Biography and comment on the other websites.
Lee Wiley occupies her own place in jazz history. Although a cool-toned and sophisticated singer, her interpretations of superior standards were often quite sensuous and, even if she did not improvise much, she was a favorite of many musicians, particularly Eddie Condon. She came to New York in the early '30s and at age 17 was singing and recording with Leo Reisman's orchestra. She spent most of the that decade singing with commercial radio orchestras (including Victor Young and Johnny Green) but eventually also appeared at clubs backed by small jazz groups, having a close relationship with Bunny Berigan. Starting in 1939 Lee Wiley became the first singer to devote an entire album to the music of one composer; her George Gershwin, Cole Porter, Harold Arlen and Rodgers & Hart sessions are considered classic and the highpoints of her career. Wiley married Jess Stacy in 1943 but after five years both their big band and marriage were history. She appeared at a few of Eddie Condon's Town Hall concerts but from the late '40s on Wiley performed and recorded less frequently. After some sessions for Columbia during 1950-51, Storyville in 1954 and Victor during 1956-57, all that remained was a final record for Monmouth-Evergreen in 1971. By then she was forgotten to all but veteran record collectors but Lee Wiley had made her mark decades earlier.
--Scott Yanow, All Music Guide
Born : October 5,
1915, Fort Gibson, OK
Died : December 11, 1975, New York, NY
Although Lee Wiley had faded into obscurity by the time of her
death in 1975, she had made her mark on the jazz world some 40
years earlier. Although she was not a "jazz" singer in
the sense that she rarely improvised or scatted during her songs,
she was known to her legion of fans as a sensuous interpreter of
standards.
Part Cherokee Indian, Lee was born and raised in northeast
Oklahoma. After traveling to New York in the early 1930's, Lee
Wiley began singing and recording professionally, recording
"Time on My Hands" with Leo Reisman's orchestra as a
featured vocalist in 1931, when she was only 16. Frequent work
continued through the 1930's, mainly as a vocalist with some of
the major commercial radio orchestras of the day.
It was during this time that she met many of the jazz stars that
she would later record with, including Eddie Condon and Bobby
Hackett. Condon was especially fond of Lee Wiley's singing, and
used her on several sides he made for Decca in the 1940's.
Beginning in 1939, Ms. Wiley recorded several sets of songs, with
each featuring the music of one composer. She was the first
singer to take this "songbook" approach to standards,
an idea later used with great success by Ella Fitzgerald.
In 1943, Lee Wiley was married to pianist and bandleader Jess
Stacy but the marriage was troubled and only lasted five years.
She still continued to record, with Stacy and also with Bobby
Hackett. Her recordings slowed down in the 1950's, but included
an excellent album for RCA ("West of the Moon") at the
urging of NBC television personality Dave Garroway, who also used
her on his album "Dave Garroway Presents the Wide, Wide
World of Jazz."
Lee Wiley made no recordings during the 1960's, and her final
recording session was for Monmouth Records ("Back Home
Again") in the fall of 1971. She died in New York in 1975 at
the age of 60.
--Yahoo! Music
Lee Wiley - Biography
b. 9 October 1915,
Fort Gibson, Oklahoma, USA, d. 11 December 1975, New York City,
New York, USA. While still in her early teens, Wiley left home to
begin a career singing with the Reisman, Leo band. Her career was
interrupted when, following a fall while horse-riding, she
suffered temporary blindness. She recovered her sight and at the
age of 19 was back with Reisman again. She also sang with
Whiteman, Paul and later, the Casa Loma Orchestra (The). A
collaboration with composer Young, Victor resulted in several
songs for which Wiley wrote the lyrics, including "Got The
South In My Soul" and "Anytime, Anyday, Anywhere",
the latter becoming an R&B hit in the 50s. In the early 40s
Wiley began a long succession of fine recording dates, singing
many classic songs, usually with backing from small jazz groups,
which included musicians such as Freeman, Bud, Kaminsky, Max,
Waller, Fats , Butterfield, Billy , Hackett, Bobby , Condon,
Eddie, and Stacy, Jess, the latter to whom she was married for a
while. In 1943 she sang with Stacy's big band and subsequently
continued to perform with small groups, notably with
Condon-directed jazzmen, and pursued her prolific recording
career.
Although she had only a small voice, she possessed a wistful and
charming sound and delivered lyrics with a low-key sensuality.
The warmth and intimacy she projected resulted in many of her
performances becoming definitive versions of the songs.
"I've Got A Crush On You", from 1939 with Waller and
Freeman in support, "How Long Has This Been Going On?",
"Baby's Awake Now" and "You Took Advantage Of
Me", all from 1939 and 1940, and "I've Got The World On
A String", from 1945, with Condon and Ernie Caceres, are all
excellent examples of her distinctively delicate singing style.
She made fewer appearances and records in the 50s and 60s,
although a 1963 television film, Something About Lee Wiley, which
told a version of her life story, boosted interest in her work.
One of her final appearances came in 1972 at the New York Jazz
Festival, where she was rapturously received by audiences who
were beginning to appreciate what her fellow musicians had known
all along: that she was one of the best jazz singers the music
had known even if, by this time, her always fragile-sounding
voice was no longer at its best.
--Music Excite by Muse
I was singing in the
Big Room of an elegant club in New York City called The Blue
Angel. One night after the show, I joined some friends in the Art
Deco lounge and saw a sight I'll never forget: a woman, draped in
sable, seated at one of the black leather upholstered banquettes,
surrounded by five or six gentlemen in black tie. The men were
clearly enchanted with this glamourous creature, lighting her
cigarettes, pouring her champagne, laughing ever so delicately at
her witticisms, and not a one paying the slightest attention to
darling Bobby Short, singing Cole Porter tunes on a little
upright over in the corner with all the persuasion and enthusiasm
he possesses to this day. "WHO is that?", I asked.
"THAT" is Lee Wiley!"
I was dazzled and thrilled to see the great Lee Wiley, and
determined I'd be the center of attention at a similar party one
day... Best I've done so far is that night backstage at the
Newport Jazz Festival when some guy offered me a joint, a bottle
of beer and a ride home.
--Comment by Carol Sloane on All about jazz
b. 9 October c.1910, Fort Gibson,
Oklahoma, USA, d. 11 December 1975. While still in her early
teens, Wiley left home to begin a career singing with the Leo
Reisman band. Her career was interrupted when, following a fall
while horse-riding, she suffered temporary blindness. She
recovered her sight and at the age of 19 was back with Reisman
again. She also sang with Paul Whiteman and later, the Casa Loma
Band. A collaboration with composer Victor Young resulted in
several songs for which Wiley wrote the lyrics, including Got The
South In My Soul and Anytime, Anyday, Anywhere, the latter
becoming an R&B hit in the '50s. In the early '40s Wiley
began a long succession of fine recording dates, singing many
classic songs, usually with backing from small jazz groups, which
included musicians such as Bud Freeman, Max Kaminsky, Fats
Waller, Billy Butterfield, Bobby Hackett, Eddie Condon, and Jess
Stacy, the latter to whom she was married for a while. In 1943
she sang with Stacy's big band and subsequently continued to
perform with small groups, notably with Condon-directed jazzmen,
and pursued her prolific recording career.
Although she had only a small voice, she possessed a wistful and
charming sound and delivered lyrics with a low-key sensuality.
The warmth and intimacy she projected resulted in many of her
performances becoming definitive versions of the songs. I've Got
A Crush On You, from 1939 with Waller and Freeman in support, How
Long Has This Been Going On?, Baby's Awake Now and You Took
Advantage Of Me, all from 1939 and 1940, and I've Got The World
On A String, from 1945, with Condon and Ernie Caceres, are all
excellent examples of her distinctively delicate singing style.
She made fewer appearances and records in the '50s and '60s,
although a 1963 television film, SOMETHING ABOUT LEE WILEY, which
told a version of her life story, boosted interest in her work.
One of her final appearances came in 1972 at the New York Jazz
Festival, where she was rapturously received by audiences who
were beginning to appreciate what her fellow musicians had known
all along: that she was one of the best jazz singers the music
had known even if, by this time, her always fragile-sounding
voice was no longer at its best.
--Centrohd.Com