LITTLE ESTHER PHILLIPS

Esther Phillips,  Little ESTHER , es una cantante básicamente de R&B , poco conocida quizá por el gran público, vocalista de distintas orquestas durante sus inicios con una voz añiñada y juguetona , que supo exprimir al máximo, (veréis que la conserva durante el paso de los años) .Seguramente la orquesta de más relieve fué la de Johnny Otis, que junto a Mel Walker disfrutaron de un éxito notable allá por finales de los 40's inicios de los 50's. empezó muy jovencita , a los catorce años ya había ganado un concurso, os dejamos con sus interpretaciones, en el apartado de hoy de Seb de los SUNDAY AFTERNOON IT'S A BOOGIE WOOGIE TIME., mas info extraida de la wikipedia, también en nuestro post. de 23/01/12 dedicado en esta ocasión a JOHNNY OTIS. 

                                      

                                     


                   

Born Esther Mae Jones in Galveston, Texas. When she was an adolescent, her parents divorced, and she was forced to divide her time between her father in Houston and her mother in the Watts area of Los Angeles. Because she was brought up singing in church, she was hesitant to enter a talent contest at a local blues club, but her sister insisted and she complied. A mature singer at the age of 14, she won the amateur talent contest in 1949 at the Barrelhouse Club owned by Johnny Otis. Otis was so impressed that he recorded her for Modern Records and added her to his traveling revue, the California Rhythm and Blues Caravan, billed as "Little Esther Phillips" (she reportedly took the surname from a gas station sign).

Her first hit record was "Double Crossing Blues", recorded in 1950 for Savoy Records. After several hit records with Savoy, including her duet with Mel Walker on "Mistrusting Blues", which went to number one that year, as did "Cupid Boogie". Other Phillips records that made it onto the U.S. Billboard R&B chart in 1950 include "Misery" (number 9), "Deceivin' Blues" (number 4), "Wedding Boogie" (number 6), and "Faraway Blues" (number 6). Few female artists, R&B or otherwise, had ever enjoyed such success in their debut year. Phillips left Otis and the Savoy label at the end of 1950 and signed with Federal Records.

But just as quickly as the hits had started, they stopped. Although she recorded more than thirty sides for Federal, only one, "Ring-a-Ding-Doo", charted; the song made it to number 8 in 1952. Not working with Otis was part of her problem; the other part was her drug usage. By the middle of the decade Phillips was chronically addicted to drugs.Being in the same room when Johnny Ace shot himself on Christmas Day, 1954, while in-between shows in Houston, did not help matters.

In 1954, she returned to Houston to live with her father to recuperate. Short on money, she worked in small nightclubs around the South, punctuated by periodic hospital stays in Lexington, Kentucky, stemming from her addiction. In 1962, Kenny Rogers re-discovered her while singing at a Houston club and got her signed to his brother Leland’s Lenox label.

Phillips ultimately got well enough to launch a comeback in 1962. Now billed as Esther Phillips instead of Little Esther, she recorded a country tune, "Release Me," with producer Bob Gans. This went to number 1 R&B and number 8 on the pop listings. After several other minor R&B hits on Lenox, she was signed by Atlantic Records. Her cover of The Beatles' song "And I Love Him" nearly made the R&B Top Ten in 1965 and the Beatles flew her to the UK for her first overseas performances

She had other hits in the 1960s on the label, such as the critically acclaimed Jimmy Radcliffe song "Try Me" (YouTube video) that featured the saxophone work of King Curtis and is often mistakenly credited as the James Brown song of the same title, but no more chart toppers, and she waged a battle with heroin dependence. With her addiction worsening, Phillips checked into a rehab facility where she met fellow vocalist Sam Fletcher. While undergoing treatment, she cut some sides for Roulette in 1969, mostly produced by Leland Rogers. On her release, she moved back to Los Angeles and re-signed with the Atlantic label. Her friendship with Sam Fletcher resulted in a late 1969 gig at Freddie Jett's Pied Piper club that produced the album Burnin'. She performed with the Johnny Otis Show at the Monterey Jazz Festival in 1970.

                               

From the album Esther Phillips Sings, 1966