Idrees Sulieman (August 7, 1923 – July 23, 2002), born Leonard Graham, was a bop and hard-bop trumpeter who achieved more success in Europe than the United States but left a worldwide legacy as a sideman on some of the most important recordings in jazz and as a composer of unusual, beautiful pieces.
Brass section Carolina Cotton Pickers
Born Leonard Graham in St. Petersburg, FL, in 1923; he changed his name to Idrees Sulieman when he converted to Islam. Sulieman originally wanted to be a sax player, but switched to the trumpet because his father could not afford a saxophone. His passion for music brought him to the prestigious Boston Conservatory in the mid-1930s. Shortly after, he began his professional career playing with the Carolina Cotton Pickers in 1939 and the wartime Earl Hines Orchestra (1943-1944). Bird and Diz were both in the Hines Band then and it had a profound effect on Sulieman. Diz’s play inspired Sulieman to perfect his own style.
Sulieman & Monk
The 1940s brought Idrees into the circles of some of the most important figures in jazz—he worked closely with Mary Lou Williams and Thelonious Monk. In fact, on October 15, 1947 Sulieman’s played on Monk’s first recording for Blue Note Records. He then became a member of Cab Calloway's band in 1948. By the mid’50’s, he had found his niche as a top flight bebop sideman. He appeared on Max Roach’s first studio album in 1953 and alongside Gigi Gryce on Mal-1, Mal Waldron’s first disc.
In 1956 he played in Fredrich Gulda's ensemble of American musicians. Other notable turns as a sideman or co-leader include The Hawk Flies High (1957) a Coleman Hawkins session, Interplay for 2 Trumpets and 2 Tenors, along with John Coltrane, Donald Byrd and Bobby Jaspar; Coolin’ with vibraphonist Teddy Charles and Waldron; Three Trumpets with Byrd and Art Farmer and the aforementioned The Cats with Coltrane. He gigged with Randy Weston (1958–1959), in addition to appearing with Count Basie and Lionel Hampton.
He toured Europe in the late 50's with pianist Oscar Dennard, and stayed, settling in Stockholm at first, where he became fairly proficient playing the alto saxophone with Eric Dolphy, Bud Powell and Don Byas. He also returned to big band work, with a decade’s worth of fine recordings. the Danish Radio Orchestra, after moving to Copenhagen. A soloist with the Kenny Clarke/Francy Boland Big Band from the mid-1960s through 1973, Sulieman frequently worked with the Danish Radio Orchestra and the Danish Radio Big Band under Thad Jones. In Europe, he had steady work and a significant following.
Although Sulieman was on the scene for parts of six decades, his discography as a leader is surprisingly thin. His album for Swedish Columbia (1964) and three albums for Steeplechase(1976 - 1985) are all available. The best of these is Now Is The Time, from 1976, with Cedar Walton, Sam Jones and Higgins. In 1985, he was among the performers on Miles Davis's album Aura, which was not released until 1989. Sulieman's career slowed down considerably in the 1990s and he moved back to St. Petersburg.
Though he performed sparingly during his later years, Sulieman remained a prolific composer. His estate includes a horde of compositions that were never recorded. In semi-retirement, he would spend his days practicing and writing new compositions, often calling Don Sickler in New York to play them for him over the phone. Sickler’s publishing company, Second Floor Music, published the tunes but much of it is still unperformed. Brian Lynch has begun to rectify that, by recording four Sulieman works on his Unsung Heroes project.
Sulieman died of bladder cancer at St. Anthony’s Hospital in his native St. Petersburg, Florida, on July 23, 2002 at the age of 78. He left an impressive and eclectic body of work that should be heard; though it takes a bit of cross referencing to find.
(Edited from Curtjazz.com, Jazz Lead Sheets & Wikipedia)
Robert Charles Durman Mitchum (August 6, 1917 – July 1, 1997) was an American actor and singer. He is known for his antihero roles and film noir appearances.
Robert Mitchum was an underrated American leading man of enormous ability, who sublimated his talents beneath an air of disinterest. He was born in Bridgeport, Connecticut, to Ann Harriet (Gunderson), a Norwegian immigrant, and James Thomas Mitchum, a shipyard/railroad worker. His father died in a train accident when he was two, and Robert and his siblings (including brother John Mitchum, later also an actor) were raised by his mother and stepfather (a British army major) in Connecticut, New York, and Delaware.
An early contempt for authority led to discipline problems, and Mitchum spent good portions of his teen years adventuring on the open road. He later claimed that on one of these trips, at the age of 14, he was charged with vagrancy and sentenced to a Georgia chain gang, from which he escaped. He then spent the rest of the decade traveling across the country and taking various jobs. He participated in 27 professional boxing matches but retired from the ring after a fight that broke his nose and left a scar on his left eye.
Mitchum married Dorothy on March 16, 1940, in the kitchen of a Methodist parson in Dover, Delaware. He brought her to Los Angeles to settle down. He worked at Lockheed Aircraft, where job stress caused him to suffer temporary blindness. About this time Mitchum discovered acting in a Long Beach, California, amateur theatre company. Working a wide variety of jobs (including ghost-writer for astrologist Carroll Righter),it wasn't long before he found work as a film actor in June 1942 and began to obtain small roles in films, appearing in dozens within a very brief time.
In 1945, he was cast as Lt. Walker in Story of G.I. Joe (1945) and received an Oscar nomination as Best Supporting Actor. His star ascended rapidly, and he became an icon of 1940s film noir, though equally adept at westerns and romantic dramas. His apparently lazy style and seen-it-all demeanor proved highly attractive to men and women, and by the 1950s, he was a true superstar despite a brief prison term for marijuana usage in 1949, which seemed to enhance rather than diminish his "bad boy" appeal. Though seemingly dismissive of "art," he worked in tremendously artistically thoughtful projects such as Charles Laughton's The Night of the Hunter (1955) and even co-wrote and composed an oratorio produced at the Hollywood Bowl by Orson Welles.
One of the lesser-known aspects of Mitchum's career was his foray into music as a singer. Critic Greg Adams writes, "Unlike most celebrity vocalists, Robert Mitchum actually had musical talent." Frank Sinatra said of Mitchum, "For anyone who's not a professional musician, he knows more about music, from Bach to Brubeck, than any man I've ever known."Mitchum's voice was often used instead of that of a professional singer when his character sang in his films. Notable productions featuring Mitchum's own singing voice included Pursued, Rachel and the Stranger, One Minute to Zero, The Night of the Hunter, The Sundowners, and Maria's Lovers. He sang the title song to Young Billy Young and River of No Return.
Monroe & Mitchum
Mitchum recorded two albums. After hearing traditional calypso music and meeting artists such as Mighty Sparrow and Lord Melody while filming Fire Down Below and Heaven Knows, Mr. Allison in the Caribbean islands of Tobago, he recorded Calypso – is like so. On the album, released through Capitol Records in March 1957, he emulated the calypso sound and style, even adopting the style's unique pronunciations and slang. A year later, he recorded "The Ballad of Thunder Road", a song he had written for the film Thunder Road. The country-style song became a modest hit for Mitchum, reaching number 62 on the Billboard Pop Singles chart in September 1958. The song was included as a bonus track on a successful reissue of Calypso – is like so.
Although Mitchum continued to use his singing voice in his film work, he waited until 1967 to record his follow-up record, That Man, Robert Mitchum, Sings. The album, released by Nashville-based Monument Records, took him further into country music and featured songs similar to "The Ballad of Thunder Road". "Little Old Wine Drinker Me", the first single, was a top-10 hit on country radio, reaching number nine there, and crossed over into mainstream radio, where it peaked at number 96. Its follow-up, "You Deserve Each Other", also charted on the Billboard Country Singles chart. Mitchum was nominated for an Academy of Country Music Award for Most Promising Male Vocalist in 1968.
A master of accents and seemingly unconcerned about his star image, he played in both forgettable and unforgettable films with unswerving nonchalance, leading many to overlook the prodigious talent he can bring to a project that he finds compelling. He moved into television in the 1980s as his film opportunities diminished, winning new fans with The Winds of War (1983) and War and Remembrance (1988). It was during this time that he entered the Betty Ford Centre in Palm Springs, California, for treatment of alcoholism. In 1991, Mitchum was set to receive a lifetime achievement award from the National Board of Review of Motion Pictures. He rejected it, however, after learning that he would have to pay for his own transport and accommodations and accept it in person. That same year, he received the Telegatto award and, in 1992 the Cecil B. DeMille Award from the Golden Globe Awards. His last film was James Dean: Live Fast, Die Young (1997) with Casper Van Dien as James Dean.
A lifelong heavy smoker, Mitchum died in his sleep at 5 a.m. on July 1, 1997, (age 79 years) at his home in Santa Barbara, California, from complications of lung cancer and emphysema. His wife of 57 years, Dorothy, was by his side. His sons James Mitchum and Christopher Mitchum are actors, as is his grandson Bentley Mitchum.
Damita Jo DeBlanc (August 5, 1930 – December 25, 1998), known professionally as Damita Jo, was an American singer and comedian who remains best known for the million-selling 1960 smash "I'll Save the Last Dance for You," her ingenious riposte to the Drifters' "Save the Last Dance for Me."
Born in Austin, Texas, she was the daughter of Herbert and Latrelle (Plummer) DeBlanc, and she showed singing ability at a very early age. During World War II the family relocated to Santa Barbara, California, where her father was stationed in the United States Navy. She attended high school there but periodically returned to Austin to visit relatives. DeBlanc attended Samuel Huston College in Austin and the University of California at Santa Barbara. In 1949 with the backing of pioneering Los Angeles disc jockey Joe Adams she landed a two-month residency at the local Club Oasis in Los Angeles. Signed to Discovery Records, DeBlanc, known simply as Damito Jo, released her debut single, “Until the Real Thing Comes Along.”
In 1951 Damita Jo joined the rhythm-and-blues group Steve Gibson & the 5 Red Caps, making her recorded debut on their single "I'm to Blame." Damita Jo was not only the featured vocalist on the Red Caps' 1952 hit "I Went to Your Wedding," but two years later became Gibson's wife. As the group's fortunes floundered, so did their marriage, they divorced in 1958, but she remained with the group until 1960.
Signing to Mercury Records by producer Shelby Singleton, Damita Jo supported her Steve Allen-penned debut single "It Takes a Little Loneliness" with an appearance on Allen's late-night television showcase. Despite the publicity the record was not a hit, but she scored a Top 20 R&B smash with the sumptuous follow-up "I'll Save the Last Dance for You," written by Doc Pomus and Mort Shuman. With 1961's "I'll Be There," an answer song to Ben E. King's "Stand by Me," Damita Jo reached number 12 on the Billboard pop charts. That same year she married Biddy Wood, her manager, and they had a son.
In 1962 she recorded "Dance with a Dolly (With a Hole in her Stocking)", previously made famous by the Andrews Sisters and Bill Haley, for Mercury Records. Subsequent singles like "I Had Someone Else Before I Had You" and "I'll Get Along Somehow" stalled, and in the wake of the 1962 live LP Damita Jo at the Diplomat, a downturn in Damita Jo’s popularity led to Mercury’s termination of her contract.
She then signed with Epic and scored a minor chart entry with 1965's "If You Go Away." On May 9, 1967, she was honoured by the mayor and city council in Austin, Texas, on "Damita Jo Day" and by having a street named in her honour. Damita Jo gave birth to a daughter in 1970, but the girl died of sickle cell anemia three years later. With her recording career in decline, she turned to performing on the supper club circuit in the 1970s. She also toured with comedian Redd Foxx and appeared on his television show. In 1977 she toured with standup comedian Redd Foxx, and also played Atlantic City and backed up such greats as Ray Charles, Count Basie, and Lionel Hampton.
During her career she recorded on many labels, including Discovery, RCA Victor, Mercury, Epic, Melic, and her own label, Black Masters. In 1983 she also composed and recorded a song entitled "The Color of Your Skin Makes No Difference" which has been used as a part of a program for students in the public school system in Baltimore, Maryland. Following a 1984 Atlantic City residency in support of Joey Bishop, Damita Jo announced her retreat from secular R&B, performing contemporary gospel for the remainder of her career.
By the mid-1980s Damita Jo focused on performing strictly gospel music. After a long battle with respiratory illness, Damita Jo died on Christmas Day 1998 in Baltimore, Maryland, at the age of 68.
Singer Janet Jackson, whose middle name is Damita Jo, named her album Damita (2004) after DeBlanc. In 2009 Damita Jo DeBlanc was inducted into the Austin Music Memorial.
(Edited from Texas State Historical Association, Wikipedia & AllMusic)
Mel Henke (August 4, 1915 – March 31, 1979) was an American jazz pianist, Chicago bandleader, composer, arranger and jingle writer.
Henke was born in Chicago. Illinois and studied at the Chicago College of Music. He began to work professionally in music playing piano in the house band at the Chez Paris nightclub in Chicago, then working in small combos in clubs around the city in the late 1930s with Mitch Todd, Frank Snyder, Stephen Leonard and others. He recorded his first solo record "Henke Stomp / Lady Be Good" for the Collectors Item label in 1939, then recorded a few sides with Bill Davison during February 1940. In 1943 He joined Horace Heidt's band, replacing Frankie Carle, who left to form his own group. He worked in radio and television after World War II, and performed on camera on George Gobel's and Gary Moore's variety shows. He also worked behind leaders such as saxophonist Bud Freeman.
By the early '40s he had settled in Los Angeles, and for ten years or so continued to work as a performer. Henke recorded many jazz standards with his own arrangements, including a 1946 piano solo on Bix Beiderbecke's 1928 "In a Mist". In 1947 he recorded a few sides with Vido Musso & His Orchestra. Henke usually led a trio with Bill Newman on guitar and Bob Reed on bass, supplemented by Shelly Manne and Sammy Weiss on drums. This outfit landed a deal to make a pair of albums on the Contemporary label, which is where jazz buffs inevitably come across him.
Henke's unusual career that included recording downright weird tunes such as "Shock Treatment," "Cocky Coo-Coo Clock," and "Frenzied Flight," as well as creating what might be one of the masterpieces in the genre of lounge music, although fans of the type of challenging jazz often presented on this label may find the concoctions of Henke a bit bubbly; his followers seem to drift in more from the aforementioned loungey or space age waiting rooms. just about the time he called his performing career quits.
In 1955, he joined the television department at Disney, where he composed most of their commercials and for a few television series, most notably , Disneyland, the first incarnation of Walt Disney's long-running series. He also became a partner at TV Spots, Inc., a production house that specialized in commercials. Unlike many musicians who dismissed commercial work as hack work, Henke took to the format immediately, and he was soon experimenting, adding sound effects and snatches of dialogue along with musical passages. He and graphic artist Eyvind Earle collaborated on numerous trailers for Hollywood movies, including "West Side Story."
Inevitably, he created a series of albums in the early '60s combining these techniques with full-length musical performances and instrumental skullduggery. "La Dolce Henke", worth hunting down for its title alone, is considered his masterpiece.
Henke shows up in the rhythm section on some Louis Armstrong records, and meanwhile over in Nashville, he once successfully placed a song with Conway Twitty. Henke was trained to please in writing ad copy, an influence that has been considered both a pro and con factor in his recorded works. Perhaps Henke's greatest influence as a musician was in the advertising field itself, as he was innovative in producing attention-grabbing commercials of the '60s. His best-known jingles from over 2000 that he reputedly composed, included the Ajax cleanser "stronger than dirt" jingle, for Colgate-Palmolive, and "See the USA in Your Chevrolet" jingle for Chevrolet.
By the way, that's not Henke pictured on the top album cover - it's actually San Francisco radio DJ Tom Donahue. According to the liner notes by Brother Cleve of Combustible Edison, it was a "bizarre marketing move...undoubtedly hoping for airplay in return."
Mel Henke died in Canoga Park, Los Angeles, California, on March 31, 1979 (aged 63)
Elizabeth Eaton Converse (born August 3, 1924 – disappeared August 10, 1974) was an American singer-songwriter, best known under her professional name Connie Converse. A mysterious and deeply fascinating figure, she pursued her music in obscurity before vanishing completely from the face of the earth.
Converse was born Elizabeth Eaton Converse in Laconia, New Hampshire in 1924. She was raised in Concord, New Hampshire, as the middle child in a strict Baptist family; her father was a minister and her mother was "musical", according to music historian David Garland. Converse attended Concord High School, where she was valedictorian and won eight academic awards, including an academic scholarship to Mount Holyoke College in Massachusetts. Though Connie had not shown much interest in instruments since abandoning her violin lessons in middle school, she began to teach herself guitar.
After two years' study, she left Mount Holyoke and moved to New York City, where she worked for the Academy Photo Offset printing house in New York's Flatiron District. She first lived in Greenwich Village, then in Hell's Kitchen and Harlem. She started calling herself Connie, a nickname she had acquired in New York. She began writing and recording her own songs, often plaintively beautiful storytelling folk songs recorded in her small apartment or by friends. She began smoking and drinking during this time, behaviours contrary to her religious upbringing. Possibly as a result, her parents rejected her music career.
In 1954, Converse was encouraged by a friend to perform at a music salon hosted by the graphic artist and audio enthusiast Gene Deitch, who recorded the performance. Converse's only known public performance was a brief television appearance in 1954 on The Morning Show on CBS with Walter Cronkite, which Deitch had helped to arrange (unfortunately a recording of that appearance no longer exists). In 1956, she recorded an album for her brother Philip, Musicks (Volumes I and II). By 1961, Converse had grown frustrated trying to sell her music in New York. That year, she moved to Ann Arbor, Michigan, where her brother was a professor of political science at the University of Michigan. Converse all but abandoned her musical interests, instead she worked in a secretarial job, and then as a writer for and managing editor of the Journal of Conflict Resolution in 1963. She played music for friends at parties, but not much more besides that.
Around 1968–69, whist at the Institute of Pacific Affairs, Converse wrote a memo as a white member of People Against Racism, but lost her job when the institute landed in the cross hairs of the anti-Communist House Un-American Activities Committee. Her family noted that Connie relied more heavily on smoking and drinking towards the end of her time living in Michigan. By 1973, Converse was burnt out and depressed. The offices of the Journal of Conflict Resolution, which meant so much to her, had moved to Yale at the end of 1972 after being "auctioned off" without her knowledge. This affected her deeply and her life seemed to hold no purpose or interest for her. After she suffered a nervous breakdown her colleagues and friends pooled their money to give her a six-month trip to England in hopes of improving her mood, to no avail. Her mother requested that she join her on a trip to Alaska, and Converse grudgingly agreed.
Her displeasure with the trip appeared to have contributed to her decision to disappear. Around that time, Converse was told by doctors that she needed a hysterectomy, and the information appeared to have devastated her according to her brother. In August 1974, days after her 50th birthday, Converse wrote a series of letters to family and friends suggesting her intention to make a new life in New York City. Converse was expected to join an annual family trip to a lake, but by the time the letters were delivered, she had packed her belongings in her Volkswagen Beetle and driven away, never to be heard from again.
The events of her life following her disappearance remain unknown. Several years after she left, someone told her brother that they had seen a phone book listing for "Elizabeth Converse" in either Kansas or Oklahoma, but he never pursued the lead. About ten years after she disappeared, the family hired a private investigator in hopes of finding her. The investigator told them that even if he did find her, it was her right to disappear and he could not bring her back. After that, her family respected her decision to leave, and ceased looking for her.
In January 2004, her music was offered a public resurgence when engineer Gene Deitch played a then 50-year-old recording of her song "One by One" when he guested on New York music historian David Garland's radio show Spinning on Air. The song caught the ears of Dan Dzula and David Herman, who were moved to meet with Deitch and go through his archive to assemble a collection of her never-released songs. This collection materialized in 2009 as How Sad, How Lovely, a collection of 17 songs taken from various recordings that friends, family, and other Converse associates had preserved over the years. Her music finally reaching a broader audience, her uniquely intelligent maverick songs began to have an influence on a newer generation of folk and indie artists.
Johnny Kemp (August 2, 1959 – April 16, 2015) was a Bahamian singer, songwriter, and record producer. He began his career as a songwriter in late 1979 and is perhaps best known for his solo work, including his single "Just Got Paid" (1988), which was nominated for a Grammy Award for Best R&B Song in 1989. His distinctive voice and rhythmic style helped him stand out in a crowded field of R and B performers during the 1980s, a decade known for its fusion of funk, soul, and emerging electronic production styles.
Kinky Foxx
Jonathan Kemp was born in Nassau, Bahamas. He began singing in nightclubs in the Bahamas at age 13. He moved to Harlem, New York with the band Kinky Foxx from 1979-1981. After going solo he developed a forte in writing songs for other artists and performed backup vocals for the B. B. & Q. Band on their 1982 album All Night Long (on which he co-wrote several tracks) and for Change on their 1982 album Sharing Your Love (on which he co-wrote "Take You To Heaven"). He also appeared on the obscure Network LP I Need You in 1984, where he had lead vocals on the song "Cover Girl", later re-recorded for his self-titled debut solo album.
Columbia Records gave him a record deal in 1985 and, through them, he released his first album, Johnny Kemp, in 1986. The album charted in the U.S. on Billboard's Top Black Albums chart, reaching No. 36 on June 28 of that year. It produced hit singles like “Just Another Lover,” “Can’t Get Enough,” and “Cover Girl.” Greater success came the following year with the release of his Secrets of Flying (1987) album, which contained a pair of Top 5 hits on Billboard′s Hot Black Singles chart, "Dancin' with Myself" and "Just Got Paid", the latter hitting No. 1. "Just Got Paid" hit No. 10 on the Billboard Hot 100 in the summer of 1988, and sold over a million singles in the United States.
It topped the Hot Dance Music/Club Play and provided his only UK Singles Chart entry, peaking at No. 68 in August 1988. Columbia initially offered the instrumental base for the song to Keith Sweat, who passed on it. Kemp listened to the track, wrote lyrics for it, and produced the hit track. His only other Hot 100 entry was "Birthday Suit", a tune from the soundtrack to the movie, Sing (1989), which climbed to No. 36 in 1989.
Following the release of his second album, Kemp’s visibility in the music industry waned. In the 90s Johnny Kemp and Sherry Goffin Kondor, the daughter of Carole King were the lead singers for the popular children's cover band Sugar Beats. The Sugar Beats featured The Broadway Kids members and Les Miserables (musical) stars Crysta Macalush Winton and Erin Rakow. Former Dream Street member and Summerland (TV series) star Jesse McCartney was a member of the Sugar Beats. The Reading Rainbow series on PBS featured its theme song sung by Kemp for a few years. After releasing "80s Greaties" the Sugar Beats broke up in 2009.
Sadly, Kemp died in a tragic accident in April of 2015, with his body being found off the coast of Montego Bay. He had been a passenger on a cruise ship that docked there, and he was scheduled to perform on the Tom Joyner Foundation Fantastic Voyage Cruise. According to the St. James Police, it’s believed Kemp lost his balance while walking on some rocks, fell, hit his head, and ultimately drowned. He left behind a wife, Deirdre Fisher-Kemp, and their two sons, one of whom, Jared Kemp, is an actor. Ultimately, Johnny Kemp’s passing marked the end of a life, but not the end of his musical impact. Through Just Got Paid, his voice continues to echo across generations, ensuring that his contribution to R and B and pop music history remains recognized and appreciated.
Bessie Tucker (c. 1906 – January 6, 1933) was an American classic female blues, country blues, and Texas blues singer and songwriter. She is known to have recorded 24 tracks, seven of which were alternate takes. Her songs include "Penitentiary" and "Fryin' Pan Skillet Blues".
Little is known about the life of Bessie Tucker beyond the few facts related to the music industry. Though she was slight in stature, her recordings reveal a powerfully dark voice. Tucker’s vocal style is best described as a folk variant on the field holler vocal music sung by African American slaves working in the fields and later by African American prisoners sentenced to forced labour. The field holler style is related to the call and response work songs prevalent among cotton and cornfield workers and on sugar and rice plantations. These vocalizations, from which early blues music was derived, served as an emotional outlet and expressed anguish and pent-up feelings. They also served a social purpose as well as represented a source of motivation in repetitive work.
In August 1928, she recorded a number of songs, most of which she wrote, for the Victor label in Memphis, Tennessee. She was accompanied on piano by the Dallas-born K. D. Johnson. This recording session yielded her best-known song, "Penitentiary". The subject of the song was reputedly not unknown to Tucker. A second session in Dallas followed in October 1929, at which she was again accompanied by Johnson and by the guitarist Jesse Thomas. Tucker’s blues are mesmerising – grainy, tough-minded songs of deceit, desertion and violence. In Penitentiary Blues she contemplates killing an uncaring man, while in Got Cut All To Pieces she threatens the woman who has stolen her lover. Fryin’ Pan Skillet Blues begins more cheerfully, with a cry of ‘Bring me some black-eyed peas!’, but she is in the kitchen to entice a man to sample her cooking. And Fort Worth And Denver Blues is a Texas train blues underscored by a piano part full of lonesomeness and impermanence.
After these recordings Tucker disappeared from performing, apparently for good; no data exists on the later events of her life except that the 1930 census recorded Tucker as living in her father’s household in Dallas, and her occupation was listed as “sales lady” for the Victrola industry. Only one photograph of Tucker has been identified. According to her death certificate, she died of pulmonary tuberculosis at Woodlawn Hospital in Dallas on January 6, 1933. The document stated place of burial as Woodland Cemetery but did not specify whether the graveyard was located in Dallas County. Some researchers have surmised that her burial site is in Woodland Cemetery in Red River County, Texas.
(Edited from Texas State Historical Association, Loudersound.com & Wikipedia)
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