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Lee Wiley

Lee Wiley (October 9, 1908 – December 11, 1975) was an American singer renowned for her warm, intimate vocal style and for pioneering the concept of thematic songbook albums dedicated to the works of individual composers such as and . A member of the , born in , she rose to prominence in through recordings and performances with major orchestras, influencing subsequent generations of jazz vocalists with her relaxed phrasing and emotional depth. Wiley's early career began in , where she studied music and performed on local radio stations as a teenager before leaving home around age 15 to pursue professional opportunities, including stops in the Midwest. Her path was briefly interrupted by a horse-riding accident that caused temporary blindness, from which she recovered and continued onward. She arrived in in the late and joined Leo Reisman's orchestra, recording her first sides with the group, including "Time on My Hands" in 1931. Throughout the decade, she sang with ensembles led by , , and the Orchestra, establishing herself as a versatile vocalist in both commercial radio and settings. In 1939, Wiley achieved a career milestone by recording the first album dedicated entirely to the songs of for Liberty Music Shop, backed by top musicians like and ; this innovative "songbook" format was repeated for , , and in subsequent years. She married pianist in the mid-1940s, collaborating with him on recordings, and continued to perform at venues like Eddie Condon's concerts. By the late 1940s, Wiley largely retired from active performing and recording, though she made occasional returns, including sessions for in 1950–1951 and a final appearance at in 1972. She passed away from cancer in at age 67, leaving a legacy of approximately 100 recordings that highlight her distinctive, understated approach to standards.

Early Life

Family Background and Childhood

Lee Wiley was born Minnie Lee Willey on October 9, 1908, in , (now ), into a family of modest means. Her parents were Charles Worchester Willey, a local resident, and Jananna Sanders Willey, who was born in the Tahlequah District of the and identified as five-eighths Cherokee by blood in the . Wiley grew up in rural , residing in areas such as Muskogee in 1910 and Checotah in 1920, alongside siblings including Floyd Albert Willey and Lee Elwood Willey. Her early years were marked by a budding fascination with music; as a child in grade school, she frequently listened to recordings of pioneering and singers like , , and , sometimes venturing into the local Black neighborhood to acquire the records despite familial reservations. She began performing on local radio station KVOO in Tulsa after school during her early teens. By her mid-teens, around 1923, Wiley left her home at age fifteen, embarking on a journey through the Midwest—including stops in and —before arriving in to pursue artistic opportunities.

Initial Exposure to Music

Wiley's further exposure to music occurred during her teenage years after arriving in New York, where she engaged in informal vocal training through participation in church choirs and local theater groups. She supplemented this with self-taught techniques, closely mimicking the styles of radio broadcasters and recordings by artists such as , , and , whom she admired from her youth. These experiences in the mid-1920s honed her budding skills in a vibrant urban environment teeming with musical opportunities. By age 17 in 1925, Wiley transitioned to her first public performances, singing in speakeasies and shows that characterized Prohibition-era nightlife. These semi-professional venues provided her early platform amid the clandestine and entertainment scene, allowing her to perform standards and gain audience feedback in informal settings. Deeply influenced by the burgeoning milieu, Wiley frequently attended performances by orchestras at the , immersing herself in the rhythmic innovations of the era. This exposure led to formative connections with musicians, including cornetist , whose ensembles exemplified the hot style prevalent in 1920s clubs. Wiley also took brief stints in touring shows and as a chorus girl, roles that sharpened her stage presence and adaptability before she sought more structured professional avenues. These amateur and semi-professional endeavors in the late bridged her personal musical curiosity to the competitive world of .

Career Development

Breakthrough in Radio and Recordings

In 1931, at the age of 23, Lee Wiley secured her in radio by joining Leo Reisman's orchestra as a featured vocalist on his regular broadcasts from City's Central Park Casino. Her sultry and relaxed phrasing quickly captivated listeners, establishing her as a rising talent in the burgeoning scene. Wiley's initial commercial recordings followed soon after, beginning with a session for Victor Records on October 26, 1931, where she sang lead on "Time on My Hands (You in My Arms)" backed by Reisman's orchestra. This track, a wistful interpretation of the standard, highlighted her interpretive depth and emotional intimacy, marking her as one of the era's innovative female vocalists. She continued recording sporadically with Reisman and later ensembles like the Orchestra and Victor Young's group, though many early sides remained unreleased due to commercial constraints. The severely hampered the music industry, with U.S. record sales plummeting to a low of six million units by , forcing many artists into unstable freelance work. Wiley navigated these challenges by shifting to ad hoc performances with various bands and sustaining radio spots on programs hosted by and Willard Robison after departing Reisman's group in 1933. Early critics and audiences praised Wiley as a fresh, authentic voice amid the era's female singers, noting her husky timbre and unadorned emotional delivery as a refreshing contrast to more theatrical styles. Her radio popularity, in particular, positioned her as an emerging icon of intimate vocalism by the mid-1930s.

Key Collaborations and Peak Period

Lee Wiley's major professional partnership with guitarist and bandleader began in the late 1930s, marked by joint recordings for Commodore Records, including the 1940 track "Down to Steamboat Tennessee," a Wiley-led session with cornetist and pianist Jess Stacy that complemented the Chicago-style associated with Condon's circle. This collaboration extended to live performances at Nick's Tavern in , a key venue for Condon's band starting around 1937, where Wiley occasionally joined for improvisational sets that blended her interpretive singing with the band's energetic . These engagements helped establish Wiley within New York's vibrant scene, showcasing her ability to integrate seamlessly with small-group . A pivotal project during this era was Wiley's 1939-1940 Gershwin songbook, recorded for Liberty Music Shop with Max Kaminsky's orchestra, which reimagined standards like "I've Got a Crush on You" in intimate, small-group arrangements featuring , , and rhythm sections for a fresh, swinging take on the composer's hits. The sessions, held in November 1939, highlighted Wiley's husky timbre against Kaminsky's hot backing, producing eight tracks that sold well and influenced later vocal songbook concepts by emphasizing reinterpretation over strict adherence to original . Wiley reached her commercial height during , as her recordings and broadcasts resonated with audiences seeking escapist entertainment amid wartime tensions. She featured prominently on Rudi Blesh's "This Is Jazz" radio series in 1947, performing Gershwin and other standards live on WOR Mutual with ensembles including , which captured her peak form and drew large listenership. In 1945, she appeared at concerts in , delivering acclaimed sets of standards that solidified her status as a vocalist, with sold-out crowds reflecting her rising prominence. Wiley expanded into visual media during this period with cameo appearances in musical shorts, such as the 1940 production & His Orchestra, where she sang alongside the band in a lively short that showcased her stage presence. These brief film roles, combined with performances at upscale venues, positioned her as a staple of the era's sophisticated , bridging clubs and emerging entertainment formats.

Later Career and Retirement

Following her collaborations during the peak of her career in the , Lee Wiley's recording activity became more sporadic in the late 1940s and 1950s, primarily with labels such as and RCA Victor. Notable projects included her 1950 album Night in with cornetist and pianist Joe Bushkin, and her 1956 album West of the Moon, released by RCA Victor in 1957, which featured intimate arrangements by , including ensembles with woodwinds, octet, and string quartet elements to accompany her interpretations of standards by composers like and . This album represented a refined evolution of her songbook-style approach, blending vocal elegance with subtle orchestral support. As the 1950s progressed, Wiley faced declining professional opportunities amid shifting musical landscapes, with the rise of bebop's improvisational complexity and the emerging popularity of diminishing demand for her sophisticated, swing-era . By the mid-1950s, gigs had become infrequent, reflecting broader industry changes that favored newer styles over the intimate sound she pioneered. In the mid-1950s, Wiley collaborated with musicians including cornetist on recordings and performances, such as at the 1954 , contributing to renewed interest in her work. However, persistent health limitations curtailed the extent of her appearances, leading to her effective retirement from public performing around 1958. After retiring, Wiley engaged in low-profile pursuits, including occasional private recordings and informally mentoring aspiring young singers in City's jazz circles, sharing insights from her decades of experience without seeking the spotlight.

Musical Style and Contributions

Vocal Technique and Influences

Lee Wiley's vocal technique was characterized by a warm, intimate that conveyed emotional depth through subtle phrasing rather than overt technical displays. Her voice featured a husky quality with a hint of Midwestern , often described as languid and sensuous, evoking a relaxed Southern belle aesthetic. She employed a lazy falling vibrato at the end of phrases and incorporated mordents—delicate grace notes that added a flirtatious nuance—prioritizing emotional intimacy over complex improvisation. Wiley's style drew significant influences from early jazz and blues singers, particularly and , whose blues inflections and swinging phrasing she adapted into her own approach by the 1930s. She also absorbed elements from and Clara Smith's race recordings, which contributed to her sultry and subtle emotional delivery. Over time, Wiley's technique evolved from a more formal, belting delivery in her early radio work to a restrained, conversational style evident in her mid-career sessions, reflecting a shift toward natural breathing and mental interpretation of lyrics. She received formal training from tenor James Melton, emphasizing breath control as the foundation of her singing. In comparison to contemporaries like Mildred Bailey, Wiley favored a more subdued, small-ensemble intimacy that avoided big-band exuberance, highlighting her preference for spare accompaniment to underscore personal, narrative-like phrasing.

Song Selection and Interpretations

Lee Wiley demonstrated a strong preference for the compositions of , , , and , structuring her recordings around dedicated "songbooks" that showcased their works exclusively. These sessions, beginning with Gershwin and Porter in 1939–1940, marked her as the first jazz vocalist to produce full-length tributes to individual composers, often incorporating lesser-known songs to highlight the depth of their catalogs. Her interpretive approach emphasized emotional intimacy, frequently achieved by slowing tempos to draw out the lyrical nuance and vulnerability in standards. For instance, in her 1939 rendition of Gershwin's "How Long Has This Been Going On?," Wiley reduced the pace to a languid crawl, infusing the piece with a sensuality that transformed it into a on desire. Similarly, her 1950 performance of Rodgers and Hart's "" on the album Night in Manhattan adopted a slow, deliberate , allowing her phrasing to evoke a wistful for urban romance. Wiley's delivery often layered onto the through subtle inflections and rhythmic freedom, making each song feel like an autobiographical reflection rather than a rote performance. This technique aligned with her thematic emphasis on love and longing, favoring heartfelt ballads over the upbeat novelties prevalent in the , which distinguished her as a sophisticated interpreter amid the era's lighter fare. A pivotal example is her 1940 Rodgers and Hart songbook, recorded with small ensembles including and Joe Bushkin, where she blended vocal subtlety with improvisational backing to pioneer the fusion of elements in a dedicated standards format. This project not only elevated the composers' lesser-sung gems like "Mountain Greenery" but also established the songbook as a blueprint for future vocalists exploring the .

Personal Life

Marriages and Relationships

Lee Wiley's romantic relationships often intertwined with her professional life in , providing both collaboration opportunities and personal challenges. In the early 1930s, Wiley engaged in a long-term affair with composer and arranger , despite his marriage; their partnership extended to musical collaborations, including recordings like "" in 1934 and appearances on radio shows such as Al Jolson's Shell Chateau. Wiley married jazz and Jess Stacy in 1943, becoming his second wife; the union lasted until 1948 and featured joint performances with Stacy's during her active years, though it was marked by incompatibility, as Stacy later quipped that "they did not burn the last witch at " in reference to Wiley. Following her divorce from Stacy, Wiley largely stepped back from performing in the 1950s before marrying retired businessman and realtor Nat Tischenkel in 1966; this marriage offered emotional and financial stability, with the couple sharing a residence in New York City until her death, and Tischenkel surviving her. Wiley had no children from any of her relationships and relied on a supportive network of jazz peers, including guitarist , whose frequent collaborations provided camaraderie outside her romantic partnerships.

Health Challenges and Death

Wiley largely retired from active performing and recording by the late , though she made occasional returns in later years. She spent her final years in a modest apartment, relying on support from close friends in the jazz world while making only rare public appearances. On December 11, 1975, she died at age 67 in from cancer, following a period of hospitalization.

Discography

Studio Albums and EPs

Lee Wiley's studio albums and EPs were characterized by thematic songbook projects dedicated to specific composers, often featuring intimate small-group or orchestral support to complement her warm, interpretive vocal style. Her first such project was the 1939 Gershwin album released on the label (distributed through Liberty Music Shop recordings), which included eight tracks backed by a small jazz ensemble featuring collaborators like on guitar and on trumpet. The album drew from and Ira Gershwin's repertoire, including "" and "'S Wonderful," and represented Wiley's breakthrough in long-form recording, selling well despite the era's economic challenges. In 1940, Wiley produced the album for Liberty Music Shop Records, a set of songs presented on 78-rpm discs with orchestral arrangements conducted by Joe Bushkin to evoke the composers' theatrical origins. Tracks such as "Here in My Arms" and "Mountain Greenery" highlighted her phrasing and emotional depth, marking one of the earliest vocal tributes to the Rodgers-Hart catalog and contributing to her rising profile in the . Wiley's 1956 recording, released in 1957 as West of the Moon on RCA Victor, served as a 10-track tribute to , accompanied by string-heavy arrangements that emphasized the composer's sophisticated and romantic sensibilities. Recorded during a transitional phase in her career, the album included standards like "Easy to Love" and "What Is This Thing Called Love?," blending her roots with more polished production to appeal to postwar audiences. In 1951, Wiley recorded Night in Manhattan for , an 8-track album featuring standards such as "" and "I've Got a Crush on You," backed by Joe Bushkin on piano and on , capturing her mature style in a nightclub-inspired setting. Following a hiatus influenced by personal and health difficulties, Wiley released the 1952 10" LP Lee Wiley Sings Irving Berlin on , featuring 8 tracks of Berlin standards such as "Always" and "Blue Skies," supported by piano accompaniment from Stan Freeman and Cy Walter. The album captured her seasoned before her from recording. Additional 1950–1951 Columbia sessions were later compiled as Music of Manhattan.

Notable Singles and Compilations

Lee Wiley's early career featured several notable singles on major labels, often showcasing her emerging vocal style in small ensemble settings. In 1931, she recorded "Time on My Hands (You in My Arms)" with the for , a smooth interpretation of the popular that highlighted her poised delivery. The following year, 1932, saw her on "Got the South in My Soul," again with Reisman for , blending phrasing with the tune's rhythmic drive. By , Wiley shifted to for tracks like "Let's Call It a Day," accompanied by the , where her intimate, -tinged vocals stood out on the April 15 session. That same year, she recorded "I Gotta Right to Sing the " on March 7 with the for (ARC matrix), capturing her early affinity for Harold Arlen's composition. In the 1940s, Wiley's singles emphasized themed collections of standards, released as 78 rpm sets by Liberty Music Shop Records, pioneering the songbook format. The 1939 Gershwin series included eight tracks like "But Not for Me" and "I've Got a Crush on You," backed by players such as and , emphasizing her selective phrasing on material. Subsequent 1940 releases covered songs, such as "Easy to Love" and "Find Me a Primitive Man," with similar small-group support, and 1943's set featured "Between the Devil and the Deep Blue Sea." These standalone 78s, distinct from full albums, underscored her interpretive focus during wartime radio and club work. A 1945 Victor single, "It's Only a Paper Moon" with Jess Stacy's orchestra, marked a postwar return, her airy rendition adding warmth to the E.Y. Harburg standard. Posthumous compilations have preserved Wiley's rarer material, aggregating her and sessions for modern audiences. The 1988 Mosaic Records The Complete Commodore Recordings (Volumes I-III) collects her 1939-1940 Commodore sides, including "Down to Steamboat Tennessee" and "Sugar" from sessions with and Jess Stacy, offering comprehensive remastering of these small-combo gems originally issued as 78s. In the , reissues like the 1994 Collection: 1931-57 on Jazz Chronological Classics compiled outtakes and alternates from her early Victor, Brunswick, and Decca eras, featuring rarities such as alternate takes from sessions alongside core singles. These efforts highlight overlooked tracks, providing context for her evolution without overlapping full album projects.

Legacy

Recognition and Awards

Lee Wiley's acclaim as a jazz vocalist was affirmed through industry polls and posthumous honors that highlighted her enduring impact. She was selected by DownBeat readers as the best female singer in 1940 and 1941. Wiley was posthumously inducted into the Oklahoma Jazz Hall of Fame in 2000.

Influence on Jazz Vocals

Lee Wiley's pioneering approach to interpreting standards through dedicated songbook albums in the 1940s significantly influenced subsequent jazz vocalists, including . Wiley's series of recordings focused on composers like , , and , emphasizing intimate phrasing and emotional depth in her delivery of these tunes, which predated and inspired Fitzgerald's renowned Song Books project launched in the mid-1950s. Fitzgerald's adoption of this thematic structure for her own albums reflected Wiley's innovative method of blending with standards-based vocals, allowing for nuanced phrasing that highlighted lyrical subtlety over virtuosic display. Wiley's style of relaxed, intimate vocals played a key role in shaping the movement of the 1950s, where singers prioritized understated emotion and conversational phrasing in standards interpretations. This approach resonated with vocalists like Chris Connor, whose cool-toned, minimalist delivery on standards echoed Wiley's sensual yet restrained emotional directness, helping to popularize a more subdued alternative to the exuberant -era singing. By bridging the energetic vocals of the and 1940s with the cooler, more introspective aesthetics of postwar , Wiley's recordings provided a template for this evolution in vocal traditions. Interest in Wiley's work revived in the 1970s through reissues of her classic recordings on labels like Monmouth Evergreen and , which introduced her intimate style to new audiences amid a broader reappraisal. This resurgence led to covers and stylistic homages by later artists, such as in the 1980s, who adopted a Wiley-like approach to Gershwin standards on her 1998 album and covered Wiley-associated tunes like "Easy Come, Easy Go" earlier in her career. McCorkle's interpretations often emulated Wiley's phrasing and emotional nakedness, extending her influence into contemporary . Scholarly works on jazz history recognize Wiley's contributions for bridging swing-era exuberance and modern sensibilities. In The Jazz Singers: A Smithsonian Collection of Jazz Vocals from 1919-1994 (1998), edited by Robert G. O'Meally, Wiley is highlighted as a pivotal figure whose recordings exemplified the transition to more personal, standards-focused singing that influenced generations. Similarly, Scott Yanow's The Jazz Singers: The Ultimate Guide (2008) credits her with establishing the songbook format and intimate phrasing as enduring elements of the vocal canon.

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    ... Lee Wiley in 1934. Susannah McCorkle released it on the album The Beginning 1975 in 2002. It was covered by Hugh Shannon, Lew Stone and His Band (Vocal ...
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    [PDF] women jazz singers of the big band era (1930-1945): an annotated
    Nov 8, 2012 · More specific discographies include entries of such artists as Lee Wiley, those who do not have a lot of historical data such as biographies, ...