Adelaide Hall

From Wikipedia, the free encyclopedia - View original article

Adelaide Hall
Adelaide Hall 01.jpg
Adelaide Hall
Background information
Birth nameAdelaide Louise Hall
Born(1901-10-20)20 October 1901 [1]
OriginBrooklyn, New York, United States
Died7 November 1993(1993-11-07) (aged 92)
GenresJazz, Swing, Traditional Pop, Spirituals, Musical Theatre
OccupationsSinger, actress, dancer, nightclub chanteuse
Instrumentsukulele, acoustic guitar
Years active1921–1993
Jump to: navigation, search
Adelaide Hall
Adelaide Hall 01.jpg
Adelaide Hall
Background information
Birth nameAdelaide Louise Hall
Born(1901-10-20)20 October 1901 [1]
OriginBrooklyn, New York, United States
Died7 November 1993(1993-11-07) (aged 92)
GenresJazz, Swing, Traditional Pop, Spirituals, Musical Theatre
OccupationsSinger, actress, dancer, nightclub chanteuse
Instrumentsukulele, acoustic guitar
Years active1921–1993

Adelaide Louise Hall (20 October 1901 – 7 November 1993) was an American-born U.K.-based jazz singer and entertainer. Her career spanned more than seventy years from 1921 until her death and she was a major figure in the Harlem Renaissance.[2][3][4][5][6][7]

Adelaide was born in Brooklyn, New York, to Elizabeth and Arthur William Hall and was taught to sing by her father. She began her stage career in 1921 on Broadway in the chorus line of the Broadway musical Shuffle Along[8][9][10][11][12][13] and went on to appear in a number of similar black musical shows including Runnin' Wild[14] on Broadway in 1923, Chocolate Kiddies in 1925 (European tour) that included songs written by Duke Ellington,[15] My Magnolia on Broadway in 1926,[16] Tan Town Topics with songs written by Fats Waller[17][18] and in Desires of 1927 (American tour in 1927).[19][20]

Marriage, 1924[edit]

In 1924, Hall married a British sailor born in Trinidad, Bertram Errol Hicks. Soon after their marriage he opened a short-lived club in Harlem, New York, called The Big Apple and became her official business manager.[21]

Adelaide Hall and Duke Ellington[edit]

In October 1927, Hall recorded her wordless vocals on Creole Love Call, The Blues I Love To Sing and Chicago Stomp Down with Duke Ellington and his Orchestra.[22] The recordings were worldwide hits and catapulted both Hall's and Ellington's careers into the mainstream.[23][24] On 4 December 1927, Duke Ellington and his Orchestra commenced their residency at Harlem's Cotton Club in a revue called Rhythmania. The show featured Hall singing Creole Love Call.[25] In 1928, Creole Love Call entered the Billboard song charts at #19 (USA) [26] On January 7, 1933, Hall and Duke Ellington and his Famous Orchestra recorded I Must Have That Man and Baby.[27]

Blackbirds of 1928[edit]

In 1928, Hall starred on Broadway with Bill "Bojangles" Robinson[28] in Blackbirds of 1928.[29][30] The show became the most successful all-black show ever staged on Broadway at that time and made Hall and Bojangles into household names.[31] Blackbirds of 1928 was the idea of impresario Lew Leslie, who planned to build the show around Florence Mills in New York after her success in the hit London show Blackbirds but she died of pneumonia in 1927 before rehearsals commenced. Hall was chosen to replace her. The revue originally opened at Les Ambassadeurs Club in New York in January 1928, under the name Blackbird Revue, but in May 1928 it transferred to Broadway's Liberty Theatre (New York City)[32] and was renamed Blackbirds of 1928, where it ran for 518 performances. After a slow start, the show became the hit of the season. Hall's performance of Diga Diga Do, created a sensation. Her mother was so incensed when she went to see the show by her daughter performing what she termed 'risqué dance moves', she tried to stop the show during Adelaide's performance and banned her from appearing in any future performances. The ban only remained for one performance and Adelaide returned triumphantly to her role the following day.[33] It was reported in the press that the shows producer Lew Leslie was so concerned about race violence concerning the controversy surrounding Adelaide's performance that he took out a hefty insurance policy to cover the cast; the most heavily insured were the principals, Adelaide Hall and Bill Robinson.[34] It was this musical that secured Hall's success both in the U.S.A. and in Europe when the production was taken to Paris, France, in 1929, where it ran for three months at the Moulin Rouge.[35][36][37] The French artist Paul Colin illustrated several posters to advertise Blackbirds run at the Moulin Rouge including one titled Le Tumulte Noir - Dancer in Magenta that captures Adelaide's performance beautifully, as she's dancing and waving her arms about.[38] In Europe Adelaide rivalled Josephine Baker for popularity on the European stage.[39] With a music score written by Jimmy McHugh and lyrics written by Dorothy Fields, Adelaide's performances of the songs I Can't Give You Anything but Love, Baby, Diga Diga Do,[33] and I Must Have That Man, made them into household hits and they continued to be audience favourites throughout her long career.

1930 Brown Buddies[edit]

In 1930, Adelaide Hall and Bojangles starred together at New York's Palace Theatre on Broadway for one week.[40][41][42] So successful was Hall's collaboration with Bojangles, in 1930 they were teamed up together again, this time by Marty Forkins (Bojangles manager) to star in another Broadway musical entitled Brown Buddies[43] that opened on Broadway at the Liberty Theatre (New York City),[32] where it ran for four months before commencing a road tour of the States.[44] Dubbed by the press "a musical comedy in sepia", the core of the music was composed by Millard Thomas, but also featured songs composed by Shelton Brooks, Ned Reed, Porter Grainger, J. C. Johnson, J. Rosamund Johnson, George A. Little, Arthur Sizemore and Edward G. Nelson. After an out of town try-out, the musical opened on 7 October at the Liberty Theatre (New York City) and ran a fairly solid run of 111 performances until 10 January 1931.[45]

1931/32 World concert tour[edit]

In 1931, Hall embarked on a world concert tour that visited two continents (America and Europe). The tour was estimated to have performed to over one million people. During the tour she appeared four times at New York's Palace Theatre (Broadway).[46] She was accompanied on stage by two pianists who played white grand pianos. It was during this tour that Hall discovered and employed the blind pianist Art Tatum, whom she brought back to New York with her at the end of the tour.[47][48][49][50] In August 1932, Hall recorded "Strange as it Seems", "I'll Never Be The Same", "This Time it's Love" and "You Gave Me Everything but Love" using Art Tatum as one of her pianists on the recordings.[51][52][53]

1932/33 Larchmont, Westchester County, racist incident[edit]

In the fall of 1932, upon Adelaide's return to New York, Adelaide and her husband purchased the lease on an exclusive freehold residential estate in Larchmont in the New York suburb of Westchester County. As news of Adelaide’s arrival in Larchmont leaked into the local media she began to encounter racist opposition from her white upper middle-class prejudiced neighbours who threatened Court action to have her evicted. After her home was broken into and an attempt was made to set it alight, news of the attack hit national newspaper headlines. After receiving hundreds of letters of support from the American public imploring her to stick it out, Adelaide stood her ground and in a press statement she issued insisted she was a true American citizen as her ancestry could be traced back to the Shinnecock Indian tribe of Long Island [54] and as such she had every right to reside where she wished.[55][56]

1933 American tour[edit]

ADELAIDE HALL TO TOUR THE COAST (Pittsburgh Courier headline) July 22, 1933

Her itinerary included all the principal cities and lasted thirty weeks[57]

1933 World Fair City, Chicago[edit]

Miss Adelaide Hall Captures The World Fair City and They Like It ... quote taken from the Pittsburgh Courier 19 August 1933

"Miss Adelaide Hall, the darling girl with the guitar and the mellifluent voice, again stole into the callous hearts of an analytical public at the Regal theater last week. She charmed them with her voice, her poise and beauty. She has a style of singing 'Stormy Weather' all her own. Chicago belonged to Adelaide for one whole week. And her majesty feigned supreme." Extract taken from the Pittsburgh Courier 19 August 1933, written by Jules Bledsoe.[58]

On 19 August 1933, the fifth annual Bud Billiken Parade and Picnic took place during the prestigious Chicago World Fair. Held by the Chicago Defender local newspaper, African-Americans came out in droves to support the event. The Chicago Defender had named the event after a weekly column in its children’s section written by Willard Motley. Billiken became a symbol of pride, happiness and hope for African American youth. After the famous parade (the largest to date) a huge free picnic event was held in Washington Park that included games, music, entertainment, dancing and ice cream. Performing in concert at the event in front of an estimated 50,000 people was the parade’s guest of honour Adelaide Hall. Also appearing at the event were Cab Calloway, Earl Hines and The Sioux Tribe of Native Americans.[59]

1933 Stormy Weather Revue[edit]

Stormy Weather Revue starring Adelaide Hall

New York, November 29, 1933. "Although crippled from a fall into a manhole while appearing in Boston the week previous to her New York engagement, Adelaide Hall, scintillating star of the Stormy Weather Revue, limps across the stage ahead of an array of stars, which go far to label this revue, about the finest to grace the boards."[60]

In October 1933, for the first time in history the entire floor revue from Harlem's Cotton Club went on tour playing theatre's in principle cities across the US. Irving Mills organised the tour and Adelaide Hall headlined the cast. Other performers on the bill Included The Mills Blue Rhythm Band and George Dewey Washington. The revue was originally called The Cotton Club Parade of 1933 but for the road tour it was changed to the Stormy Weather Revue. As the name implies, the show contained the hit song 'Stormy Weather' written by Harold Arlen and Ted Koehler that had originally been introduced by Ethel Waters earlier that year at the Cotton Club in the Cotton Club Parade of 1933.[61]

1934 Apollo Theater, Harlem - Chocolate Soldiers revue[edit]

"Chocolate Soldiers" opens at the new Apollo Theater, Harlem, starring Adelaide Hall

Harlem, New York, February 14, 1934: "Chocolate Soldiers," a production featuring Adelaide Hall and the Sam Wooding Orchestra, opened at the Apollo Theater in Harlem. The show was produced by Clarence Robinson and garnered great attention and acclaim [62] and helped establish the recently opened Apollo as Harlem's premier theatre.

The Cotton Club Parade, 1934[edit]

In 1934, Hall starred for nine months in The Cotton Club Parade 24th Edition, at Harlem's Cotton Club (New York City)[63] in the largest grossing show that was ever staged there.[64][65][66] In the show she introduced the songs Ill Wind[67] and "As Long As I Live", which Harold Arlen and Ted Koehler wrote especially for her.[68][69][70][71]

European career 1935-38[edit]

Hall arrived in Paris, France, in the fall of 1935[72] and remained living there until 1938. Her husband Bert opened a nightclub for her in Paris called La Grosse Pomme where she frequently entertained.[73][74] 'It held about 200 people. I made this dramatic entrance coming down a spiral staircase from the attic. Nobody knew that all the boxes of wine and tinned food were stored up there with me. I came down the stairs in the most gorgeous costumes you'll ever see, floating in feathers and plumes,' recalled Adelaide during an interview.[75] 'The Quintette du Hot Club de France, featuring Django Reinhardt and Stephane Grappelli, were one of the house bands at the club. At the start of 1936, Hall starred in the Black and White Revue. The show of fifty performers opened in Paris, France. In February, 1936, the production travelled to Switzerland for a tour. The revue was produced by Ralph Clayton, staged by Arthur Bradley and choreographed by ballet master Albert Gaubier and the orchestra was directed by Henry Crowder.[76][77] Adelaide is credited with introducing the dance craze Truckin’ to the Parisians.[78] In 1937, she choreographed her own take on the famous French dance the Can-can and called it the Canned Apple and would perform it at her Montmartre nightclub La Grosse Pomme.[79] In Europe, Adelaide sang with several orchestras including those of Willie Lewis [80] and Ray Ventura and in 1937 (whilst on a trip to Copenhagen) she recorded four songs with Kai Ewans and his Orchestra for the Tono record label.[81]

British career 1938-93[edit]

After many years performing in the U.S.A. and Europe, Hall went to the United Kingdom in 1938[82] in order to take a starring role in a musical version of Edgar Wallace's The Sun Never Sets at the Theatre Royal, Drury Lane.[83][84][85] She was so successful and became so popular with British audiences she stayed and made her home there becoming one of the most popular singers and entertainers of the time. She lived in London from 1938 until her death. On the 28 August 1938, Hall recorded I Can't Give You Anything but Love and That Old Feeling[86] with Fats Waller at London's Abbey Road Studios released on HMV Records OEA6391 and on 10 September 1938, appeared in Broadcast To America with Fats Waller at London's St George's Hall in a live transatlantic radio broadcast.[87][88][89]

On 25 February 1939, BBC TV broadcast Harlem In Mayfair from Adelaide's London nightclub, the Old Florida Club. The cabaret show starred Adelaide. Included on the bill were Esther and Louise, Eddie Lewis, and Fela Sowande with his Negro Choir and Orchestra.[90][91] On 20 May 1939, BBC TV broadcast the cabaret show Dark Sophistication starring Adelaide performing at the Old Florida Club.[92] On 26 August 1939, Adelaide took part in the BBC TV production Kentucky Minstrels that was transmitted live from the 2500-seat RadiOlympia Theatre in London.[93][94] On Friday 1 September 1939, Adelaide was scheduled to appear on BBC TV at 9:00 pm in a live broadcast titled Variety recorded direct from the RadiOlympia Theatre.[95][96] Other performers on the bill Included Nosmo King, The Gordon RadiOlympia Girls, Hubert Murray and Mooney, and Bobby Howell and his Band. However, with war looming, the BBC were instructed by the Government to shutdown broadcasting and at 12:35 the service went off the air for seven years. It appears that the show Variety never took place at RadiOlympia as it was noted in The Times newspaper for the following day (2 September) in the section 'News In Brief' that "RadiOlympia closed at 12:30 yesterday", presumably another result of the country being placed on a war footing.[97] Unexpectedly, the show Variety became one of the first British theatrical casualties of WW2 and part of the mystery surrounding 'what really happened at the BBC on 1 September 1939?' Also during 1939, Adelaide became a featured vocalist with Joe Loss & His Band [98] and through 1939 to 1941, Adelaide headlined the popular BBC Radio variety show, Piccadixie.[99] She also toured the U.K. extensively during these years headlining the Piccadixie British Tour supported by comedian Oliver Wakefield and pianist George Elrick.[100]

During WWII, Adelaide entertained the troops in Europe for the USO (The United Service Organizations Inc.) [101] and the British equivalent ENSA (Entertainments National Service Association) in which she served as a Captain. Her uniform was made by Madam Adele of Grosvenor Street in Mayfair, London.[102]

Hall's career was almost an uninterrupted success. She made over seventy records for Decca,[103] had her own radio series (the first black artist to have a long-term contract with the BBC), and appeared on the stage, in films, and in nightclubs (of which she owned her own in New York, London and Paris).[104] In the 1940s, and especially during World War II, she was hugely popular with both civilian and ENSA audiences[105][106] and became one of the highest paid entertainers in the country, despite the destruction (by a land mine in an air raid) of the London nightclub (the Old Florida Club) owned by her and her husband.[107] Hall has a cameo appearance as a singer in the 1940 Oscar-winning movie The Thief of Bagdad directed by Alexander Korda in which she sings Lullaby of the Princess written by Miklós Rózsa.[84][108][109][110][111][112] In 1943, Adelaide featured in an ENSA radio show broadcast by the BBC titled Spotlight on the Stars during which she was accompanied by the BBC Variety Orchestra. During the show Adelaide mentions how she had just returned home from a tour.[113]

On 20 May 1940, Hall's recording of Careless debuted in the British charts at #30 where it remained for 2 consecutive weeks. On 6 June 1944, Hall's recording of There Goes That Song Again entered the BBC British charts at #15.[114]

Hall appears in the earliest post-war BBC telerecording; a live recording of her performance at RadiOlympia Theatre in October 1947. The footage was filmed on the 'Cafe Continental' stage set at the theatre for a BBC TV show titled Variety in Sepia.[115][116]

In 1948, Hall appeared in a film called A World is Turning, intended to highlight the contribution of black men and women to British society at a time when they were struggling for visibility on our screens. Filming appears to have been halted due to the director's illness and only six reels of rushes remain, including scenes of Hall rehearsing songs such as Swing Low, Sweet Chariot[117] and The Gospel Train[118] (a traditional African-American spiritual first published in 1872 as one of the songs of the Fisk Jubilee Singers).

In 1951, Hall appeared as a guest in the music spot on the first ever British comedy series, entitled How Do You View, starring Terry-Thomas and written by Sid Colin and Talbot Rothwell.[119][120] On 29 October 1951, Hall appeared on the bill of the Royal Variety Performance at London's Victoria Palace Theatre held in the presence of Princess Elizabeth and Princess Margaret.[121] She was the first black female artiste to ever take part in the Royal Variety Performance.[122] In the early 1950s, Hall and her husband Bert opened the Calypso Club in Regent Street, London, and Royalty flocked there.[123] It was reported in the press Princess Elizabeth was a frequent visitor and that Adelaide had taught Princess Elizabeth the Charleston (dance).[124]

Hall appeared in the 1951 London run of Kiss Me, Kate playing the role of Hattie, singing Cole Porter's Another Op'nin', Another Show, and in the 1952 London musical Love From Judy [125] playing the role of Butterfly, singing A Touch of Voodoo, Kind to Animals and Ain't Gonna Marry.[126] In 1956, she returned to London's West End in the play "Someone to Talk To".[127] In 1957, at the request of Lena Horne, Hall returned to America to appear with Lena in the musical Jamaica. The world premiere of Jamaica took place in Philadelphia in September 1957[128] and transferred to Broadway on 31 October. In 1958, Adelaide was cast as one of the lead characters in Rodgers and Hammerstein's new musical Flower Drum Song,[129] but she left the cast before the musical opened and returned to the U.K.[citation needed]

On 1 April 1960, Hall appeared on the BBC TV music show The Music Goes Round hosted by John Watt. The show was an NBA TV version of the radio show Songs from the Shows.[130] On 3 March 1965, Hall appeared on BBC2 television in Muses with Milligan with Spike Milligan and John Betjeman in a show devoted to poetry and jazz.[131][132] In 1968, Hall returned to London's West End in the play Janie Jackson.[133]

Between 1969–70, Hall made two jazz recordings with Humphrey Lyttelton. This was followed by theatre tours and concert appearances; she sang at Duke Ellington's memorial service at St Martin-in-the-Fields in 1974. On 4 January 1974, she appeared on the British TV shows Looks Familiar[134] and What Is Jazz, with Humphrey Lyttelton.[135] On 15 June 1976, she appeared on British TV in It Don't Mean a Thing.[136] and in 1981 appeared on the Michael Parkinson BBC TV show Parkinson.[137] In July 1982, Hall appeared in the TV documentary The Sacred Music of Duke Ellington, a live recording of a concert of sacred music composed by Duke Ellington that was performed in St. Paul's Cathedral. Artists also taking part included Tony Bennett, Phyllis Hyman, Jacques Loussier, Alan Downey, Wayne Sleep, Ronnie Scott, Stan Tracey and the New Swingle Singers.[138] The concert was hosted by Rod Steiger and narrated by Douglas Fairbanks Jr.[139]

In April 1980, Adelaide returned to the USA and from May 1 to 24 she appeared in the cast of Black Broadway (a retrospective musical revue) at the Town Hall in New York. Other artists who appeared in the show included Elisabeth Welch, Gregory Hines, Bobby Short, Honi Coles, Edith Wilson, Nell Carter and John W. Bubbles of Buck and Bubbles fame. The show had originally been staged at the Newport Jazz Festival on June 24, 1979, before it was re-assembled in 1980 and staged at the Town Hall.[140] Following Black Broadway, in June 1980, Adelaide took up temporary residence at Michael’s Pub in New York and commenced a three-week engagement performing three shows a night.[141] Also in June 1980, Adelaide performed at The Playboy Jazz Festival held at the Hollywood Bowl in Los Angeles. Other artists on the bill included Dizzy Gillespie, Herbie Hancock, Stephane Grappelli, Mel Torme, Zoot Sims, Carmen McRae and Chick Corea.[142] On 2 July 1980, writer Rosetta Reitz organized a tribute to the Women of Jazz at Avery Fisher Hall as part of the Newport Jazz Festival. Called The Blues is a Woman, the program, narrated by Carmen McRae, featured music by Adelaide Hall, Big Mama Thornton, Nell Carter and Koko Taylor.[143][144] Back in the States, in February 1983, Adelaide appeared on the bill of the 100th birthday celebration for composer Eubie Blake held at the Shubert Theater, New York. Unfortunately, Blake was recovering from pneumonia at the time so could not attend the event but with the aid of a special telephone hook-up to his home in Brooklyn he was able to listen to the entire two-hour show.[145] On 5 April 1983, Adelaide commenced a month-long engagement at the Cookery in New York. Her accompanists were Ronnie Whyte and Frank Tate.[146]

In 1985, Hall appeared on British TV in the cast of, Omnibus: The Cotton Club comes to the Ritz, a TV documentary in which some of the performers from Harlem's Cotton Club perform at the Ritz Hotel in London with contemporary musicians.[147] In 1985, Hall also appeared on British TV on the South Bank Show in a documentary titled The Real Cotton Club.[148] In July 1986, Hall performed in concert at the Barbican Centre, London.[149]

In October 1988, Hall presented a one-woman show at Carnegie Hall in New York.[150] She presented the same show in London at the Kings Head (Islington) during December 1988.[151] She is one of the very few performers to have made two guest appearances (2 December 1972[152] and 13 January 1991[153]) on the BBC's radio programme Desert Island Discs, BBC Radio 4.[154]

In 1990, Hall starred in the movie called Sophisticated Lady, a documentary about the singer with a performance of her in concert recorded live at the Riverside Studios in London.[155] Her final U.S. concert appearances took place in 1992 at Carnegie Hall, in the Cabaret Comes to Carnegie series. Also in 1992, Adelaide was presented with a Gold Badge Award from BASCA (British Academy of Songwriters Composers and Authors).[156] After attending the award ceremony Adelaide said, “I was so proud to be acknowledged. They said, ‘You look like a Queen. You don’t look more than fifty or sixty. You look so well.’ I wore a sequin suit – different colours – it glittered. I must have been the oldest one there! I ate everything that came along.” [157]

During an extremely long career spanning eight decades, Hall entered the Guinness Book of World Records as the world's most enduring recording artist.[158] Hall performed with major artists such as Art Tatum[159] Ethel Waters, Josephine Baker, Louis Armstrong, Lena Horne, Cab Calloway, Fela Sowande[160] Rudy Vallee [161] and Jools Holland, and has recorded as a jazz singer with Duke Ellington (with whom she made her most famous recording, "Creole Love Call" in 1927)[162] and with Fats Waller.[8][163]

Adelaide Hall died on 7 November 1993, aged 92, at London's Charing Cross Hospital.,[2][164][165][166] Honouring her wish, her funeral took place in New York at the Cathedral of the Incarnation in Garden City and she was laid to rest beside her mother at the Cemetery of the Evergreens in Brooklyn.[167] In London, there was a memorial service held for her at St Paul's, Covent Garden (known as the 'actor's church') at which many stars including Elaine Page, Elisabeth Welch, Lon Satton and Elaine Delmar attended. One of the participants, TV presenter and broadcaster Michael Parkinson, remarked rather fittingly during his eulogy, "Adelaide lived to be ninety-two and never grew old." [168]


Adelaide Hall was one of the major entertainers of the Harlem Renaissance.[169] Along with Louis Armstrong, she pioneered scat singing and is widely acknowledged as one of the world's first jazz singers. Indeed, Ella Fitzgerald regarded her as such.[6] Hall was the first female vocalist to sing and record with Duke Ellington. She holds the accolade of being the twentieth century's most enduring female recording artist, her recording career having spanned eight decades. In 1941, Hall replaced Gracie Fields as Britain's highest paid female entertainer.[6] Hall was loosely portrayed as the nightclub chanteuse in the Francis Ford Coppola 1984 movie The Cotton Club. It was Hall's husband, Bert Hicks, who suggested to Eric Bartholomew's mother that he should change his stage name to Morecambe, after the place of her son's birth, thereby christening the British comic duo Morecambe and Wise.[170] In the '100 Great Records of the 1920s' Adelaide Hall is at number 26 with Duke Ellington's Orchestra singing "The Blues I Love To Sing" (Duke Ellington/Bubber Miley) Victor 21490, 1927.[171]

Underneath a Harlem Moon, 2013[edit]

During 2013, British singer Laura Mvula revealed in a Blues and Soul interview with assistant editor Pete Lewis that her song Sing to the Moon (from her hit debut album Sing to the Moon, RCA/Sony Music) was inspired by the biography of Adelaide Hall by Iain Cameron Williams entitled Underneath a Harlem Moon: The Harlem to Paris Years of Adelaide Hall (2003)

Well, the actual song Sing To The Moon came from a time when I was reading a book called Underneath a Harlem Moon, which is a biography of a jazz singer called Adelaide Hall, which is basically all about how she kind of was overlooked, or probably didn't get the recognition she perhaps deserved. Plus it also talks about how she'd had a hard time growing up, because her sister – who she was very close to – had died tragically of an illness.... So anyway, there's a point in the story where she describes her close relationship with her father, which I think kind of resonated with me - where she talks about the conversations she had with him and how he used to say to her randomly 'Sing to the moon and the stars will shine', which kind of became her thing really that she just took with her everywhere.... And I don't know why, but for some reason it just struck some kind of chord with me - you know, it was just something I seemed to connect with at that time. And so because of that, it then became a saying that I liked to use myself.... So yeah, because it's become something I personally like to express, I just thought Sing To The Moon would also make a good title for the album as a whole.[172]

After Midnight, Broadway musical 2013/14[edit]

A new musical revue After Midnight featuring the classic music of Duke Ellington, Dorothy Fields & Jimmy McHugh, and Harold Arlen premiered to much praise at the Brooks Atkinson Theatre in New York on 3 November 2013 and is presently booking through to 31 August 2014[173][174] The show is an idealized fantasy of Harlem in its 1920s/30's heyday and salutes the black musicians and performers such as Ethel Waters, Adelaide Hall, Cab Calloway, Duke Ellington and the Nicholas Brothers who became international stars during that era.[175] At least three of the songs that Adelaide Hall introduced to the world are performed in the show including the headliner Fantasia Barrinos rendition of I Can't Give You Anything but Love, Baby and Carmen Ruby Floyd's performance of Duke Ellington's and Adelaide Hall's Creole Love Call. The song Diga Diga Do also appears in the show.[176]

A Nite at the Cotton Club, 2014[edit]

A new stage show, A Nite at the Cotton Club produced by Lydia Dillingham opened at the Southern Broadway Diner Theatre at The Historic Hildreth Brothers Building in Alabama, USA in February 2014 in which the actress Brandy Davis portrays Adelaide Hall. The entire run sold out.[177][178]



SongsLabel & NumberDateArtist
"Creole Love Call" / "The Blues I Love to Sing"BVE-39370-1[179]/ BVE-39371-1[180] Victor Records(26 October 1927) (Recorded Victor Studio #1, Camden, NJ )[181]Duke Ellington Orchestra (with vocals by Adelaide Hall)
"I Must Have That Man" / "Baby"BVE-Test-110[182][183](21 June 1928) (Recorded in New York)Adelaide Hall with piano acc. by George Rickman
"Chicago Stomp Down"W81777-A / W81777-B / W81777-C Columbia Records(3 November 1927) (Recorded OKeh session, Union Square, New York City)[181]Duke Ellington Orchestra (with vocals by Adelaide Hall)
"I Must Have That Man" / "Baby"E-28059 / E-28060 Brunswick 4031(14 August 1928) (Recorded in New York)Adelaide Hall acc. by Lew Leslie's Blackbirds Orchestra
"Rhapsody In Love" / "Minnie The Moocher"R-218 / R-221 Brunswick(October 1931) (Recorded in London, UK)Adelaide Hall with piano acc. by Francis J. Carter and Bennie Paine
"Too Darn Fickle" / "I Got Rhythm"R-225 / R-229(October 1931) (Recorded in London, UK)Adelaide Hall with piano acc. by Francis J. Carter and Bennie Paine
"Baby Mine" / "I'm Redhot From Harlem"R-230 / R-232(October 1931) (Recorded in London, UK)Adelaide Hall with piano acc. by Francis J. Carter and Bennie Paine
"Strange As It Seems" / "I'll Never Be The Same"Br 6373 / Br6362 Brunswick(5 August 1932) (Recorded in New York)Adelaide Hall with orchestra acc.
"You Gave Me Everything but Love" / "This Time It's Love"B-12166-A / B-12167-A Brunswick(10 August 1932) (Recorded in New York)Adelaide Hall with piano acc. by Francis J. Carter and Art Tatum
"I Must Have That Man" / "Baby"B-12773-B / B-12774-B CBS(21 December 1932) (Recorded ARC session, New York City)Adelaide Hall with Duke Ellington and his Famous Orchestra
"I Must Have That Man" / "Baby"B-12773-C / B-12774-C Brunswick(7 January 1933) (Recorded Arc session, New York City)[184]Adelaide Hall with Duke Ellington and his Famous Orchestra
"Drop Me Off In Harlem" / "Reaching For The Cotton Moon"BS-78827-1-2 / BS-78828-1-2-3 Victor(4 December 1933)Adelaide Hall with Mills Blue Rhythm Band
"East of the Sun and West of the Moon" / “Solitude”P-77616 / P-77618 Ultraphone AP1575(20 January 1936, Paris)Adelaide Hall with John Ellsworth and his Orchestra (with Joe Turner on piano and Stephane Grappelli on violin
"I’m Shooting High" / “Say You’re Mine”CPT-2649-1 / CPT-2652-1 Pathe PA 914(5 May 1936, Paris)Adelaide Hall with Willie Lewis and his Orchestra
"After You’ve Gone" / “Swing Guitars”CPT-1 / CPT-1 Pathe PA(15 May 1936, Paris)Adelaide Hall with Willie Lewis and his Orchestra
"I’m Shooting High"CPT-1 / Pathe PA(15 October 1936, Paris)Adelaide Hall with Willie Lewis and his Orchestra (Trumpeter Bill Coleman is included on this recording)
"There's a Lull in my Life" / "Medley"K-6001 / K-6001 D-599 Tono (Copenhagen, Denmark)(December 1937)Adelaide Hall with the Kai Ewans Orchestra
"Stormy Weather" / "Where or When"K-6002 / K-6002 Tono (Copenhagen, Denmark)(December 1937)Adelaide Hall with the Kai Ewans Orchestra [185]
"That old Feeling" / "I Can't Give You Anything but Love"HMV (EMI Records)(28 August 1938) (Recorded at Abbey Road Studios, London, UK)Adelaide Hall with organ acc. by Fats Waller

The Decca Years 1939 - 1945[edit]

SongsLabel & NumberRelease Date
"I Have Eyes" / "I Promise You"Decca F-7049(27 April 1939)
"Deep Purple" / "Solitude"Decca F-7083(15 May 1939)
"A New Moon and an Old Serenade" / "Our Love"Decca F-7095(6 June 1939)
"Don't Worry 'Bout Me" / "'Tain't What You Do"Decca F-7121(23 June 1939)
"Transatlantic Lullaby" / "I Get Along Without You Very Well"Decca F-7132(26 July 1939)
"Moon Love" / "Yours For a Song"Decca F-7272(17 October 1939)
"Day In, Day Out"/ "I Poured My Heart Into a Song"Decca F-7304(8 Nov.1939)
"My Heart Belongs to Daddy" / "Have You Met Miss Jones"?Decca F-7305(8 November 1939)
"Serenade In Love" / "Fare Thee Well"Decca F-7340(27 December 1939)
"Where or When" / "The Lady is a Tramp"Decca F-7345(19 January 1940)
"Careless" / "Don't Make Me Laugh"Decca F-7340(11 March 1940)
"Chloe" / "Begin the Beguine"Decca F-7460(15 April 1940)
"This Can't be Love" / "No Souvenirs"Decca F-7501(3 May 1940)
"Who Told You I Cared"? / "Shake Down the Stars"Decca F-7522(31 May 1940)
"Mist On The River" / "Fools Rush In"Decca F-7583(15 August 1940)
"All The Things You Are" / "I Wanna Be Loved"Decca F-7636(9 Oct.1940)
"Goodnight Again" / "Trade Winds"Decca F-7678(12 December 1940)
"Our Love Affair" / "And So Do I"Decca F-7681(12 December 1940)
"Moon For Sale" / "Yesterday's Dreams"Decca F-7708(7 February 1941)
"Ain't it a Shame About Mame"? / "Room Five Hundred and Four"Decca F-7709(7 February 1941)
"It's Always You" / "How Did He Look"?Decca F-7879(23 May 1941)
"Yes, My Darling Daughter" / "The Things I Love"Decca F-7891(23 May 1941)
"I Hear A Rhapsody" / "Mississippi Mama"Decca F-7918(3 July 1941)
"I Yi, Yi, Yi, Yi (I Like You Very Much)" / "Moonlight in Mexico"Decca F-7942(7 August 1941)
"As If You Didn't Know" / "I Take To You"Decca F-8030(5 November 1941)
"Minnie From Trinidad" / "Sand in my Shoes"Decca F-8031(5 November 1941)
"Song of the Islands" / "Pagan Love Song"Decca F-8058(7 November 1941)
"I Don't Want to Set the World on Fire" / "My Sister and I"Decca F-8043(18 November 1941)
"A Sinner Kissed an Angel" / "Why Don't We Do This More Often"?Decca F-8092(2 February 1942)
"Tropical Magic" / "Intermezzo"Decca F-8118(2 February 1942)
"My Devotion" / "Sharing it all With You"Decca F-8263(January 1943)
"Let's Get Lost" / "As Time Goes By"Decca F-8292(1943)
"I Don't Want Anybody at All (If I Can't Have You)" / "I Heard You Cried Last Night"Decca F-8362(6 September 1943)
"Sophisticated Lady" / "I'm getting Sentimental Over You"Decca F-8467(4 August 1944)
"There Goes That Song Again" / "I'm Gonna Love That Guy"Decca F-8517(3 March 1945)

Odeon (Argentina) 1943[edit]

SongsLabel & NumberRelease Date
"Segun Pasan Los Anos (As Time Goes By)" / "Vamos a Perdernos (Let's Get Lost)"Odeon DR-7240/7239(1943)

Columbia (EMI) – 1951[edit]

SongsLabel & NumberDateArtist
"Can't Help Loving That Man Of Mine" / "Bill"Columbia Gramophone Co. (EMI Records)(11 July 1951) (Recorded in London, UK)Adelaide Hall
"How Many Times" / "Vanity"Columbia Gramophone Co. (EMI Records)(11 July 1951) (Recorded in London, UK)Adelaide Hall

Oriole – 1960[edit]

SongsLabel & NumberDateArtist
"Bluebird on my Shoulder" / "Common Sense" [186]Oriole (CB 1556)(May 1960) (Recorded in London, UK) [187]Adelaide Hall


Adelaide Hall:[188]

1970Hall of FameColumbiaB00BTZHK44
1976Hall of EllingtonColumbiaB00BTZ9RPE
1980There Goes That Song AgainDecca – RFL73
1998As Time Goes ByHappy DaysB000025W0L
1990I Touched a StarToroB0057POL5S
1990Hall of MemoriesConifer RecordsB003BFC94Q
1992Hall of Fame (reissue)Living EraB000001HH1
1992Crooning BlackbirdJazz ArchivesB000027ZPN
1994Adelaide Hall - Red Hot from HarlemFlapperB000008B4V
2002A Centenary CelebrationAvidB00005RTCY
2008Adelaide Hall – Live at the Riverside Studios (soundtrack)TER / That's EntertainmentB000003QU1
2011Shooting HighCherished RecordingsB006P6I5EQ
2011The Enduring Charm of Adelaide Hall: Original Recordings 1927-1944Bygone DaysB005T1YAOW
2012The Adelaide Hall Collection 1927 – 1960AcrobatB009H43URU
2013Best of Adelaide HallBringins Music23 April 2013 [189]

Compilation albums that include Adelaide Hall:[188]



Exhibitions that have or are presently featuring content relating to Adelaide Hall:



  1. ^ State records confirm Adelaide Hall's year of birth as 1901
  2. ^ a b Steve Voce (1993-11-08). "Obituary: Adelaide Hall". The Independent (London). Retrieved 2012-06-15. 
  3. ^ Glenn Collins (1993-11-10). "Adelaide Hall, 92, International Star of Cabaret". The New York Times. Retrieved 2012-06-15. 
  4. ^ "Adelaide Hall Biography - Facts, Birthday, Life Story". 1993-11-07. Retrieved 2012-06-15. 
  5. ^ "Underneath a Harlem Moon: The Harlem to Paris Years of Adelaide Hall. Bayou Jazz Lives". 
  6. ^ a b c Stephen Bourne (2003-01-24). "Review: Underneath a Harlem Moon by Iain Cameron Williams | Books". The Guardian (London). Retrieved 2012-06-15. 
  7. ^ "Adelaide Hall Biography". Retrieved 2012-06-15. 
  8. ^ a b "Adelaide Hall", Faces of the Harlem Renaissance, ArtsEdge: Kennedy Center.
  9. ^ "Shuffle Along (1921) | The Black Past: Remembered and Reclaimed". The Black Past. Retrieved 2012-06-15. 
  10. ^ Name. "Shuffle Along-21-Chorusgirls-Adelaide Hall ctr-Noble Sissle-01-f28 « Songbook". Retrieved 2012-06-15. 
  11. ^ "Stage Musicals 1920's - Part 3: New Composers". Retrieved 2012-06-15. 
  12. ^ "Shuffle Along: The Musical at the Center of the Harlem Renaissance - Drop Me Off in Harlem", ArtsEdge, Kennedy Center.
  13. ^ Reside, Doug (2012-02-10). "Musical of the Month: Shuffle Along". The New York Public Library. Retrieved 2012-06-15. 
  14. ^ The Broadway League. "Runnin' Wild". IBDB: The official source for Broadway Information. Retrieved 2012-06-15. 
  15. ^ "Edward K. "Duke" Ellington, African American Composer & Pianist". Retrieved 2012-06-15. 
  16. ^ Frank Cullen (2004). Vaudeville, Old and New: An Encyclopedia of Variety Performers in America. Psychology Press. 
  17. ^ Tan Town Topics review.
  18. ^ "Thomas "Fats" Waller: Performances in Transcription, edited by Paul S. Machlin". Retrieved 2012-06-15. 
  19. ^ Henry Louis Gates, Evelyn Brooks Higginbotham (eds), Harlem Renaissance Lives from the African American National Biography, Oxford University Press, 2009, p. 233.
  20. ^ "'DESIRES OF 1927' A RIOT AT ELMORE...", The Pittsburgh Courier, November 27, 1926.
  21. ^ Iain Cameron Williams, Underneath a Harlem Moon: The Harlem to Paris Years of Adelaide Hall, pp. 66-67. ISBN 0-8264-5893-9.
  22. ^ "Duke Ellington Orch, V=Adelaide Hall - Creole Love Call : Adelaide Hall : Free Download & Streaming : Internet Archive". 2001-03-10. Retrieved 2012-06-15. 
  23. ^ "Adelaide Hall talks about the Cotton Club and Duke Ellington - Video Dailymotion". Retrieved 2012-06-15. 
  24. ^ November 08, 1993 (2001-05-22). "Adelaide Hall, 92; Jazz Singer Performed With Duke Ellington". Los Angeles Times. Retrieved 2012-06-15. 
  25. ^ Iain Cameron Williams, Underneath A Harlem Moon, Chapter 8, pp. 122–24.
  26. ^ USA song chart entry for Creole Love Call (1928):
  27. ^ January 7, 1933. New York. Duke Ellington Panorama.
  28. ^ "Faces of the Harlem Renaissance - Bill 'Bojangles' Robinson", Drop Me Off in Harlem.
  29. ^ "Blackbirds of 1928 Shuffle Along (1921)", Masterworks Broadway.
  30. ^ Adelaide Hall photo at AncientFaces.
  31. ^ The Afro American, May 18, 1929.
  32. ^ a b Liberty Theatre.
  34. ^ Adelaide Hall returns to cast of Blackbirds. Chicago Defender , August 11, 1928
  35. ^ Paul Colin 1929 poster of Adelaide Hall for Moulin Rouge, Paris
  36. ^ Woman's Hour Music Archive: A Celebration of Adelaide Hall, Wednesday 15 January 2003.
  37. ^ Jean Delaurier 1929 lithograph of Blackbirds at the Moulin Rouge performing 'Porgy'
  38. ^
  39. ^ "Adelaide Hall Takes Place of 'Jo' Baker", The Afro American, August 3, 1929.
  40. ^ Programme page from the Palace Theatre 1930.
  41. ^ "White Press Acclaims Adelaide Hall As Packed House Gives Her Great Ovation", The Pittsburgh Courier, February 22, 1930.
  42. ^ ""Bojangles" To Be Starred With Adelaide Hall", The Pittsburgh Courier, January 4, 1930.
  43. ^ Bernard L. Peterson, A Century of Musicals in Black and White: An Encyclopedia of Musical Stage Works by, about or Involving African Americans, Westport, CT: Greenwood Publishing, 1993, pp. 59–60.
  44. ^ "Dancing in 'Brown Buddies'", The Afro American, September 27, 1930.
  45. ^ Brown Buddies playbill.
  46. ^ Iain Cameron Williams, Underneath a Harlem Moon, pp. 389, 390 & 395. Hall appears four times during her 1931/32 world tour - February (with Noble Sissle), April, July & November.
  47. ^ Jazz Profiles from NPR: Art Tatum.
  48. ^ Art Tatum biography, PBS.
  49. ^ Bret Primack, "Art Tatum: No Greater Art Talkin' Tatum with Hank Jones, Billy Taylor, Dick Hyman, Adam Makowicz", JazzTimes, January/February 1998.
  50. ^ "Art Tatum".
  51. ^ "Adelaide Hall - You Gave Me Everything But Love (1932)" on YouTube.
  52. ^ "More Than a Handful – The Incomparable Art Tatum", 17 July 2011.
  53. ^ "Art Tatum, One of the great jazz pianists of all time", African American Registry.
  54. ^ Adelaide Hall twits white neighbours on their ancestry (article retrieved) the Afro American, 27 August 1932 -,7329768
  55. ^ Why can’t the stars live where they please? (article retrieved) The Afro American, 3 August 1935 -,6701658
  56. ^ Adelaide Hall interview – Why I Moved to London (article retrieved) Baltimore Afro American, 9 July 1946 -,3017341
  57. ^ Chappy Gardner, "ADELAIDE HALL TO TOUR THE COAST", The Pittsburgh Courier, July 22, 1933.
  58. ^ "State Street, Chicago - Miss Adelaide Hall Captures The World Fair City and They Like It", The Pittsburgh Courier, August 19, 1933.
  59. ^ The 1933 Chicago World's Fair - Century of Progress, by Cheryl Ganz, published by University of Illinois Press, (January 6, 2012) ISBN 0252078527. Adelaide Hall at the Billiken parade and Picnic reference on page 115:
  60. ^ "'Stormy Weather' Revue stars Adelaide Hall", The Pittsburgh Courier, December 2, 1933 (retrieved):
  61. ^ Adelaide Hall with Cotton Club revue, article in the Afro American newspaper, 23 September 1933, page 18 (retrieved):,9375602
  62. ^ Article about producer Clarence Robinson and his involvement with Harlem’s Apollo Theater and the show Chocolate Soldiers starring Adelaide Hall (retrieved):
  63. ^ "The Cotton Club". St. James Encyclopedia of Pop Culture. 2002. 
  64. ^ Adelaide Hall talks about 1920's Harlem and Creole Love Call" on YouTube.
  65. ^ Steven Watson, "The Harlen Renaissance".
  66. ^ Kennet B. Hilliard, "The Impact of the Music of the Harlem Renaissance on Society". Yale-New Haven Teachers Institute.
  67. ^ Ill Wind at
  68. ^ The 1934 Cotton Club Parades.
  69. ^ Harold Arlen website.
  70. ^ Gramophone, August 1934, p. 40.
  72. ^ "Adelaide Hall And Meeres & Meeres Off For London", The Pittsburgh Courier, November 30, 1935.
  73. ^ "Performer Adelaide Hall and her husband/manager, Bert Hicks, owned a nightclub in Montmartre called La Grosse Pomme...", Midnight in Paris.
  74. ^ "Django's Haunts", Paul Vernon Chester.
  75. ^ Quote used in Adelaide Hall obituary the Independent newspaper, 08 November 1993 (retrieved):
  76. ^ Allardyce Barnett.
  77. ^ Dansk filmdatabase.
  78. ^ Adelaide Hall introduced Truckin’ to Paris – article (retrieved) Baltimore Afro-American, 6 November 1993 -,3403220
  79. ^ Adelaide Hall shows Paris Canned Apple (retrieved article) The Afro American, 25 December 1937 -,4341116
  80. ^ Adelaide Hall and Willie Lewis and his Entertainers recording of Say You're Mine.
  81. ^ Kai Ewans Orchestra with Adelaide Hall singing 'Where or When':
  82. ^ "Why I Moved to London, How America's Peculiar Brand of Democracy Forced a Brooklyn Girl to Live in Europe" - article by Douglass Hall (with a large photograph of Adelaide Hall) Baltimore Afro-American, p. 5, 9 July 1946.
  83. ^ IMDb.
  84. ^ a b "Hall, Adelaide (1901-1993), Actor, Singer", BFI ScreenOnline.
  85. ^ Adelaide Hall biography at 100 Great Black Britons.
  86. ^ "That Old Feeling" sung by Adelaide Hall with Fats Waller playing the organ on YouTube.
  87. ^ Broadcast To America released on CD in 2012.
  88. ^ "On The Air: 1938 Broadcasts", The Jazz Loft.
  89. ^ Thomas Cunniffe, "Fats Waller At The Pipe Organ".
  90. ^ Saturday 25 February 1939, Radio Times BBC TV listings, retrieved:
  91. ^ Adelaide Hall interview in Radio Times, 17 February 1939, page 15. The article under the heading, 'Don't Call Them Crooners', includes a photograph of Adelaide; retrieved:
  92. ^ Saturday 20 May 1939, Radio Times BBC TV listings, retrieved:
  93. ^ Radio Times,18 AUGUST 1939 page 17,BBC TV listings retrieved:
  94. ^ The Kentucky Minstrels: IMBD Kentucky Minstrels film reference
  95. ^ BBC TV programme listings for 1 September 1939:
  96. ^ Radio Times, issue 25 August 1939, page 21 – retrieved:
  97. ^ Article – 'What really did happen that day in 1939, when the BBC Television Service closed down for the duration of the conflict?'
  98. ^ The new-featured vocalist in Joe Loss's broadcasts is one of America's veterans of jazz singing, her career dating back to the first big Negro revue, Shuffle Along, produced on Broadway in1921. Ref: Joe Loss biography in which Adelaide Hall is mentioned as being a featured vocalist in his band:
  99. ^ PIccadixie (Variety) 12.00 midnight radio show. General Listening Barometer, Week 28, Sunday 6th July 1943. Subject to the limitations of sampling, the figures below show the percentage of the whole adult population of Great Britain who listened to each item. PROGRAMME FOR THE FORCES HOME SERVICE
  100. ^ Piccadixie poster: Piccadixie. Performers: Adelaide Hall (singer), Oliver Wakefield (comedian), George Elrick (musician). New Empress Theatre, Brixton, London. 8.12.1941:
  101. ^ Baltimore Afro-American newspaper, 13 November 1993, page B7, Article by Ida Peters, mentions Adelaide Hall entertained the troops in Europe for the USO (retrieved);,3
  102. ^ See exhibition resources pack for 'Keep Smiling Through', which has references to Adelaide entertaining the troops during WWII and her famous uniform.
  103. ^ Prestige Records Discography: 1933-1948.
  104. ^ YouTube - Adelaide Hall.
  105. ^ Stephen Bourne, "When Adelaide Hall Went to War", WW2 People's War, BBC.
  106. ^ "Home Front - Songs From World War II".
  107. ^ "Music from The Old Florida Club".
  108. ^ "Adelaide Hall (1901–1993)", IMDb.
  109. ^ "Thief of Bagdad, The (1940)", Cast and credits, BFI Screenonline.
  110. ^ "The Thief of Bagdad (1940) movie download", Gesualdo.
  111. ^ The Thief of Bagdad (1940), Dramatic Vocalise Database.
  112. ^ Miklós Rózsa interview explaining how he came to write the score for The Thief of Bagdad
  113. ^
  114. ^ WW2 People's War, BBC.
  115. ^ "Adelaide Hall - Variety In Sepia - October 1947" on YouTube.
  116. ^ A view of the 'Cafe Continental' stage set in the television studio at RadiOlympia Theatre, London, September 1947. Getty Images:'s/the-first-radiolympia-since-the-war-30-september-1947-the-nieuwsfotos/102730194
  117. ^ "Adelaide Hall - "Swing Low, Sweet Chariot" (1948)" on YouTube.
  118. ^ "Adelaide Hall at the Nightingale Club, London (1948)" Video on YouTube.
  119. ^ "British Programmes".
  120. ^ "How Do You View?" at Television Heaven.
  121. ^ The Royal Variety Performance, 29 October 1951, Victoria Palace Theatre, London.
  122. ^ A mention of Adelaide Hall being the first black female artiste to appear on the bill of the Royal Variety Performance is included in this list of awards, honours and firsts for British black female artistes:
  123. ^ Louis Lautier, "Capital Spotlight", Baltimore Afro-American, 14 October 1952, p. 17.
  124. ^ Jet, 15 May 1952, p.66.
  125. ^ Caricature drawing of Adelaide Hall in her role as Butterfly in Love From Judy drawn by Gilbert Sommerlad held in the V&A Collection Archive:
  126. ^ Love From Judy - The Guide to Musical Theatre.
  127. ^ New York Times obituary for Adelaide Hall, which lists some of her stage performances (retrieved)10 November 1993:
  128. ^ "Lena Horne and Jamaica in Philly world premiere" (with a large photograph of Lena, Adelaide and Ricardo Montalban), Washington Afro-American newspaper, 3 September 1957, p. 33.
  129. ^ "Adelaide Hall in new musical", Washington Afro-American, August 12, 1958.
  130. ^ TV pop diaries:
  131. ^ William S Peterson, John Betjeman: a bibliography, Oxford University Press, 2006, p. 366.
  132. ^ "Muses With Milligan - BBCtv 1965 - Restoration Split Screen Demo" on YouTube.
  133. ^ New York Times obituary for Adelaide Hall, which lists some of her stage performances (retrieved) 10 November 1993:
  134. ^ Looks Familiar at BFI.
  135. ^ What Is Jazz? at BFI.
  136. ^ It Don't Mean a Thing credits, BFI.
  137. ^ Parkinson: 300 credits, BFI.
  138. ^ The Sacred Music of Duke Ellington credits, BFI.
  139. ^ The Sacred Music of Duke Ellington concert at St. Paul's Cathedral, London, 1982: Library of Congress details for the event:
  140. ^ A Century of Musicals in Black and White: An Encyclopedia of Musical Stage by Bernard L. Peterson, pages 40 – 41 – Black Broadway cast details etc.;
  141. ^ New York magazine, 2 June 1980, page 94, listing for Michael’s Pub (retrieved):'s+Pub+New+York+1980&hl=en&sa=X&ei=NmRqU7vXD8KbPZ6wgOAF&ved=0CEIQ6AEwAg#v=onepage&q=adelaide%20hall%20at%20Michael's%20Pub%20New%20York%201980&f=false
  142. ^ Born to Play: The Ruby Braff Discography and Directory of Performances (Studies in Jazz) by Thomas P. Hustad – page 397, published by Scarecrow Press, ISBN 0810882647 (3 May 2012):
  143. ^ New York magazine, page 109, listings (retrieved):
  144. ^ Newport Jazz festival: September 1980, ‘The Blues is a Woman’ article in Ebony magazine, pages 94 – 98. A photograph of Adelaide Hall performing at the event is on page 96,:
  145. ^ Pianist Eubie Blake feted as he hits century mark (Billboard article, 19 February 1983, retrieved):
  146. ^ ‘In and Around Town’ by Ruth Gilbert, New York magazine, page 28: Adelaide Hall at the Cookery:
  147. ^ "Omnibus: The Cotton Club Comes to the Ritz (1985)", BFI.
  148. ^ The South Bank Show series episode details: The Real Cotton Club: Library of Congress:
  149. ^ Photograph of Adelaide Hall onstage at the Barbican Centre, July 1986:
  150. ^ Wilson, John S. (1988-10-14). "Review/Music; Adelaide Hall Opens Weill Cabaret Bill". The New York Times. 
  151. ^ Adelaide Hall (King's Head, Islington,) review in The Spectator magazine, page 45, 10 December 1988
  152. ^ "Adelaide Hall, Actor, Jazz singer", Desert Island Discs, 2 December 1972.
  153. ^ "Adelaide Hall, jazz singer", Desert Island Discs, 13 January 1991.
  154. ^ Castaway Archives, Desert Island Discs.
  155. ^ "Jazz on a Summer's Night: Sophisticated Lady (1990)", BFI.
  156. ^ Gold Badge Award list for 1992:
  157. ^
  158. ^ Adelaide Hall enters Guinness Book of World Records as the World's most enduring recording artiste.
  159. ^ "Art Tatum - Strange As It Seems (1933)" on YouTube.
  160. ^ "Fela Sowande", International Opus.
  161. ^ Adelaide Hall interview in Radio Times, 17 February 1939, page 15. The article under the heading, 'Don't Call Them Crooners', includes a photograph of Adelaide and it mentions performers she had recorded and performed with including Rudy Vallee; retrieved:
  162. ^ "Duke Ellington & His Orchestra - Creole Love Call - Victor 21137" on YouTube.
  163. ^ Ken Dryden, "Fats Waller: Fats Waller on the Air 1938 Broadcasts (2009)", AllAboutJazz, 7 April 2010.
  164. ^ "Adelaide Hall ... the real first Lady of Jazz".
  165. ^ Glenn Collins, "Adelaide Hall, 92, International Star of Cabaret", New York Times, November 10, 1993.
  166. ^ Died, Adelaide Hall (brief article), Time, Inc., November 22, 1993.
  167. ^ Adelaide Hall grave at the Cemetery of the Evergreens, Brooklyn:
  168. ^ Brooklyn Eagle 'On This Day In History' article:
  169. ^
  170. ^ "The Wonderful Girls In Our Lives", 1973, Morecambe & Wise.
  171. ^
  172. ^ BluesandSoul interview/feature with Laura Mvula.
  173. ^
  174. ^
  175. ^ Variety Broadway review of After Midnight
  176. ^ Isherwood, Charles (3 November 2013). "'After Midnight,' on Broadway, Fetes the Heyday of an Era". The New York Times. 
  177. ^
  178. ^!brandybio/cmc2,
  179. ^ Matrix BVE-39370. Creole love call / Duke Ellington Orchestra.
  180. ^ Matrix BVE-39371. Blues I love to sing / Duke Ellington Orchestra.
  181. ^ a b Ellington 78 rpm Labels -1927 recordings.
  182. ^ Matrix BVE-Test-110. Must have that man / Adelaide Hall.
  183. ^ Matrix BVE-Test-111. Baby / Adelaide Hall.
  184. ^ Ellington 78 rpm Labels, 1933 – 1934 recordings.
  185. ^
  186. ^
  187. ^ Oriole catalogue.
  188. ^ a b Adelaide Hall Discography, CD Universe.
  189. ^ iTunes
  190. ^ Show Boat at CastAlbums.
  191. ^ Jamaica at CastAlbums.
  192. ^ Lew Leslie's Blackbirds of 1928 at CastAlbums.
  193. ^ Cole Porter Centennial Gala Concert at CastAlbums.
  194. ^ Prewar Vocal Jazz Story 1923 – 1945 at
  195. ^ Moulin Rouge: Original music and songs at
  196. ^ Complete Original American Decca Recordings at
  197. ^ CD Universe.
  198. ^ Love From Judy at CastAlbums.
  199. ^ Imperial War Museum.
  200. ^ Helia Ebrahimi, "Women and War exhibition", MailOnline.
  201. ^ The Queen opens the exhibition "Women and War", Imperial War Museum, 14 October 2003.
  202. ^ "Dress is more", Latest 7.
  203. ^ Little Black Dress Exhibition.
  204. ^ "Adelaide Hall (1901-1993)", Devotional.
  205. ^ Devotional, National Portrait Gallery.
  206. ^ "Little Black Dress at the Fashion & Textile Museum", Sunday 22 June 2008. London SE1 Community Website.
  207. ^ "New exhibition", ItzCaribbean.
  208. ^ Previous exhibitions – "Keep smiling through: black londoners on the home front 1939 to 1945", The Cuming Museum.
  209. ^ Angie Macdonald, "Keep Smiling Through", 11 April 2008.
  210. ^ "Keep Smiling Through: Black Londoners on the Home Front 1939-1945", All In London.
  211. ^ "Jazzonia & the Harlem Diaspora, Curated by Diana Rodriguez & Judith Waring", Chelsea Space.
  212. ^ "Art College Hosts Jazzonia And The Harlem Diaspora Exhibition", Jazzwise, 8 July 2009.
  213. ^ Lalayn Baluch, "London Palladium hosts exhibition celebrating black performance history", The Stage, June 19, 2009.
  214. ^ "Fluid Locations: Discussing Archives and Representation with Sonia Boyce – Sally Frater".
  215. ^ "Oh Adelaide!" Vimeo
  216. ^ "There is no archive in which nothing gets lost". Art & Education.
  217. ^ "There is no archive in which nothing gets lost". Museum of Fine Arts Houston.
  218. ^ Carrie Marie Schneider, "Inter(re)view with Sally Frater, curator of 'There is no archive in which nothing gets lost'", Glasstire, November 4, 2012.
  219. ^ Marianne Vlaschits, "Creole Love Call", ViertelNeun Gallery.
  220. ^ Museum Kurá Hulanda.
  221. ^ Sonia Boyce, "Scat: Sound and Collaboration", Iniva.
  222. ^ "Scat: Sound and Collaboration", 5 June – 27 July 2013, Iniva.

External links[edit]