest of her life. Viola recorded under various pseudonyms : Amanda Brown -Columbia, Perfect, Pathe Labels; Daisy Cliff-Guardsman Label; Clara White-Oriole Label; Bessie Williams-Domino Label; Gladys White-Variety Label; Fannie Johnson-Cameo Label; Susan Williams-Lincoln Label; Viola McCoy and The Dixie Trio-Label unknown. Violas Discography : (1) Viola + Porter Grainger-piano New York City 7-3-1923 Gennett5108 "If You Want To Keep Your Daddy Home"(youtube.com/watch?v=0AH7vfrBiRY) "Laughin' Cryin' Blues."(youtube.com/watch?v=CUKokZMdxzM) (2) Amanda Brown + Porter Grainger-piano New York City 27-3-1923 Columbia A3867 "Laughin' Cryin' Blues" "Strut Long Papa." (3) Viola + Porter Grainger-piano New York City 11-4-1923 Gennett5128 "Midnight Blues" "Triflin' Blues."(want to listen? youtube.com/watch?v=W23uu_Iq4Rk) (4) Viola + Bob Ricketts Band New York City 26-4-1923 Gennett5151 "Tired of Waitin' Blues"(youtube.com/watch?v=ZQ6TMQ3pAHY) "Gulf Coast Blues." (5) Viola + Porter Grainger-piano New York City 16-5-1923 Gennett5162 "Just Thinkin'" "Chirpin' The Blues"(youtube.com/watch?v=4WJTdrIZUZY) (6) Amanda Brown +Porter Grainger-piano New York City 27-4-1923 ColumbiaA3901 "Triflin' Blues" "Chirpin' The Blues." (7) Amanda Brown vocals/kazoo +Porter Grainger-piano New York City 24-5-1923 ColumbiaA3291 "Tired of Waitin' Blues" "Michigan Water Blues." (8) Viola + Porter Grainger-piano New York City 5-6-1923 Gennett5175 "Long Lost Mama" "Wish I had You." (9) Viola + Porter Grainger-piano New York City 27-6-1923 Vocalion14632 "Sad and Lonely Blues" "Just Thinkin'." Vocalion14633 "Bleeding Hearted Blues" "If You Want To Keep Your Daddy Home." Then Viola was still in NYC from the 7-8-1923, recording for : Ajax, Pathe, Victor, Brunswick, Banner, Domino, Oriel, Regal Labels. (10) Viola McCoy + Billy Higgins vocals(together they are referred to as : The Choo Choo Jazzers), Bubber Miley-trumpet, Arthur Ray-piano, New York City 18-22 September 1924 Vocalion14912 "Keep On Going" "Get Yourself A Monkey Man And Make Him Strut His Stuff." (11) Viola vocals + Kazoo, + Kansas City Five New York City 21-11-1924 Edison51478 "Memphis Bound." Then there seems to have been a short break between 21-11-1924 + 6-1-1926, then Viola was back to the Vocalion studios. Then Viola had another dry spell from 3-11-1927 to 11-1-1929, before possibly making her last recording, which was for Columbia. (12) Viola McCoy-vocals Manny Klein-trumpet unknown piano New York City 11-1-1929 Columbia14395-D "I Want A Good Man" "If You Really Love Your Baby." Would you like another track from Viola? Here we go, "If Your Good Man Quits You, Don't Wear No Black" Brunswick2591 1924 (youtube.com/watch?v=sw5c155rEVo). Then from 1938 Viola McCoy became inactive in the music business, she settled in Albany, New York State, where it is thought she most probably passed away. Author Derrick Stewart-Baxter, wrote of Miss Viola McCoy. "She belongs to the great vaudeville tradition, but in all she does there is a strong jazz strain. Possessing a lovely contralto voice, fine diction, she was able to project herself through even the poorest recording systems. It would be true to say that in the 3 years, she was recording most prolifically 1923-26, she hardly ever made a bad record."

OLIVETTE N. MILLER-BRIGGS SWING HARPIST SINGER RECORDING ARTIST TV/FILM STAR DIRECTOR AUTHOR AFRICAN/AM 26-2-1914 to 27-4-2003 I am unable to find any footage of young Olivette playing the her harp, but I have found her singing, what a tantalising voice she has. (youtube.com/watch?v=0d-fFvFgECc) Olivette was born in New York City, the daughter of actor/writer/comedian Flournoy Miller and, chorine(~early1900s) Bessie Oliver Miller. Her 2 uncles were Irvin C. Miller / Quintard Miller both performers/producers. Olivette was raised on the famous Strivers Row(a historic district originally named King Model Houses, the communities colloquial name was born~1919, from the artists that moved in and lived there. It still exists is located on both sides of West 138th Street & West 139th Street, between Adam Clayton Powell Jr Boulevard + Frederick Douglass Boulevard, in the Harlem neighbourhood of Manhattan. Designated by New York City Landmarks Preservation Commission-16-3-1967, listed on the National Register of Historic Place-1975). At the age of 7 Olivette, received a harp from her mother + father, as a Christmas gift; she studied traditional harp repertory for many years, performing/playing at school and church recitals. Then following her mothers suggestion, she learnt "St. Louis Blues" on her harp. Olivette tells you. "Everything changed for me. I was on my own playing jazz music, for there are no rules in it for the harp, to go by." Olivette attended the East Greenwich Academy, NYC, Rhode Island, a private boarding school-graduated 1931. By this time Olivette was married to her 1st Husband, Orion N. Page married-1930. Olivette then pursued further studies at the University of Pennsylvania, The Julliard School of Music, then onto Paris; where she studied with Marcel Tournier(Marcel Lucien Tournier French harpist tutor composer). Olivette originally planned to play at concert halls, but after being bitten by "the nightclub bug," she turned to popular music with her harp. It wasn't long before Olivettes vivacious, electric beauty and her colourful love life, got her into most of the gossip columns. If I give you the list of her husbands, then perhaps you will get a flavour of her personal/professional life. (2) Channing Price-1933. (3) Athos B. Guy-1934. (4) Oett Mallard-1938 saxophonist. (5) Otha Williams dancer-married December 1940-divorced ~1943. (6) Freddie Gordon-divorced 1952 actor. (7) Albert Gibson-married 1954 comedian. (8) Eric Darby. (9) Bernard "Bunny" Briggs-married 1982 tap dancer. Olivette also had 2 children : Alvin Miller Mallard (1-10-1939-1943) born in Denver, Colorado + a daughter born in 1949. Miss Olivette Millers' 1st taste of Broadway was : "Africana" Venice Theatre Broadway NYC Musical 2-act Operetta Original as "Conti" 26-11-1934 to 28-11-1934 3 performances. Olivette joined Noble Sissles' Orchestra-1937, touring with them in Europe. Also the husband she married in 1940, Otha Williams, was a bit more than just a dancer. His own oral history tells us that. "In 1938 at 20. I got a job in Cicero, Illinois, dancing at a social club, owned by Ralph Capone, called The Town Club. I was also managing a sophisticated drugs trafficking operation, under the leadership of Al Capone. In 1939 I moved from Chicago to Detroit, to dance at the Club Zombie; then in December 1940 I married the harpist Olivette Miller. But we divorced 3 years later"(if you would like to see the rest of his oral story go to : oralhistoryportal.library.columbia.edu/document.php?id=ldpd_13848243) Towards the end of the war-1944 Olivette starred in a musical revue, with Dorothy Dandridge and Edith Wilson, "Sweet N' Hot" at The Mayan Theatre, Los Angeles, in the Spring, it ran for 9 weeks. Olivette also did a 14 month tour with the USO-1945-1946, Olivette was the speciality act. Olivette Miller also did solo concerts during the late-1940s + 1950s, where she was billed as "The Worlds Greatest Swing Harpist." Olivette was in California in 1947, performing in "The Sands" Los Angeles, March 1947-Olivette was at "The Cafe Society Down Town," New York City, with Gene Cedric, Cliff Jackson, Josh White. During this period Olivette performed with Lena Horne, Dorothy Dandridge. During the course of 1949, Olivette Miller appeared in a short film titled "This Joint Is Jumpin'" It consisted of 2 reels the film number was 11413, ~1 hour long. It was directed by Josh Binnery, amongst the stars were : Una Mae Carlisle, an All American Girl Band, John "Spider Bruce" Mason, Bob Howard. Olivette also appeared at The Apollo Theatre, Harlem, 19-9-1952, she was appearing on the same bill as The Three Chocolatiers, The Fontaine Brothers, The Five Keys. It was during this time Olivette took-up with Al Gibson, 1 of the Chocolatiers, they got married in 1954. In March 1953, Olivette was in the cast for "The Smart Set Revue," which was performed at Riviera Club, Miami. In 1953 The Three Chocolatiers disbanded, Olivette and Al formed the duo Miller & Gibson. Then in June 1954, Miller & Gibson were part of Larry Steeles' edition of "Smart Affairs," at The Paradise Club, Atlantic City. TV appearances started to happen as well, Olivette appeared on TV "The Toast of the Town-1955 as Miller& Gibson," The Ed Sullivan Show-1962 as herself," "The Rosey Grier Show-1968, as herself," made a brief appearance in an MGM film "A Rage in Harlem-1991." In 1972 Olivette then sued comedian Flip Wilson, singer Michael Jackson for $500,000. For infringing on her fathers' intellectual property. In 1974, she did a solo in Reno; in 1976 she directed/co-produced "The Show Folks," a syndicated situation comedy for TV, starring her ex-husband/actor Freddie Gordon, Carole La Monde, Deforest Covan. Olivettes' discography is not large : 2 tracks for Ebony 6 tracks for Protone. (1) Ebony Label 1012 1952 10'' 78 rpm Olivette "The Harp" Miller Her Rhythm Boys "Lilacs In The Rain" "Harpin' On The Harp." (2) Protone45-117-R November 1959 7'' "Real Cool Yule." "The Money Man" (3) Protone124 August 1960 "Barefoot" "Git Out." (4) ProtoneOM-128-R March 1961 7'' "Look Up" "I Got The Call." I have come across a small part of Olivettes' schedule for after the war, starting in 1947. (1) Performed at Colosimos Restaurant/Nightclub, 2126 Wabash Avenue, Chicago, for 2 weeks with an indefinite option until May 15th.(owned by Vincenzo Colosimo-1909 to ~1960 he was a racketeer). (2) August 21st 1947- Olivette took on an appearance at The Capitol Lounge for an indefinite period. (3) October 5th 1947-she landed an appointment with a radio appearance on the NBC Network station-WNEW with Louis Armstrong. (4) December 4th 1947-she accepted a 3 week contract with Club Detour. (5) On March 4th 1948 she took a 2 week appointment at The Beige Room, Pershing Hotel, Chicago, this was extended to March 18th. (6) Again in October Olivette was back at The Beige Room, Pershing Hotel, for 4 weeks from the 7th October. (7) Then 2 weeks she accepted at The Sherman Hotel, from October 21st. During 1949-1950 Olivette had no nightclub engagements, this probably due to the fact her daughter was born in 1949. Then in 1951 Olivette returned to the circuits. Her 1st showing was at Harrys' Show Lounge, 423 East 63rd Street, Lennox Hill, Manhattan, for 2 weeks. Then Olivette after her record release on the Ebony Label, she continued to work in Chicago. (8) Saturday 12-1-1952 Duke Ellington heads the bill for a weeks engagement at The Riviera, St. Louis, Missouri. Olivette Miller, also The Co-ops are on the bill with him. (9) April 1952 Olivette appeared at The Blackhawk Restaurant, Chicago(closed in 1984) for 2 weeks from April 3rd. (10) 1953, The Black Orchid, Annandale, Virginia, for 2 weeks from June 18th. (11) Olivette appeared on The Danny O' Neil Show WBKV-TV October 15th 1953. (12) 1956-Olivette teamed up with dancer Bert Gibson to perform at Roberts Show Lounge, 6622 South Parkway, Chicago. In 1957 Olivette Miller with Albert Gibson her husband, produced a musical revue called "Highlights," based on a scripts she received from her father. It featured a cast of 35, which included her dear father, also Original Ziggy Johnson Dancers : Inez, Clineice, Donna, Valaida. Once again appearing on television, Olivette Miller was on "The Rosey Grier Show" : the host was Roosevelt Grier with his guests Olivette Miller, Bobby Womack, Frankie Otega; in Series 1 Episode 16 which as 1st aired 14-9-1968. Now for the Press-Details of Olivettes' colourful and entertaining life. (1) THE BILLBOARD Saturday 16-1-1943 "Noble Sissle has been fronting his band for nigh on 25 years, but his spots have been mostly hotels, swanky nightclubs and, those on the Continent. He is now fronting a band designed for ballrooms, where he is required to produce music of all types. Band playing with a lively balance is composed of 3 trumpets, 2 trombones, 4 reeds, three rhythm and harp. Olivette Miller harpist, gives it all a class send-off, which includes her own work. Vocal assignments are handled by Miss Miller, who does a better than fair job of it." (2) THE BILLBOARD Saturday 30-1-1943 Page 12 Night Clubs-Vaudeville Night Clubs Reviews Trianon South Gate California. "In the heart of a defence area the Trianon continues to do good business. On the bandstand is Noble Sissle. Olivette Miller Sissles' harpist, follows with good warbling of "I Lost My Sugar in Salt Lake City." (3) THE BILLBOARD Saturday 2-10-1943 Page 22 The Orpheum Los Angeles-Reviewed Wednesday Afternoon 22-9-1943. "On the bill with Benny Carters' Band is Savannah Churchill, Carters Thrush, Peter Ray, Harold Nicholls, Olivette Miller, Ben Carter and Mantan Moreland. Good attendance at late afternoon show opening day. Miss Churchill draped in a black velvet gown, stopped the show dead as she sang, "That Ain't Right," "Don't Cry baby," "Jelly Jelly." Olivette Miller swing harpist opens with "St. Louis Blues," and proves conclusively that a harp can send them. A sweet number followed with Miss Miller getting well deserved applause." (4) THE BILLBOARD Saturday 20-11-1943 Page 25 "OFF THE CUFF" West Coast : "Olivette Miller formerly harpist with Noble Sissles' orchestra, has formed a trio now playing at The Desert Rooms, Gelndale, California." (5) BILLBOARD Saturday 4-3-1944 "SWEET N' HOT" "Mayan Theatre, Los Angeles 2 Act Musical Revue with sketches by Flournoy Miller and Bill Nelson. Principals Dorothy Dandridge, Olivette Miller, Edith Wilson. "Sweet N' Hot was first rumoured for opening December 1944, with the date announced for January 19. It finally opened a week later. Postponed dates reveal the show has had sufficient planning. While on opening night the revue run long enough to make two shows, boiled down to 150 minutes. Other singing honours go to Mabel Scott, who neatly ties up "Moonrise," against the accompaniment by the vivacious Olivette Miller." (review by Sam Abbott) (6) THE OHIO STATE NEWS Columbus Saturday 22-4-1944 Page 22. "Sweet N' Hot" Goes On Tour. LA-ANP "The all-coloured musicals how "Sweet N' Hot," now playing its ninth week at The Mayan Theatre in downtown Los Angeles, will close shortly and take to the road. The show which features such artists as Dorthy Dandridge, Olivette Miller, Bob Parish, Sinclair and Leroy, Mabel Scott, Edith Scott, Leonard Reed, will play several coast cities, before hitting Chicago and the east." (7) THE BILLBOARD Saturday 27-10-1945 Page 4 (sub-heading) "Noble Sissle Still Fave;" "Shuffle B.O. With G.I.s" Venice, Italy. Oct 22- "Bugles haven't blown about it, but Broadway ought to know about the bang-up job Noble Sissle and his gang, are doing entertaining the G. I.s over-here with the USO. Among the cast are Olivette Miller, The 4 Harmonettes(Sara-Lou Harris, Thelma Worrell, Wahneta San, Katherine Stevenson)." (8) ODDS & ENDS Saturday 18-1-1947 Page 27 "When Timmie Rogers closes his long term engagement at Downtown Cafe Society, Phil Leeds will take over the job of making the ringsiders laugh. And he is good too. Olivette Miller stays on as harpist and she's good but different." (9) THE NEW YORK AGE Saturday 5-6-1948 Page 6 "Olivette Miller, Jazz Harpist, At Fisk University." Nashville, Tenn.-Olivette Miller, New Yorks boogie-woogie harpist, set a new topic for campus conversation, following her surprise appearance at Fisk University recently. Employing nearly every medium of physical expression, to get across her "heavenly harmony," Miss Miller supplemented her unique harp stylings with some well received vocals. She told the audience that her father Flournoy of the famous comedy duet, Miller and Lyles, stars of "Shuffle Along," gave his first show on the same platform at Fisk, several years ago, while a student there. The colourful entertainer is currently appearing in Nashville, after an extended engagement in Cafe Society Down Town, New York City. During the war she was overseas for two years with Noble Sissles Orchestra." (10) THE BILLBOARD Saturday 1-4-1950 Page 52 Orpheum Los Angeles Wednesday Mch. 22 "only to hit bottom with Olivette Millers' yawn spurring harp performance." (11) THE WINDSOR STAR ONTARIO CANADA Saturday 22-7-1950 Page 22-Advert "Elmwood Show-spot of Canada. Phone 4-4362 or 3-3183 NOW APPEARING OLIVETTE MILLER "Worlds Greatest Swing Harpist" with Jack Madden Orchestra. 2 shows nightly 8.30 11.30 Coming July 28 Sophie Tucker." (12) THE BILLBOARD Saturday 29-3-1952 Chicago. Olivette Miller into The Blackhawk here Wednesday 26-3 for two weeks. (13) THE DEPAULIA Friday 28-3-1952 Page 5-Advert in the bottom right hand corner of page. "STUDENT NIGHT EVERY FRIDAY AT THE FAMOUS BLACKHAWK. This Ad entitles one couple to no cover charge or minimum on any Friday until June 20 1952. Just show it to your waiter. Student cards now available-at this business office. EXTRA! EXTRA! Every Saturday afternoon Exciting "Jazz Sessions" 3.00 to 5.30pm. Featuring Sensational Swing Harpist Olivette Miller Jazz Music Combo Fred Reynolds -WGN Disk Jockey Special Guest Artists Admission 50c per Person. BLACKHAWK Wabash at Randolph RA 6-2822." (14) THE BILLBOARD Saturday 5-4-1952 Page 28/68 Night Clubs-Vaude Reviews Blackhawk Chicago. "Continuing his act policy for another two weeks before bringing in a new musical, "Six on a Honeymoon," Don Roth followed chanter Bobby Wayne, with Olivette Miller, swing harpist and the Tim Herbert-Don Saxon team, for another low budget but strong show. Miss Miller an accomplished harpist who also handles a lyric,"(continued on page 68)-Page 68 "with ease, is making her first major nitery appearance here, although she has been in theatres and several hotel rooms in past years. Opening with "Tea For Two" she won the audience and held them through, "I've Got You Under My Skin," "Old Black Magic," and, a Boogie-Woogie bit. Closes strong with "No Business Like Show Business," done as a straight vocals and harp." (15) JET Thursday 21-8-1952 Page 63 New York Beat "Swing Harpist Olivette Miller and her dancing-hubby Freddy Gordon are seeing their lawyers. Gossipers say her next one will be one of the 3 Chocolatiers. (16) THE BILLBOARD Saturday 4-4-1953 Page 15 NIGHT CLUBS-VAUDE. Miller Reopens Miami Riviera. Miami Beach, March 28-"Bill Miller reopened his Miami Beach Riviera last night, after a two-week shutdown and, hopes to garner some of the spring business, with Larry Steele's "Smart Affairs of 1953." A cast of 40 includes Butterbeans & Susie, The Three Chocolatiers, Flick Montgomery, Olivette Miller, Conrad and Estelle and a line of girls. Jimmy Tylers orchestra will handle the band-standing." (17) JET Thursday 5-11-1953 "As soon as Olivette Miller, the harpist, gets her divorce , she will wed Al Gibson, a dancer. He has given her a diamond ring." (18) JET Thursday 26-11-1953 Page 63 NEW YORK BEAT "The Three Chocolatiers dance team broke up when Olivette Miller, the harpist told Albert Gibson her finace, to quit the act and form a stage partnership with her. His ex-partners are looking for a good dancer to join them." (19) JET Thursday 5-8-1954 Page 63 NEW YORK BEAT "Since teaming up with harpist Olivette Miller, comedian Al Gibson formerly of the Three Chocolatiers, fiscarded his baggy trousers and now wears a full dress suit. He has also had his nose bobbed. (20) NEW YORK AGE Saturday 11-12-1954 Page 18 Swinging the News By Al Monroe. "HEARD TELL OLIVET Miller dynamic harpist and daughter of showman Flournoy Miller, divorced from Freddie Gordon, now in Detroit, IS SERIOUSLY THINKING of undoing the divorce in favour of reconciliation." (21) JET Thursday 20-1-1955 Radio-TV Guide "Harpist Olivette Miller, comic Bert Gibson will be featured on Toast Of The Town Sunday, January 16, at 8pm., EST((eastern standard time)) on CBS-TV. Children of famous old-time vaudeville performers, the talented team is a husband-wife act and provides a novelty climax, when Bert dons a wig and evening gown to match Olivettes." (22) JET Thursday 9-6-1955 Page 30 PEOPLE "Olivette Miller was signed for an engagement at the Sahara Hotel in Las Vegas and, will receive $1500 weekly." (23) BILLBOARD Saturday 9-4-1955 Page 13 Review Night Clubs "Patty Andrews((lead singer of The Andrews Sisters)) Makes Solo New York Nitery Bow" by BOB FRANCIS. "As the latest incumbent of the top slot "Paris a la Mode" revue, Patty Andrews makes a very auspicious local cafe debut. Also added to the current programme is the swing harp contribution of shapely and eye-appealing Olivette Miller, backing up the satiric stepping of Bert Gibson. ((the local cafe was The Latin Quarter)) (24) This is just a Flyer or Bill Sticker, advertising Olivette/Berts Revue "Highlights." "Friday 24-5-1957-FLAME SHOW BAR Starting TONIGHT Olivette Miller and Bert Gibsons "HIGHLIGHTS" A REVUE WITH A THEME Starring F.C. MILLER AND MANTAN MORELAND-Comedy Duet. The ZEPHYRS-Acrobatic Dancers. VI KEMP-Contortionist. THE FOUR TOPS-Harmony Quartet. LOUISE WOODS-Singing Star. BOBBY PRINCE-Singer. THE GIBSON GIRLS. CAST of 23 TALENTED STARS. SUNDAY MATINEE 7-8.30 PM. RESERVATIONS TE 1-2210. (25) The Minneapolis Tribune Monday 7-12-1957 ADVERT "2-12-1957 = KEY CLUB 1329 Washington Avenue Now Entertaining Nightly SIL AUSTIN and his orchestra A Mercury Recording Star. PLUS OLIVETTE MILLER Worlds Greatest Swing Harpist. Bert Gibson Sensational Tap Dancer. THE KEY CLUB "Where Friends Meet." (26) BILLBOARD Saturday 29-8-1960 Page 40 New Record Reviews : Rhythm & Blues. 1 Star OLIVETTE MILLER Barefoot/Git Out Protone124 (27) BILLBOARD Saturday 20-3-1961 Page 104(continued from page 102) REVIEWS AND RATINGS OF NEW RECORDS 3 Stars-Moderate Sales Potential. OLIVETTE MILLER *** "LOOK UP" Protone128-Bright performance on a fly little effort by the thrush. It could get spins. (2.50) (28) JET Thursday 14-12-1972 Page 54 "Flip, Michael Jackson Named in $500,000 Suit Already named in a paternity suit brought by dancer Mabel Robinson. Flip Wilson now has been charged with plagiarising comedy material, of the late Flournoy E. Miller. Also named in the suit brought by Millers' daughter harpist Olivette Miller Darby, are Michael Jackson of The Jackson Five, Monte Kay, producer of Wilsons show, and the writer of Wilsons material Harold Baker." (29) RENO GAZETTE-JOURNAL Friday 22-11-1974 Page 51. "Harpist and author Olivette Miller jazz harpist at Hobo junction in Reno. written a book about her father . Movie Features Black Comic. A movie on the career of the first black stand-up comic is being born out of his daughters' frustration. "My dad died in 1971 at 84. I've grown so tired of hearing other people credited with things he really did, that I wrote a dramatized biography out of vexation." Miss Miller said. Cyma Rubin who produced "No No Nanette," on Broadway a few years ago is executive director, of the film project. Bill Cosby will play Miller. Miss Miller said she would like Richard Pryor to play Aubrey Lyles, who was about one foot shorter than her father." (30) THE PITTSBURGH COURIER Saturday 15-5-1976 Page 8 Arts and Entertainment by HAZEL GARLAND. OLIVETTE MILLER. "There has been a lot of criticism regarding the current crop of Black situation comedies series on television. Now comes word a new Black situation comedy called "The Show Folks." It has been written/produced by Black talent such as OLIVETTE MILLER, daughter of FLOURNOY MILLER. Like a chip off the old block, his daughter Olivette not only wrote but also directed the new series. Speaking of the show Olivette says. "A lot of Black situation comedies on TV today, don't seem to have an overall view of the Black community. One of the characters in my series McIver, is a Jamaican both in his role and in real life. Millions of Americans are aware of Black English accents and, inflections used on TV associated with Blacks. Now they will see a Black whose English is the Queens own. We hope the audience will realise that there are thousands of McIvers, in the United States. That Blacks are multifaceted in colour, accent, goals and, attitudes is something we want to show through "Show Folks," and entertaining situation comedy. EC3 Productions is responsible for the series. Emmet Cash has announced the first 13 episodes have been syndicated, will air this fall. (31) JET Thursday 11-11-1976 Flournoy Millers Daughter, Harpist Olivette, Gets Award. "My daddy's comedy was so fool-proof, a dog could bark at it and, make you laugh." Sais Olivette Miller, daughter of the legendary Black comic, Flournoy Miller. Ms. Miller, a jazz harpist of note, was explaining that her late fathers classic comedy scripts are the basis of projected television series, Show Folks. Flournoy Miller, and his partner Bert Lyles wrote and produced "Shuffle Along," the first Black musical on Broadway. Ms. Miller was also being presented with a plaque, for her outstanding contributions to show business by Jean Taylor, the emcee of the Etc. Club in Hollywood. Just 1 last observation Olivette's mum an dad got married in 1912. Bessie Oliver was a chorine in the early-1900s. Here we have : "The Charity Girl" Globe Theatre Broadway NYC Musical Original Bessie=Chorus Line; Flournoy Miller=Mumbo. 2-10-1912 to 19-10-1912 21 performances. THEY OBVIOUSLY MET AT THIS PERFORMNACE, DID THEY THEN GET MARRIED DUE TO THIS INTRODUCTION TO EACH OTHER? Olivette Miller died in North Las Vegas, Nevada. How about this as the final find. goodreads.com/videos/90042-nichelle-gainer-on-bbc-world-news. Comments : message 1 : by Fredi; March 30 2016 1243pm. Ms. Gainer, I wanted to bring to your attention a misprint regarding my mothers birthday, Olivette Miller, Jazz Harpist. Your blog listed her birthday as February 2 1914. The misprint is the date. It should read February 26 1914. Hopefully you can correct the date. Very nice article!!!!