More Mary Osborne Vocals (and Guitar)

Mary Osborne is best known as a guitarist, and it is in that guise that she first appeared on the main blog a decade ago. Then three years ago, I discovered that an early record under her own name actually featured her singing. That Signature 78 can be found here.

Today we return to her work as a vocalist, with six songs recorded from 1946 to 1952. Most were issued under her own name, with one as featured vocalist with pianist Mary Lou Williams.

Although she did not have a large voice or range, Osborne was a most talented singer, entirely persuasive in both ballads and swingers, both represented here.

The first song, "(She's) He's Funny That Way," dates from the late 1920s, but, as noted on the label, was used in the steamy 1946 noir, The Postman Always Rings Twice. On this record, Osborne received top billing over the group, Mary Lou Williams' Girl Stars. That combo had been assembled for Williams by Leonard Feather. One of the "Girl Stars" on this date was actually a Boy Star, bassist Billy Taylor, disguised on the label as "Bea Taylor." It's a very good performance, with Osborne showing an appealing wistful quality.

The second selection is also with Mary Lou Williams' Girl Stars, although here Williams is top-billed and Osborne is credited with the "vocal refrain." The song is "It Must Be True," which Bing Crosby had recorded with the song's author, Gus Arnheim, in 1933. By this time the Girl Stars had moved from the small Continental label to RCA Victor. This number has a fine Osborne guitar solo.

Mary Lou Williams was an important jazz figure, who made her name as pianist, composer and arranger for Andy Kirk's Twelve Clouds of Joy (including one of my favorite big band records, "Froggy Bottom").

In late 1947, Osborne had a solo date for Decca, with a small group that included longtime studio pianist and arranger Jack Pleis (uncredited on the label). It produced "You're Gonna Get My Letter in the Morning" (which has an excellent guitar break) and "Wonder Where's My Man Tonight," both good songs and nicely done.

Our final items come from a single on M-G-M released in late 1952. For these, the label (or Osborne?) reached back to two 1936 films, and selected "Twilight on the Trail" (from The Trail of the Lonesome Pine, where it was sung by Fuzzy Knight) and "Easy to Love" (from Born to Dance, where it was awkwardly introduced by James Stewart). Osborne does wonders with "Twilight on the Trail," which is actually a beautiful song, even with the clip-clop backing! And her take on "Easy to Love" is terrific, first moody, then swinging.

All items are in excellent sound, with the basic rips remastered from Internet Archive's big stash.

Mary Osborne Sings

I shared Mary Osborne's sole LP on my other blog seven years ago. It's a fine effort, showing off her well-honed guitar skills. But Osborne was a talented vocalist, too, and she doesn't sing on her album. But if you go back quite a few years, she did vocalize on the very first record issued under her name. Today's post is devoted to that 78, which Bob Thiele issued on his Signature Records in 1946.

By that time, the 25-year-old Osborne had already racked up some signficant credits, having played with the bands of Buddy Rogers, Dick Stabile, Terry Shand, Joe Venuti and Russ Morgan.

Her Signature recordings were limited to six sides; she then moved on to Aladdin, Decca and eventually M-G-M. The Warwick LP (which is still available via my other blog) came out in 1959. Unfortunately, it didn't lead to more albums, to my knowledge.

The Signature single's A-side was "Hoodle Addle," a nonsensical but catchy Ray McKinley song also recorded by the composer and by the wonderful Ella Mae Morse. Mark Cantor's Celluloid Improvisations site has an enjoyable Columbia Pictures short of a relaxed and personable McKinley singing that number and introducing his band members, who included Mundell Lowe and Peanuts Hucko. It's well worth seeing. I plan to transfer some of McKinley's records for my other site soon.

Osborne's B-side was her own composition, "What to Do," a moody contrast to "Hoodle Addle." The excellent pianist is Sanford Gold. I've seen the bass playing credited to Frenchy Couette, one of those names that sounds like a jazz pseudonym.

The sound on the single is very good.

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