The Blue Diamonds were an Indonesian and Dutch 1960s rock
and roll duo who sang in English, German, French and Spanish and sold 14
million records throughout their career. They were best known for their
million-selling chart-topping single, "Ramona".
Indo (Dutch-Indonesian) brothers Ruud de Wolff (12 May 1941
– 18 December 2000) and Riem de Wolff (15 April 1943 – 12 September 2017)
founded the group shortly after immigrating to Driebergen-Rijsenburg in the
Netherlands in 1949. They were born in Batavia (now Jakarta), Indonesia.
Called the "Dutch– Indonesian Everly Brothers",
the Blue Diamonds covered many Everly Brothers songs, but became famous in 1960
with their version of "Ramona", a song originally written for the
1928 film, Ramona. The song was written for promotional appearances with
Dolores del Río (star of the film) but not featured in the film itself. The
Blue Diamonds up-tempo version of it reached the American Billboard Hot 100 at
number 72 in 1960. It sold over 250,000 copies in the Netherlands (the first
record to ever do so) and over one million copies in Germany by 1961.
Ruud De Wolff
Although their last hit was in 1971, they continued to
perform together up until Ruud de Wolff died from bladder cancer at the end of
the year 2000. After the death of his brother in 2000, De Wolff continued to
make music. He also performed with his son under the name The New Diamonds. Although
Riem De Wolff was diagnosed with cancer in his lungs and liver in August, he continued
to perform and release albums until his death at a hospital in Blaricum,
Holland on September 12, 2017. He was 74.
Marino Marini (11 May 1924 – 20 March 1997) was an Italian
musician who achieved international success in the 1950s and 1960s.
He was born into a family of musicians in Seggiano in the
province of Grosseto to parents originally from Montecelio, Lazio. After
briefly studying electronics, he studied piano, violin and composition at the
Conservatorio Rossini at Bologna, teaching music on his graduation. In 1947,
after military service, he was appointed artistic director of the Metropolitan
music hall in Naples, where he developed a liking for Neapolitan music. In 1948
he visited the United States for six months, meeting Dizzy Gillespie, Stan
Kenton and Charlie Ventura. American jazz was also a formative influence. On
his return, Marini wrote music for films and revues and played in cabaret in
Rome and Naples.
In 1954, he placed a newspaper advert seeking “young
musicians without experience, singing in tune. If not cheerful, don't
apply." From the many applicants he chose Gaetano “Totò” Savio (guitar),
Sergio Peppino (drums) and Ruggero Cori (bass and vocal) for a quartet, Marini
playing piano and occasionally singing solo. This quartet played together from
1954 to 1960, a period regarded as the Marino Marini Quartet's most prolific
and successful. They made their first
recording on the Durium label in 1955. The following year they appeared on
Italian TV.
Their recordings of "Guaglione", "Don Ciccio
o' piscatore", "Rico Vacilon", "La Pansè", and
"Maruzzella" were very popular, "Guaglione" becoming the
first European single to sell more than five million copies. (It was used on
the soundtrack of the 1999 film The Talented Mr. Ripley.) Following this
successful debut, Marini commenced touring with his quartet, in the following
years performing in hundreds of concerts in western and eastern Europe, the US,
the Middle East and Japan.
Marini's recordings in the late 1950s and early 1960s
included covers of Domenico Modugno's "Volare" and "Ciao ciao
bambina" and Rocco Granata's "Marina". In 1960, he won the first
and the second prizes in the Naples song festival with "Serenata a
Margellina" and "Uè uè uè che femmena". In 1958 he performed
Mikis Theodorakis's "The Honeymoon Song" in Michael Powell's film
Honeymoon. In 1960 the first quartet
disbanded and in 1961 new quartet was formed with Marini, Bruno Guarnera
(guitar), Pepito di Pace (drums) and Vittorio Benvenuti (bass, vocal, dance).
The quartet was re-formed again in 1963 with Francesco Ventura (guitar), Sergio
(drums), and Franco Cesarico (bass guitar and vocal).
Marino Marini's music was rooted in the tradition of Italian
song, and in particular Neapolitan song, as he sometimes performed in the
Neapolitan language (e.g. "Maruzzella"). Many of his numbers are in
4/4 or 4/8 time, but he sometimes used the 6/8 tarantella rhythm with an
off-beat tempo accentuated by the piano on the second and fourth beat. He
performed in several styles and genres, reinterpreting American standards or
current pop songs (e.g. "Just Young") and using dance rhythms such as
cha-cha-cha, the twist, the letkiss and the samba. He often combined genres
(e.g. Neapolitan song and samba in "Ciccio 'o piscatore").
During several trips to America, Marino Marini had perfected
his own style by watching the 'Greats' like Dizzy Gillespie, Charlie Ventura
and Stan Kenton, and discovered his own recipe to success — an authentic U.S.
swing adapted to remakes and original Neapolitan songs. He made innovative use
of the echo chamber (using one made to his own design) and is said to have been
the first European performer to use sound mixing on stage, anticipating the
techniques used by rock musicians in the 1960s.
Among the performers he influenced were the French singer
Dalida and the French-Italian Caterina Valente. He retired from performing in
1966 but continued to compose. He died from kidney failure on March 20, 1997 in
Milan, Lombardy, Italy.
"Mother" Maybelle Carter (May 10, 1909 – October
23, 1978) was an American country musician and "among the first" to use
the Carter scratch, with which she "helped to turn the guitar into a lead
instrument." It was named after her. She was a member of the original
Carter Family act from the late 1920s until the early 1940s and a member of the
Carter Sisters and Mother Maybelle group.
She was born Maybelle Addington in Nickelsville, Virginia,
the daughter of Margaret Elizabeth (née Kilgore; 1879–1960) and Hugh Jackson
Addington (1877–1929). By the time she was 12 years old, Maybelle was well
versed in the traditional hill-country songs of the region and had become a
skilled and original guitarist and autoharpist. When she was 17, she married Ezra
.J. Carter, and they moved to Poor Valley, Virginia.
To great local acclaim, Maybelle Carter began performing
with the Carter Family at community gatherings and church events. The Carter
Family were formed in 1927 by her brother-in-law, A. P. Carter, who was married
to her cousin Sara, also a part of the trio. The Carter Family was one of the
first commercial rural country music groups. Maybelle helped create the group's
unique sound with her innovative style of guitar playing, using her thumb to
play the melody on the bass strings and her index finger to fill out the
rhythm. Her technique, sometimes known as the Carter Scratch, influenced the
guitar's shift from rhythm to lead instrument and her innovative playing style
would eventually be imitated by countless country and folk guitarists.
Carter Family 1939
In 1927 the group won a contract with RCA Victor Records.
Recordings and radio broadcasts brought the Original Carter Family (as they are
now known) fame throughout the country. The group stopped performing in 1943,
but Maybelle Carter formed a new group with her daughters. From 1943 to 1948,
Mother Maybelle and the Carter Sisters were featured performers on the
Richmond, Virginia, radio program Old Dominion Barn Dance. In 1950 they began
performing on WSM’s Grand Ole Opry in Nashville, Tennessee, and they soon
became stars. Maybelle was widely respected as a matriarchal figure in country
music circles and was popularly known as "Mother Maybelle." However,
she was only in her forties.
Many of their recordings from the time, such as “Wabash
Cannonball” and “Wildwood Flower,” are considered classics of country music. In
the late 1950s the daughters stopped performing, but Carter remained with the
Opry until 1967.
Maybelle and her daughters toured as "The Carter
Sisters and Mother Maybelle," but after the death of A. P. Carter in 1960,
the group revived the name "The Carter Family." The folk revival of
the late 1960s revitalized interest in the Original Carter Family, and Carter
performed at the Newport Folk Festivals of 1963 and 1967. She briefly reunited
with former Carter Family member Sara Carter during the 1960s folk music craze,
with Sara singing lead and Maybelle providing harmony as before in their 1966
reunion album.
They frequently toured with Johnny Cash, her son-in-law,
from 1968 on. The group performed regularly on Cash's weekly network variety
show from 1969 to 1971. In 1970, in no small part owing to Carter’s
innovations, the group was inducted into the Country Music Hall of Fame. During
the 1970s Carter continued to perform to appreciative audiences across the
country and in Europe. Carter made occasional solo recordings during the 1960s
and 1970s, usually full-length albums. Her final such work, a two-record set
released on Columbia Records, placed on Billboard's best-selling country albums
chart in 1973 when she was 64. Maybelle was also featured on The Nitty Gritty
Dirt Band's 1972 recording Will the Circle Be Unbroken.
After the album took off, the Dirt Band decided to bring a
third incarnation of the Carter Family, featuring Maybelle and various
configurations of her daughters and grandchildren, on tour. They knew that
there could be no substitute for the presence of a musical mentor who taught
everyone what they needed to know to move the picking tradition forward. The
Carter Family (Maybelle, Helen, June, and Anita) received the "Favorite
Country Group" trophy from the American Music Awards in 1973. The
following year Maybelle was individually honored with the first Tex Ritter
Award by the International Fan Club Organization at Fan Fair in Nashville, TN.
Maybelle Carter died in October 23, 1978, in Nashville
Tennessee, after a few years of poor health and was interred next to her
husband, Ezra, in Hendersonville Memory Gardens in Hendersonville, Tennessee.
Two of their daughters – Helen and Anita – are buried nearby. By 1992 Maybelle Carter
was inducted into the Autoharp Hall of Fame. In 2005, The Carter Family
received the Grammy Lifetime Achievement Award.
Robert Percell Ferguson (May 9, 1929 – November 26, 2006),
who performed as H-Bomb Ferguson, was an American jump blues singer. He was an
early pioneer of the rock and roll style of the mid-1950s, featuring driving
rhythm, intensely shouted vocals, honking tenor saxophone solos, and outlandish
personal appearance. Ferguson sang and played piano in a flamboyant style,
wearing colorful wigs.
Bobby Ferguson was the 11th of twelve children born to Irene
and Reverend Alonzo Ferguson. At age six, he began playing piano in his
father's store front Baptist church. Deciding that the boy had talent, the
Reverend paid for piano lessons for his son, demanding that he stuck to sacred
melodies on the 88s. Ferguson had other ideas, recalling "After church was
over, while the people was all standing outside talking, me and my friends
would run back inside and I'd play the blues on the piano.”
At the age of 19, Ferguson was on the road with Joe Liggins
and the Honeydrippers. They moved to New York, where Ferguson branched off on
his own, getting a gig at the nightclub Baby Grand Club in Harlem, billed as
"The Cobra Kid." A blues shouter, he first recorded as Bob Ferguson in New
York in 1950, for Derby Records, whose drummer Jack "The Bear" Parker
(according to most sources) gave him the nickname "H-Bomb" and became
his manager. His debut was followed by releases on Atlas and Prestige, before
he signed a recording contract with Savoy Records in 1951. Several
saxophone-driven singles followed, in the style of Wynonie Harris, and
"Good Lovin'" was regionally successful though failing to reached the
national charts.
Unique as the name was, H-Bomb was pushed to imitate the
blues shouter style of Wynonie Harris. They were often paired in billing, with
on stage antics of H-Bomb mimicking Wynonie. Though they were closely
associated, they were not close, and H-Bomb lobbied to be able to create his
own style. About his early recordings, H-Bomb says: "They were going for a
big band sound. I always loved the sax. Bass, piano, and four horns were used.
And I played with some of the best! Guitar played a minor part. I wasn't
playing piano in most of these recordings. At the time, they said my voice came
out much better if I stood at the mike and didn't play the piano."
H-Bomb made the circuit of regional clubs, singing and telling
jokes in vaudeville tradition. He worked with Ruth Brown, Clarence
""Gatemouth" Brown, Willis "Gatortail" Jackson and
Bullmoose Jackson, and did comedy with Redd Foxx. After nine years in New York
City, Ferguson moved to Cincinnati in 1957 and signed with King Records. He
formed his own band, "H-Bomb Ferguson and his Mad Lads", and quickly
became a regional favourite. He was now honing his own style, away from Wynonie
Harris, with funky piano. Popular singles on Federal (King's subsidiary) were
"Mary, Little Mary" and especially "Midnight Ramblin'
Tonight", which has been reissued on many compilations. But these would be
his final releases for some 25 years, though he kept travelling and performing
throughout the 1960s.
After a short retirement in the '70s during which he drove a
garbage truck, H-Bomb found that he could not quit the music business, and came
out in his now renowned wigs. A new persona with each set! Among his
international stellar performances are : Blues Estafette Holland (Utrecht) in
1988 and 1991. He performed two encore performance at '92 Chicago Blues
Festival, The British R & B Festival Colne, Lancashire, England 1994,
Lugano (Switzerland) Blues To Bop Festival in 1993 and 1994 and Rhythm Riot
Festival in Rye, East Sussex (UK) in November 2001. In 2005 he performed at the
4th Ponderosa Stomp.
H-Bomb returned to the recording studio in 1985 for two singles
on the Radiation label and backed by his new band, The Medicine Men, waxed his
first album in 1993, "Wiggin' Out" for Chicago's Earwig label. It
showed him to be as wild as ever. His Savoy recordings were collected on an LP
in 1986 ("Life Is Hard", Savoy Jazz SJL 1176). His early work was
featured in a compilation album, H-Bomb Ferguson: Big City Blues, 1951-54. A
documentary was made of his life, entitled The Life And Times Of H-Bomb
Ferguson. He got the Cammy Lifetime Achievement Award March 9, 2003.
H-Bomb became a regular on the blues and R&B festival circuit,
keeping Cincinnati as his home base until two weeks prior to his death during
2006 at the Hospice of Cincinnati, of complications from emphysema and
cardiopulmonary disease, aged 77.
Keith Jarrett (born May 8, 1945) is an American pianist and
composer and one of the most prolific, innovative, and iconoclastic musicians
to emerge from the late 20th century.
Jarrett was born in Allentown, Pennsylvania, to a mother of
Slovenian descent. Jarrett's father was
of mostly German descent. He grew up in suburban Allentown with significant
early exposure to music. Jarrett possesses absolute pitch and displayed
prodigious musical talents as a young child. He began piano lessons before his
third birthday. At age five, he appeared on a television talent program hosted
by swing bandleader Paul Whiteman. He performed in his first formal piano
recital at the age of seven, playing works by composers such as Bach,
Beethoven, Mozart, and Saint-Saëns, and ending with two of his own
compositions. Encouraged by his mother, he took classical piano lessons with a
series of teachers, including Eleanor Sokoloff of the Curtis Institute of Music
in Philadelphia.
Jarrett attended Emmaus High School in Emmaus, Pennsylvania,
where he learned jazz and became proficient in it. He developed a strong
interest in contemporary jazz, and was inspired by a Dave Brubeck performance
he attended in New Hope. He was invited to study classical composition in Paris
with Nadia Boulanger, but he was already leaning toward jazz and turned it
down.After his graduation from Emmaus
High School in 1963, Jarrett moved to Boston to attend Berklee College of Music
and play cocktail piano in local Boston clubs.
In 1964 he entered New York City’s vibrant scene. After sitting
in with veteran and aspiring players at clubs, including the Village Vanguard,
Jarrett toured first with Art Blakey's Jazz Messengers. From 1966 to 1968 he
was the pianist with the Charles Lloyd Quartet which quickly became one of the
most popular groups on the changing late-Sixties jazz scene with best-selling
records and worldwide tours. He soon led his own trio with Charlie Haden and
Paul Motian (which in 1972 expanded to a quartet with the addition of tenor
saxophonist Dewey Redman). Then in 1970/71, Jarrett became a featured member in
Miles Davis' electric fusion group, playing electric piano and organ - his last
stint as a sideman, thereafter, dedicating himself exclusively to performing
acoustic music as a solo artist and as a leader.
In 1971, Keith Jarrett began his recording collaboration
with German producer Manfred Eicher and ECM Records (Editions of Contemporary
Music). This fruitful collaboration has produced over 60 recordings to date,
unparalleled in their scope, diversity, and quality.
The piano improvisations
on Facing You, Solo Concerts, The Köln Concert, Staircase, Sun Bear Concerts,
Moth and The Flame, Concerts, Paris Concert, Dark Intervals, Vienna Concert,
and La Scala incorporate a broad spectrum of musical idioms and languages -
classical, jazz, ethnic, gospel, folk, blues and pure sound - revealing a creative
process based on a deeply conscious state of awakeness and listening in the
moment, producing music both deeply personal, yet universal. This body of solo
piano work is without precedent with the 1975 Köln Concert being the best
selling piano recording in history.
Jarrett kicked off the '80s with Celestial Hawk: For
Orchestra, Percussion and Piano, recorded at Carnegie Hall. This work wed his
instinctual improvisational discipline on the piano to his formal compositional
abilities in both vanguard classical music and jazz. In 1983, Jarrett began
working in a trio with bassist Gary Peacock and drummer Jack DeJohnette. It was
the beginning of an association that lasted the rest of his career. Throughout
the decade they alternated between recording standards and freely improvised
sets, among them 1986's Standards Live and 1989's Changeless.
While his first album of the '90s was the solo Paris
Concert, the trio was also busy touring. They stopped briefly to record Bye Bye
Blackbird in 1991 as a memorial to Miles Davis. That said, Jarrett spent most
of the decade's first half recording classical music. A six-CD box set entitled
Keith Jarrett at the Blue Note: The Complete Recordings, was released in 1995,
documenting a three-night stand by the trio in June of 1994.
While on tour with the trio in Europe during 1996, Jarrett
became ill with what was diagnosed as chronic fatigue syndrome. He battled the
disease which was caused by an infection from parasitic bacteria for three
years. Despite this, he kept up a regular schedule of album releases often as
live recordings and in a long relationship with the label ECM. His last release
was 2018’s After the Fall, originally recorded in 1998.
Jarrett suffered major strokes in February and May 2018.
After the second, he was paralyzed and spent nearly two years in a
rehabilitation facility. Although he has regained a limited ability to walk
with a cane and can play piano with his right hand, he remains partly paralyzed
on his left side and is not expected to perform again.
Admirl Amos Easton (May 7, 1905 – June 8, 1968), better
known by the stage name Bumble Bee Slim, was an American Piedmont blues singer
and guitarist.
Easton was born in Brunswick. Several original sources
confirm that he spelled his first name "Admirl". One of six children,
he was four years old when his father died. His mother remarried, and Easton
began working in the fields soon afterward. At age nine he made his first
attempt to leave home, setting up a stand where he cut hair and sold peanuts
until his family found him and brought him back. When he was about fifteen,
Easton joined the Ringling Brothers’ circus and traveled around the South and
Midwest for two years. Returning to Georgia, he worked at a variety of jobs and
was married briefly before heading north on a freight train.
In 1928 he settled in Indianapolis, Indiana, where he met
pianist Leroy Carr, who with guitarist Scrapper Blackwell formed one of the
most innovative blues duos of the period. Easton, now using the stage name
Bumble Bee Slim, was impressed by Carr’s light, expressive singing and by
Blackwell’s guitar technique, and their influence can be heard throughout
Slim’s work. After refining his skills by playing halls and rent parties, Slim
moved to Chicago. In 1931 he made his first recordings for Paramount Records, “Stumbling
Block Blues,” “Yo Yo String Blues,” and four others. The following year his
song ”B&O Blues” was a hit for Vocalion Records, inspiring a number of
other railroad blues and eventually becoming a popular folk song.
Between 1934 and 1937 Slim recorded more than 150 titles.
His wry, streetwise songs, while not particularly innovative, reflect the
realities of African American life during the Great Depression and convey the
warmth and resilience of Slim’s personality. During this period Slim released
two or three records a month for the Decca, Bluebird, and Vocalion labels,
often accompanied by such skillful musicians as Big Bill Broonzy, Memphis
Minnie, Tampa Red, Washboard Sam and Peetie Wheatstraw. In contrast to the raw,
emotional blues of earlier artists, Slim’s material and vocal delivery were
light and even frivolous, an approach welcomed by many listeners during the
hard times of the depression.
Slim with Georgia White
By 1937 Slim had become frustrated with the limitations of
the piano/guitar arrangements imposed on him by his record companies, as well
as by the limited income he was receiving from his work and by the following
year he was dropped by all three labels. He returned to Georgia, then relocated
to Los Angeles, California, in the early 1940s, apparently hoping to break into
motion pictures as a songwriter and comedian. He soon went back to blues music,
however.
During the 1950s he recorded several albums for Fidelity,
Marigold and Specialty, but these made little impact in a marketplace dominated
by the new rhythm-and-blues sound. In an effort to cross over to the growing
white audience for blues, he recorded his final album for the Pacific Jazz label
with jazz musicians, but it too failed to sell. Slim continued to perform in
clubs around Los Angeles until his death on June 8, 1968 aged 62.
Bumble Bee Slim was a forgotten legend of his time. Although
his instrumental skills are considered less accomplished than many of his
contemporaries, he is remembered for his ability to write great blues lyrics
and his vocal delivery. His Complete Recorded Works have been reissued on
several CDs by the Document label.
(Edited from Wikipedia & The New Georgia Encyclopedia)
Emme Kemp (born 6 May 1935) is an American pianist,
vocalist, bandleader, Broadway composer, lecturer, and music researcher.
Born Emmelyne Kemp, as a child prodigy, she was reared in
the musical melting pot of Chicago,
where she launched her career at the age of six by presenting her first piano
recital, playing Mozart and Strauss along with several of her own
compositions..She attended Morgan Park High School and studied at the
Northwestern University, was a private pupil of the great classical pianist Egon
Petri in California. She then broadened her approach to jazz at the Berklee
School of Music and with the New York University Jazz Ensemble.
She also served for three years in the Women's Army Corps
where she produced shows for Special Services and was assigned to the Judge
Advocate’s office.. Her jazz anthology goes from classic to modern. Emme played
at Josephine Baker's Welcome Back Party and has appeared on numerous college
campuses and at festivals, venues in Japan and her beloved Harlem. She played
in a trio which consisted of Earl May (bassist), Earl Williams (drums). In
Woody Allen’s film “Sweet and Low Down,” Emme is shown in the Chicago jazz
session scenes with Sean Penn.
Here’s Creole Love Call from above album
Over the years she has appeared as a pianist, singer and
actress in concerts, clubs, theatres and on television throughout the USA,
Europe and Japan. Kemp is multilingual,
performing in six languages. She has performed at festivals in Martinique,
Italy’s Umbria, Monte Carlo’s Sporting club in front of Princess Grace, and
Lincoln 92nd Street & to the Schomburg Center. On Broadway, she composed
music for, and acted in, Bubbling Brown Sugar, and wrote music for The American
Dance Machine and Don't Bother Me I Can't Cope, and Lorraine Hansberry's
musical "Raisin. She has performed her originals tunes on the Guiding Light
and Captain Kangaroo.
Emme and Eartha Kitt
Kemp has appeared in Dick Hyman's Jazz in July series at the
92nd Street Y, the Schomberg Center's Women in Jazz Festival and received an
Audelco Pioneer Award for her theatre contributions.. Her lectures and writings
form a significant overview on popular culture.
Her deep spirituality has given Ms Kemp a compassion that is the
lifespring of her music. As a bandleader
she has hired the creative likes Paul Quinichette, Ernie Wilkins, Arvell Shaw
and many others. She played with the U Jazz Ensemble under the direction of
Jimmy Guiffre at Carnegie Hall.
Her keyboard narrative “Someone To Sing To” premiered in
Berlin in 1992 co-starring Queen Yahna and a cast of thirteen. Ms. Kemp also
has created a various versions of “Someone To Sing To” geared to the size and
audience for any venue, allowing her to share this wonderful musical theatre
experience everywhere. Commissioned theater piece “Echoes Out of Time”
premiered at Chicago’s Museum of Science and Industry. “The Ballad of Box
Brown” followed in Philadelphia Emme Kemp has also received awards from the
National Endowment for the Arts, ASCAP, NANBPW, and IWJ.
In 1998 Emme sang and played on her album” Someone To Sing
To featuring” seven original compositions. Researcher of American music, Emme
Kemp initiated the 100 Anniversary celebration of W.C. Handy’s birth at NYC’s
Overseas Press Club and was recently acknowledged at the New York Press
Conference announcing the US Congressional resolution designating 2003 as the
Year of The Blues. New York Post said of her “Her lyrics bear distinctive
identity; blending wry, tough introspection and engaging soft heartedness.” The
New York Times noted “. . .an unusually sensitive understanding.”
During August 2020 Emme played piano and sang on The On Channel,
Home Spun Sundays Show. She was accompanied by Bassist Lonnie Plaxico,
Saxophonists Patience Higgins and Bill Saxon with other surprise guests.
(Edited from Wikipedia, AllAboutJazz, jazzsingers.com,
blogtalk radio)
Please note- It was hard to get some sort of time line for this bio as only a few dates were given on all the cited sources. Also I have noticed that her eyesight was ok until she was photographed with a patch over one eye. I could find no information as to why, but as the years rolled by her sight in her other eye seemed to become less and less. Perhaps some kind person will supply a bit more information about her eye sight.
The following clip is from the last performance offered by Broadway Icon and Jazz Master, Emme Kemp during 2020. Then at the age of 85 years young Master Kemp was still at the top of her game.
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