Bob Scholl born 14 Jul 1938

Bob Scholl (14 Jul 1938 - 27 Aug 1975) was best known as the lead singer of the fifties' doo wop band The Mello-kings.

Robert Scholl, aka Bob Scholl, was born in Mount Vernon, Westchester County, New York. In 1956, Bob (tenor), his younger brother, Jerry Scholl (high tenor), and Eddie Quinn (second tenor) got together as a result of try-outs for a version of "South Pacific", being held at their Washington High school. Pianist/arranger Dick Levister liked the way they sounded and formed them into a group, initially known as the Mellotones. Auditions brought in two additional members: Neil Arena (baritone) and Larry Esposito (bass). The group's main influence was Frankie Lymon and the Teenagers, the originators of the "kid-sound" in popular music. In fact, with Jerry Scholl in the lead, the Mellotones were told they sounded too much like the Teenagers. Therefore, to create a different sound, Bob Scholl began to front the group.

By the fall of 1956, they were calling themselves the Mellotones, gaining attention in the local area and catching the ear of a black pianist named Dick Levister, who offered to become the group's manager and accompany them during live performances. It was Levister who brought them to the attention of Al Silver, who owned both the Herald and Ember labels, which had been up and running since 1952. Both New York-based labels specialized in vocal group records. Silver liked what he heard and the group with their trademark white jackets (supposedly at Levister's insistence) helped them forge an identity with the teenage public. For the Mellotones' first release, Silver chose a tune called "Tonite, Tonite" written by Billy Myles (who also penned "All My Love You Were Made For" with Jackie Wilson). It was released during the summer of 1957 and became an immediate regional smash hit. After about a thousand copies had been pressed, everyone discovered that there was another Mellotones group around. A quick name change was in order and the "Mellokings" were born. (The "King" part came from Dick Levister's middle name; he had once been leader of the King Levister Orchestra.)

                                   

However, Herald still couldn't get it right on the second pressing; some copies exist with "Do Baby Do" (Mellokings) backed with "Tonite, Tonite" (Mellotones). This probably indicates that "Do Baby Do" was the side that Herald was banking on. Eventually it was straightened out. In August, "Tonite, Tonite" was reported a Tip in Los Angeles. The single was a big seller in the Northeast, again having regional ties. Although it has sold over 3 million copies to date, never made it past #87 on the national charts for 1957, hardly qualifying for hit status. In fact, everything happened so fast (or so slow) that the group never even realized that they had a hit. With the limited success of "Tonite, Tonite", the group went on the road doing one-nighters, sometimes for as long as three months at a time. Jerry Scholl, being of small stature, used to sleep in the luggage rack above the seats. On one tour, his "rack-mate" was Paul Anka.

September 1957 was a busy month for the Mellokings. First, they appeared on American Bandstand, then Ted Steele's Bandstand and on the basis of that appearance, they were booked into Washington D.C.'s Howard Theater for a week, followed by a week at Baltimore's Royal. However none of their subsequent releases did well on the charts. Sometime in the spring of 1958, Neil Arena left and the Mellokings continued on with four singers for a while. It was during this four-voice period that they recorded the footage of "Tonite, Tonite" that was later used in the British movie Sweet Beat. (Released in November 1959, it also contained their labelmates, Billy Myles and the 5 Satins.) Within a few months after this, Larry Esposito also left, and the Mellokings got two new members: Louis Jannacone and Tony Pinto. The group was now Bob Scholl, Jerry Scholl, Eddie Quinn, Louis Jannacone, and Tony Pinto. This was the group that recorded "Chip Chip" in November 1958. All the songs from that session were released over the next year and a half or so, but the group didn't record again for almost two years.

Around mid 1959 Eddie Quinn left to pursue a solo singing and song writing career. In the summer of 1960, Herald released The Mellokings Sing, an LP that had a selection of all their released tunes, along with some previously-unreleased tracks. March 1961 saw the next Mellokings record: "Penny"/"'Till There Was None". Their final Herald release came in October of that year: "Love At First Sight", backed with a reissue of 1958's "She's Real Cool". Sometime after this, Bobby Scholl was drafted. He wasn't replaced, so the Mellokings remained as the trio of Jerry Scholl, Louis Jannacone, and Tony Pinto, although they didn't do all that many gigs until Bob returned.

To confuse issues another Mellow-Kings was formed fronted by Eddie Robbins, consisting of Jack Skulski, Bobby Schultz, and Tony Obert. This group known as Eddie Robins' Mello-Kings performed from 1968 until 1973, under the guidance of Richard Levister (still around). The fall of 1969 found the original Mellokings who at the time consisted of Jerry Scholl, Bobby Scholl, Louis Jannacone, and Tony Pinto perform as a part of Richard Nader's Second Rock & Roll Revival show at Madison Square Garden. Shows featured Bill Haley and the Comets, Jackie Wilson, Shep and the Limelites, the Penguins, Johnnie and Joe, the Capris, and the Bobby Comstock Orchestra.

Unfortunately tragedy struck when Bob Scholl died 27 Aug 1975, during a boat accident in New York, but his brother Jerry took over lead chores. With many changes in personnel, the Mellokings continued performing at private gigs and corporate parties. Going into the new century, both Jerry Scholl and Eddie Robbins had active Mellokings groups. However, Jerry, with the group since 1956, passed away on April 30, 2019.

(Edited from Marv Goldberg's R&B Notebooks) 

Blind Blake born 1896

 

Arthur Blake (1896 – December 1, 1934), known as Blind Blake, was an American blues and ragtime singer and guitarist. He is known for recordings he made for Paramount Records between 1926 and 1932.

Though so much of Arthur Blake’s story remains a mystery, recent research suggests that he was born in Newport News, Virginia, to Winter and Alice Blake, sometime between the years of 1890 and 1896. It is not known if Blake was born blind, but his disability would have made his life especially hard in early 20th century America. Busking, or playing music on street corners for tips, was often taken up by many a blind musician as an alternative to begging. Whether or not this is how Arthur got his start, his obvious talents proved adept at earning a living playing live music. Additional research suggests that Arthur lived a traveling musician’s life, with stories of him playing around Atlanta, Detroit, and even Bristol, Tennessee. But Blake’s main hub was Jacksonville, Florida, where he kept an apartment and learned to improvise his repertoire to wherever he was playing. Eventually, a talent scout recommended Blake to Wisconsin’s Paramount Records, where he would become one of the company’s biggest recording stars.

Paramount Records was a subsidiary of the Wisconsin Chair Company in Port Washington. These records, cheaply made and recorded on a tight budget, existed solely to encourage sales of the Chair Company’s phonograph cabinets. His only known photograph was taken at his first recording session in 1926. His first solo record was "Early Morning Blues", with "West Coast Blues" on the B-side which became a massive hit that catapulted him to the top tier of Paramount artists. In this tune, we hear Blake calling out dance steps and cracking jokes to a joyful ragtime beat. “I got something that’ll make ya feel good!” Blake laughs as he barrels into a killer guitar lick. “I know it’s good. I made it good.” The commercial success of this record prompted the company to records another 68 sides over the next 4 years.

               

                                   

Blake took up a residence in an apartment at the corner of 31st Street and College Grove Avenue in Chicago’s Bronzeville neighbourhood, where he would have had easy access to both Paramount’s downtown recording studio and Bronzeville’s array of concert halls and dance clubs. On most Mondays the flat was the site of a swinging musical and drinking party, attended by some of the Southside’s finest bluesmen. In later years, one of the regular revellers, Little Brother Montgomery, reminisced about these gatherings: “We called them rehearsals. Usually we had them on Mondays when everyone was free. We’d all get together over at Blake’s place. Be a few piano players there—me, Charlie Spand, sometimes, Roosevelt Sykes.

Big Bill Broonzy

Guitar players like Blake and maybe Tampa Red or Big Bill Broonzy. We’d drink moonshine and trade songs. Everyone was just like family.” Montgomery further remembered his host’s proficiency as a guitar player: “He kept good time and knew all the changes in all the popular songs back then. He would play it all and he was good in a  band, too, but he mostly played blues and ragtime tunes. Blake loved the blues most. He always wanted us to play blues.” The style of guitar that Blake played wasn’t like the intense and emotionally-charged country blues of the Delta, but one of a ragtime dance style with a swinging beat. He was inventive, with a flair for improvisation. He could be subtle and understated or play with an ornate flourish. His extraordinarily fast and exciting three-finger picking technique used walking basses, boogie-woogie, and cross rhythms, as well as syncopated thumb rolls. Blind Blake was widely respected and admired by other guitar players; many tried to copy his style but with little success. Big Bill Broonzy, hearing Blake in person in the early 1920s, said of his guitar playing "He made it sound like every instrument in the band- saxophone, trombone, clarinets, bass fiddles, pianos- everything. I never had seed then and I haven't to this day yet seed no one that could take his natural fingers and pick as much guitar as Blind Blake."

Paramount utilized Blake as a go-to session musician for several Paramount performers, but he remained an incredibly prolific solo artist. In addition to his guitar playing, Blake was also a charismatic singer and skilled lyricist, and several of his songs were no doubt popular with Bronzeville’s late night music scene. Blake seemed especially at home with the sexually suggestive hokum music, as proven by songs like “Diddie Wah Diddie” and “Too Tight Blues.”  While there is an undeniable sense of joy in much of Blake’s music, he seems just as comfortable performing darker subject matter. In “Rope Stretching Blues,” Blake’s narrator kills an intruder and awaits an inevitable death sentence. In “Third Degree Blues,” Blake is detained and forced to confess to an unknown crime in rather Kafkaesque fashion. And there’s an unsettling grimness within such songs as “Early Morning Blues,” in which Blake sneers, “The day you dare to quit me, baby, that’s the day you die.” Yet Blake’s charm remains front and center throughout, giving these songs an eerie and ironic quality.

Blake’s pièce de résistance may very well be his euphoric boogie woogie instrumental “Hastings Street,” recorded in 1929 with Detroit piano legend Charlie Spand. Blake’s guitar effortlessly compliments Spand’s rolling piano, with Blake gleefully name-dropping streets from Detroit’s red light district. Altogether, Blake would make about 80 recordings for Paramount, but the recording industry was in serious trouble following the stock market crash of 1929. Records were increasingly seen as a luxury, especially when radio provided hours of music for free. To save on costs, Paramount moved its main recording studio from Chicago to their record pressing plant in Grafton, Wisconsin, where artists would record just a short distance from Paramount’s Port Washington headquarters.

Grafton Recording Studio 

Blake moved to the north side of Milwaukee, presumably to be closer to the new Grafton recording studio. He married Beatrice McGee in 1931, and the Blakes lived at 621 W. Brown St. (today the site of Beckum Park). But Paramount’s sales continued to plummet, and in this era we hear Blake experimenting with new sounds and styles, seemingly throwing whatever he could to the wall to see what might stick. Sometimes this meant recording formulaic re-treads of his earlier output or derivatives of other pop songs, but there were still glimpses of his brilliance. On his record “Miss Emma Liza,” (considered lost until a copy was found at a flea market in 2012), Blake channels Dixieland jazz and sings in a hilarious falsetto. On the record’s flip side, “Dissatisfied Blues,” he thunders out a “rapping” beat on his guitar. And in a recorded duet with Papa Charlie Jackson, we hear more of Blake’s trademark wit: “My name is Arthur Blake,” he smirks, “and I’m the Arthur of many things.”

But no recording at Paramount—no matter how transcendent—could stop what the Great Depression had wrought. Paramount closed its doors for good in 1932. The top brass in Port Washington went back to focusing on making furniture. And Arthur Blake’s career as a recording musician was over. When Paramount closed, it seemed that was the last anyone ever heard of Blind Blake. As the years passed and his recordings were rediscovered, rumours abounded about what ever became of this unique visionary. Reverend Gary Davis had said he heard Blake was killed after being run over by a streetcar. Others swore they saw him playing in the streets of Jacksonville years later. It wasn’t until 2011 when researchers discovered what we should have known all along: Arthur Blake had spent his final years in Milwaukee. And it is in Milwaukee where he spends eternity.

According to his wife after Paramount closed down Blake became unemployed and in failing health, In 1933 he was treated for three weeks at the County General Hospital due to pneumonia and never fully recovered after his release. In 1934, after many weeks of decline, Beatrice Blake summoned an ambulance. He had a pulmonary haemorrhage and died on the way to the Milwaukee County Emergency Hospital. The cause of death was listed as pulmonary tuberculosis. His death certificate stated he was 38 years old. He was buried in Glen Oaks Cemetery, in Glendale, Wisconsin in an unmarked grave. In 2012, Blake’s grave finally received a memorial headstone. The marker shows Blake’s smiling promotional portrait—the same image that graced so many Paramount ads nearly a century ago. Fans and admirers from around the world now make their pilgrimage to Milwaukee’s Glen Oaks (formerly Evergreen) Cemetery to pay their respects. 

(Edited from Milwaukee Record & Kansas City Blues Society)

Smokey Wilson born July 11, 1936

Robert Lee "Smokey" Wilson (July 11, 1936 – September 8, 2015) was an American West Coast blues guitarist. He spent most of his career performing West Coast blues and juke joint blues in Los Angeles, California. He recorded a number of albums for record labels such as P-Vine Records, Bullseye Blues and Texmuse Records. His career got off to a late start, with international recognition eluding him until the 1990s.

Wilson was born in Glen Allan, Mississippi, and raised in Lake Village, Arkansas. He  was eight when his father bought him his first guitar. His teenage years were spent developing his singing and playing skills. In 1961 he became a member of Junior Green And His Soul Searchers Band, which, after some years, he left to join Roosevelt ‘Booba’ Barnes, with whom he played for four years. 

He played alongside Big Jack Johnson and Frank Frost, before his move to Los Angeles in 1970 where he hoped that his down-home style would be popular. He played in a number of clubs and became part-owner of the Casino Club, where he worked on a regular basis as frontman of the house band. He also In booked blues musicians to perform at the club, including Big Joe Turner, Percy Mayfield, Pee Wee Crayton and Albert Collins. His down-to-earth guitar playing was typical of his Mississippi Delta background. "I bring the cotton-field with me," he said, "and I got the juke-joint inside."

                                   

Whilst Wilson's years of residency at the Pioneer Club did little to secure nationwide recognition, he appeared on the PBS special Three Generation of Blues, with Robert Cray and John Lee Hooker. He also appeared in various television commercials, including UPN's "The Watcher," and FOX's "Divas", plus in a music video made by Babyface.

Wilson released two albums on Big Town Records in the 1970s. His 1983 album, 88th Street Blues, for the Murray Brothers label (later reissued by Blind Pig Records) had contributions from Rod Piazza (harmonica and record producer) and Hollywood Fats (rhythm guitar). Wilson performed at the Long Beach Blues Festival in 1980, 1981 and 1999; having earlier appeared at the San Francisco Blues Festival in 1978.

A new contract with the Bullseye Blues label saw Wilson through the 90s and marked a resurgence in his career. Smoke N’ Fire (1993) had guest appearances by Larry Davis and Jimmy McCracklin, effectively flattering Wilson’s modest talent. The Real Deal (1995) followed, as Wilson's reputation began to grow as he reached his sixtieth year. He made one further recording for Bullseye (1997’s The Man From Mars)

During 2003 Wilson recorded an album with Andy T and his band who backed him on stage since 1997. Smokey, as always demonstrative, sang pretty well but left most of the guitar parts to Andy T. Nine days after this album Smokey suffered a stroke. In the years that follow, as his health gradually deteriorated, he remained very discreet and finally died in his sleep on September 8, 2015, in Los Angeles, California.

(Edited from Wikipedia, Blind Dog Radio & Blues Sessions) 

Blind Boy Fuller born July 10, 1904

Fulton Allen (July 10, 1904 – February 13, 1941), known as Blind Boy Fuller, was an American blues guitarist and singer. Fuller was one of the most popular of the recorded Piedmont blues artists, along with Blind Blake, Josh White, and Buddy Moss.

Allen was born in Wadesboro, North Carolina, United States, one of ten children of Calvin Allen and Mary Jane Walker. Most sources date his birth to 1907, but the researchers Bob Eagle and Eric LeBlanc indicate 1904. After his mother died, he moved with his father to Rockingham, North Carolina. As a boy he learned to play the guitar and also learned from older singers the field hollers, country rags, traditional songs and blues popular in poor rural areas. He married young, to Cora Allen, and worked as a labourer. He began to lose his eyesight in his teens. According to the researcher Bruce Bastin, "While he was living in Rockingham he began to have trouble with his eyes. He went to see a doctor in Charlotte who allegedly told him that he had ulcers behind his eyes, the original damage having been caused by some form of snow-blindness." Only the first part of this diagnosis was correct. A 1937 eye examination attributed his vision loss to the long-term effects of untreated neonatal conjunctivitis.

Blind Blake

By 1928 he was completely blind. He turned to whatever employment he could find as a singer and entertainer, often playing in the streets. By studying the records of country blues players like Blind Blake and live performances by Gary Davis, Allen became a formidable guitarist, playing on street corners and at house parties in Winston-Salem, North Carolina; Danville, Virginia; and then Durham, North Carolina. In Durham, playing around the tobacco warehouses, he developed a local following that included guitarists Floyd Council and Richard Trice, harmonica player Saunders Terrell (better known as Sonny Terry), and washboard player and guitarist George Washington. 

                                  

In 1935, James Baxter Long, a record store manager and talent scout in Burlington, North Carolina, secured Allen a recording session with the American Recording Company (ARC). Allen, Davis, and Washington recorded several tracks in New York City, including the traditional "Rag, Mama, Rag". To promote the records, Long credited Allen as Blind Boy Fuller and Washington as Bull City Red. Over the next five years Fuller recorded over 120 sides, released by several labels. His singing style was rough and direct, and his lyrics were explicit and uninhibited, drawing on every aspect of his experience as an underprivileged, blind black man on the streets—pawnshops, jailhouses, sickness, death—with an honesty that lacked sentimentality. Although he was not sophisticated, his artistry as a folk singer lay in the honesty and integrity of his self-expression. His songs expressed desire, love, jealousy, disappointment, menace, and humour.

In April 1936, Fuller recorded ten solo performances and also recorded with guitarist Floyd Council. In 1937, after auditioning for J. Mayo Williams, he recorded for Decca Records, but then reverted to ARC. Later that year he made his first recordings with Sonny Terry. In 1938, Fuller, who was described as having a fiery temper, was imprisoned for shooting a pistol at his wife, wounding her in the leg. His imprisonment prevented him from performing in "From Spirituals to Swing", a concert produced by John Hammond in New York City that year. Sonny Terry performed in his place; it was the beginning of Terry's long career in folk music. After Fuller was released from prison, he held his last two recording sessions in New York City in June 1940, but by then he was increasingly physically weak, and much of the material lacked the quality and energy of his earlier recordings.

 Fuller's repertoire included a number of popular double-entendre "hokum" songs, such as "I Want Some of Your Pie", "Truckin' My Blues Away" (1936) (the inspiration for Robert Crumb's comic "Keep On Truckin'"), "Let Me Squeeze Your Lemon", and "Get Your Yas Yas Out" (1938) (adapted as Get Yer Ya-Ya's Out for a Rolling Stones album title), and the autobiographical "Big House Bound", about his time in prison. Much of his material was culled from traditional folk and blues songs. He had a formidable fingerpicking guitar style. He played a steel National resonator guitar. Some criticized Fuller as derivative, but his fusion of elements of traditional and contemporary songs attracted a broad audience. He was an expressive vocalist and masterly guitarist, best remembered for his up-tempo ragtime hits, including "Step It Up and Go". He was also capable of deeper material; his versions of "Lost Lover Blues", "Rattlesnakin' Daddy", and "Mamie" are as deep as most Delta blues.

Brownie McGhee

Fuller underwent a suprapubic cystostomy in July 1940, probably due to the urethral stricture noted on his death certificate, a narrowing or blockage of the urethra that can be caused by syphilitic chancres, gonorrhoea, or chlamydia, but continued to require medical treatment. He died at his home in Durham, North Carolina, on February 13, 1941. The cause of death was pyaemia, due to an infected bladder, gastrointestinal tract, and perineum, plus kidney failure. He was so popular when he died that his protégé, Brownie McGhee, recorded "The Death of Blind Boy Fuller" for Okeh Records, and then reluctantly began a short-lived career as Blind Boy Fuller No. 2, so that Columbia Records could profit from Fuller's popularity.

Fuller's grave is Grove Hill Cemetery, on private property in Durham. According to state records, this was once an official cemetery, and Fuller's interment is recorded. Only one headstone remains, that of one Mary Caston Langey. The funeral arrangements were handled by McLaurin Funeral Home of Durham, and the burial took place on February 15, 1941. Fuller has been recognized with two plaques in Durham. The North Carolina Division of Archives and History placed a plaque a few miles north of Fuller's gravesite, along Fayetteville St. The city of Durham officially recognized Fuller on July 16, 2001, with a commemorative plaque along the American Tobacco Trail, adjacent to the property containing Fuller's unmarked grave (several hundred feet east of Fayetteville St.).

(Edited from Wikipedia)

Alex Welsh born 9 July 1929

Alex Welsh (9 July 1929 – 25 June 1982) was a Scottish jazz musician and vocalist, who played cornet and trumpet and led one of Britain's best jazz groups from the 1950s to the 1980s.

Archie Semple & Alex Welsh

Born in Edinburgh, Scotland, Welsh began his musical life in Leith on the smaller cornet, later switching to trumpet. The teenage Leith Silver Band and later gigs with Archie Semple's Capital Jazz Band represented the earliest phases of his gigging. After moving to London in 1954, he formed a band with clarinetist Archie Semple, pianist Fred Hunt, trombonist Roy Crimmins, and drummer Lennie Hastings. The band played a version of Chicago-style Dixieland jazz and was part of the traditional jazz revival in England. 

Within a year the band played several times at the Royal Festival Hall, made it's first broadcasts and recordings and established a reputation for it's dedication to the Dixieland style and the excellence of its playing. From 1955 the band made several tours overseas. During the 1960s and early 1970s, Welsh continued to tour, including many visits to the United States. He was influenced by his fellow trad jazz bandleader Chris Barber and built up and extensive musical repertoire, working from popular music as well as jazz and building up a large mainstream following for ensembles.

                                  

Welsh recorded for the British Decca label from 1955 and had four records released that year, "I'll Build a Stairway to Paradise" (Decca F10538), "Blues My Naughtie Sweetie Gives to Me" (Decca F10557) and "What Can I Say After I Say I'm Sorry" (Decca F10652) plus "Dixielanders at the RFH" an EP (extended play single) on Decca DFE 6254. Six years later in 1961 the band's single "Tansy" on Columbia Records DB 4686 peaked at No. 45 and remained on the UK singles chart for four weeks. 

In January 1963, British music magazine NME reported that the biggest trad jazz event to be staged in Britain had taken place at Alexandra Palace. The event included George Melly, Diz Disley, Acker Bilk, Chris Barber, Kenny Ball, Ken Colyer, Monty Sunshine, Bob Wallis, Bruce Turner, Mick Mulligan and Welsh. Although Welsh's ensemble was noted for its few personnel changes, by 1966 the trombonist Roy Crimmins had been replaced by Roy Williams and the clarinestist Archie Semple by John Barnes and Al Gay, who between them played seven different reed instruments. This gave the band a greater tonal variety and although it retained its early ideals, it also began to approach other forms of jazz and became highly regarded  for its versatility.

Welsh toured internationally and played at the 1967 Antibes jazz festival, the 1968 Newport Jazz Festival (at great acclaim), and 1978 Nice Jazz Festival. In the period 1970-1980 Welsh was a performer with his Alex Welsh Band at public house venues throughout the UK, having performed at the Bell Pub in Maidenhead, Berkshire, where he was a regular in the early 1970s, and the Five Ways Pub in Sherwood, Nottingham in 1981 among many others.

By the mid-'70s, Welsh's health started to fail, but the trumpeter continued reaching for the high notes as long as he could until his death on June 25,  1982 in Hillingdon hospital in London, England, at the age of 52.

(Edited from The New Grove Dictionary of Music & Wikipedia) 

Alice Gerrard born July 8, 1934

Alice Gerrard (born July 8, 1934) is an American bluegrass and old-time music performer, writer, editor and teacher. As a singer who plays guitar, fiddle and banjo, she performed and recorded solo and in ensembles, notably in a duo with Hazel Dickens.

Alice Gerrard was born in Seattle, Washington. Her parents both had backgrounds in classical music, and Alice learned to play the piano at a young age. However, while there were occasional family sings around the piano, Gerrard didn't hear much in the way of folk music until she attended Antioch College in Ohio. Gerrard made friends with folk music fans in her dorm, and through them heard Harry Smith's influential collection Anthology of American Folk Music. Gerrard became fascinated with the stark music and dark themes of Smith's Anthology, and she learned to play guitar. One of her peers was Jeremy Foster, who became her first husband in 1956.

Gerrard left Antioch without graduating and relocated to Washington, D.C., where she discovered a lively folk music community, with special enthusiasm for bluegrass and old-time music. As Gerrard became a presence on the D.C. folk music scene, she became friends with Mike Seeger of the New Lost City Ramblers (they would marry years later after the death of Gerrard's first husband, who was killed in an automobile accident while commuting to work in 1964). Seeger introduced Gerrard to Hazel Dickens, a West Virginia-born singer living in Baltimore, Maryland who had a passion for classic Appalachian folk songs. Dickens and Gerrard discovered they harmonized well together, and they started playing shows together, quickly developing a loyal following in Washington, D.C. and Baltimore. 

In 1965, Dickens and Gerrard recorded a set of old-time classics at a church in Washington, D.C., backed by a group that included David Grisman on mandolin, Lamar Grier on banjo, and Chubby Wise and Billy Baker on fiddles. The session was released by Verve Folkways under the title Who's That Knocking? Years later, artists such as Emmylou Harris and Gillian Welch would cite it as a key influence, and Dickens and Gerrard are often acknowledged as the first female-led act in bluegrass. But a follow-up LP, Won't You Come and Sing for Me, also recorded in 1965, wasn't released until Rounder Records brought it out in 1973. Rounder would release two more albums by Dickens and Gerrard, 1973's Hazel & Alice and 1976's Hazel Dickens & Alice Gerrard; the duo's four albums were collected into a CD set, 1996's Pioneering Women of Bluegrass.

                     Here's "Bowling Green" from above album.

                                   

In 1980, Gerrard recorded an album with Mike Seeger, simply titled Alice Gerrard & Mike Seeger (they had previously made a live album in 1971, and the two were reissued on one disc in 2008 as Bowling Green), but she spent most of the decade working behind the scenes. She founded and was editor-in-chief of The Old Time Herald magazine from 1987 to 2000 and  in collaboration with Les Blank and Cece Conway, she directed Sprout Wings and Fly, a documentary about Appalachian fiddler Tommy Jarrell. Gerrard would also go on to teach courses on music and folklore at the University of North Carolina and Duke University. 

It wasn't until 1994 that Gerrard made her belated debut as a solo artist, recording Pieces of My Heart for the respected bluegrass label Copper Creek Records. She teamed up with multi-instrumentalists Brad Leftwich and Tom Sauber, forming the trio Tom, Brad & Alice, and the act cut three albums together, 1998's Been There Still, 2000's Holly Ding, and 2001's We'll Die in the Pig Pen Fighting. Gerrard's second solo effort, Calling Me Home: Songs of Love and Loss, was released in 2002, and in 2005 Tom, Brad & Alice reunited for a fourth and final album, Carve That Possum.

Gerrard turned her attention to academics and live performances for several years, but returned to the recording studio to cut 2013's Bittersweet. While teaching at Duke University, Gerrard met M.C. Taylor, a student pursuing a master's degree in folklore who also happened to be a musician, writing and recording under the rubric Hiss Golden Messenger. Taylor was a fan of Gerrard's early recordings with Hazel Dickens, and offered to produce an album for her. The result was the 2014 release Follow the Music. In 2017, Gerrard and fellow old-time music advocate Kay Justice joined forces to cut the album Tear Down the Fences.

In the 2020s, she has continued to perform and record, was the subject of a documentary film by Kenny Dalsheimer, You Gave Me a Song, and has been a frequent staff member at the Augusta Heritage Center in West Virginia, the Port Townsend, Washington Festival of American Fiddle Tunes and other summer music camps and festivals across the United States. In June 2026, CBS News included her song Calling Me Home in its list of the 250 essential American songs of the past 250 years.

(Edited from AllMusic & Wikipedia) 

Mary Ford born July 7, 1924

Mary Ford (July 7, 1924 – September 30, 1977) was an American guitarist and vocalist, comprising half of the husband-and-wife musical team Les Paul and Mary Ford. Between 1950 and 1954, the couple had 16 top-ten hits, including "How High the Moon" and "Vaya con Dios", which were number one hits on the Billboard charts. In 1951 alone they sold six million records. With Paul, Ford became one of the early practitioners of multi-tracking.

Mary Ford was born Iris Colleen Summers in El Monte, California. Her father was a minister, and her mother was Dorothy May White Summers. Mary came from a very musical family. All of Mary's brothers and sisters were musicians. Her parents travelled across the United States. When she was in junior high school, Colleen Summers performed in churches. She sang with a local girl named Mildred "Milly" Watson and later made gospel recordings with Milly's older brother, Marvin. Colleen even wrote some of the songs for these recordings. In 1939, Colleen and Milly won a talent contest in Pasadena. Famous people like a young Judy Garland were judges. They loved music so much that they left school to focus on their musical dreams. They briefly worked as ushers in a movie theater.

By 1943, Colleen Summers joined Vivian Earles and June Widener. They formed a western trio called the Sunshine Girls. They sang backup for Jimmy Wakely and his trio. The Sunshine Girls were regular performers on The Hollywood Barn Dance. This was a popular weekly radio show on CBS Radio. It was broadcast on Saturday nights. In 1944, the Sunshine Girls appeared in a film called I'm from Arkansas. They sang "You Are My Sunshine" in the movie. In 1945, Eddie Dean introduced Colleen Summers to guitarist Les Paul. At this time, she was a popular western singer on radio station KXLA. She and Les Paul began performing together in 1946. Colleen left the Sunshine Girls to work with Paul. Her older sister, Eva, later sang with the other members of the trio.

Colleen Summers also appeared on Gene Autry's Melody Ranch radio show. She was a cast member and featured singer from July to November 1946. From 1946 to 1948, Summers was a regular actor on The All-Star Western Theatre. This was a radio drama program. It was through her career in early country music and connections to singers Gene Autry and Eddie Dean that she joined her future husband’s group, the Les Paul Trio. By 1947, Colleen Summers and Les Paul became a couple. In January 1948, they were in a car accident in Oklahoma. Their car went off the road and fell into a frozen creek. Les Paul was badly hurt. His right elbow was shattered, and it took him 18 months to play guitar again. Colleen moved in with Paul to help him recover from his injuries.

                                   

By 1949, Summers was adopted the stage name Mary Ford after Paul turned to a phone directory to find a short, memorable name to differentiate his partner’s new pop-oriented music from her country past. Under this moniker, she went from a background vocalist to the forefront, singing and playing alongside one of the seminal names in guitar history. That same year, Les Paul and Mary Ford got married. They had a small ceremony in Milwaukee, Wisconsin, on December 29. They later had three children: a baby who passed away shortly after birth in 1954, a fostered daughter named Mary Colleen Paul, and a son named Robert Ralph "Bobby" Paul. After their wedding, Paul and Ford started making radio shows for NBC. One show was called Les Paul and Mary Ford at Home. It was a 15-minute program broadcast every Friday night.

Mary Ford and Les Paul became huge music stars in the early 1950s. They released 28 hit songs for Capitol Records between 1950 and 1957. Some of their famous songs included "Tiger Rag", "Vaya con Dios", "Mockin' Bird Hill", and "How High the Moon". "Vaya con Dios" was number one for 11 weeks, and "How High the Moon" was number one for nine weeks. These songs featured Mary Ford singing harmonies with herself. This gave their music a unique and new sound. Paul and Ford recorded all their music at home or while traveling. They then sent the finished recordings to Capitol Records. Les Paul was very involved in deciding which songs would become hits. They also used a recording technique called close miking. This means the microphone was very close to the singer's mouth. This made the sound more personal and clear. It was a different style from older singing methods.

After touring and recording a lot, the couple moved to New York City. They wanted to move from radio to television. They recorded their famous song "How High The Moon" there. This song had many layers of guitar and Mary's voice, using 12 overdubs. Capitol Records was not sure about releasing it at first. But after more hits like "Tennessee Waltz" and "Mockin' Bird Hill", "How High The Moon" was released in March 1951. Within a month, "How High The Moon" and "Mockin' Bird Hill" were the number one and number two songs on Your Hit Parade. In 1951, Ford and Paul earned a lot of money. They had more top ten hits that year than many other famous artists combined. They also sold over six million records since January 1951. Paul bought a Cadillac for their tours to carry all their equipment. They also bought a home in Mahwah, New Jersey. It had a recording studio and a special echo chamber. In September 1952, Ford and Paul travelled to London. They performed at the Palladium Theatre. They even performed for Queen Elizabeth II and the royal family. 

In 1953, the couple recorded "Vaya con Dios". This became the biggest-selling song of their career. It was number one on the Billboard charts for nine weeks. After the records success, they hosted The Les Paul and Mary Ford Show. This was their own daily television program. It was five minutes long and ran from 1953 to 1960 on NBC television in the mid-1950s, rock and roll music became very popular. This caused the popularity of many performers, including Paul and Ford, to decline. In 1955, they performed a concert at Carnegie Hall. In 1956, they performed at the Eisenhower White House. As rock and roll grew, Ford and Paul's songs appeared less on the charts in the late 1950s. In July 1958, Paul and Ford left Capitol Records and signed with Columbia. However, this move did not bring back their earlier success. They appeared on NBC's Five Star Jubilee in 1961. In November 1963, Mary Ford released her first solo song. It was an English version of "Dominique". By December 1964 Les and Mary were divorced. Around 1965, Mary Ford married Donald Hatfield. She had known him since high school. They settled in Monrovia, California. Mary and her sisters sang on an album called The New Sound of American Folk. This album was recorded at her brother Bobby Summers' studio.

Ford succumbed to complications of alcohol abuse in 1977. After eight weeks in a diabetic coma, she died in Arcadia, California, on September 30, 1977, at the age of 53. She is buried at Forest Lawn-Covina Hills in Covina, California. Engraved on her tombstone, are the words "Vaya con Dios" ("Go with God"), the name of one of her most popular songs.

Mary Ford and Les Paul received a star on the Hollywood Walk of Fame. It is located at 1541 Vine Street in Hollywood. In 1978, they were honoured by being inducted into the Grammy Hall of Fame.

(Edited from Wikipedia)