I'll try to add something here that I hope will enhance your enjoyment of this fine singer. I had the great pleasure of knowing the lady for about 3 years just before she cut this album for Capitol. Her birth name was Marian Runnels, but she was known in her family and on stage at that time as "Pepe Runnels." That's the name I knew her by. I believe she told me once how she got the nickname "Pepe," but I've forgotten. I think I mostly imagined it had something to do with her upbeat personality. In the early 1960's I was a young (22 year-old) recording engineer at a studio in Columbus, Ohio called by the prosaic name Magnetic Services Corporation. The owner was a technical genius, as well as a member of a very wealthy family, and as a result, we had the finest equipment between Chicago and Nashville at the time, our control-room mixers one of a kind hand built by the owner, and so we were well known in the local jazz community, and also by quite a few of the better jazz, rock, gospel, and country performers of the era in that part of the country. Pepe was a traveling performer then, and she would book in at the best hotel lounges in cities around the mid-west and south-east. As you know, she had that silky, smokey, deep voice that went so well in the clubs. I can also tell you that she brooked no BS from the mostly appreciative audiences that she attracted. She could be spirited, and hecklers were promptly shut down. I always went to see her whenever she came to town, and we became acquainted. Since I had the keys to the studio, Pepe and I and some of the local musicians who worked with her would occasionally go there after her last set at the lounge was over, and just mess around making impromptu recordings. I still have some of them, although they are not professionally produced, finished recordings. Mostly just messing around. I'd thread up the recording machines, mike Pepe and the musicians, and just let it roll. A good bit of them are partial songs, as they would begin and sing a few bars, and Pepe would experiment, and then stop and say something like, "Well, I just messed it up right there!" We all had a good time until we were so tired we could no longer keep awake, then we'd break it up. Pepe and I became great friends, and I'd meet her for lunch often (breakfast for her...she worked at night, so she wasn't an early riser), and we'd eat and talk and laugh. We made up drama stories we said we were going to write down and try to publish, but of course that never happened, but it made for fun table talk. As you would expect from her singing style, she was a very creative person. I enjoyed her company very much indeed, but she'd be in town for a week or so, and then head off to Chicago, or Detroit, or Cleveland and I wouldn't see her for a few months, then she'd be back in town, and we'd start up where we left off. She was always a fine lady, perhaps sexy as a singer, but strait-laced personally, yet always had a ready smile. She didn't smoke, I don't remember her drinking, except perhaps a glass of wine with a meal, she didn't do drugs...she was always a class act. Then I didn't see her for a long time, and eventually went on with my life in a different field (I was a business major). Much later, I was dismayed to find that she had passed away just a few months before I began a project to find out where she was and what she was doing. Of course, she had been doing very well indeed in Europe. I managed to contact Laurie Holloway, her husband (a wonderful pianist, and band leader in England) and sent him copies of my little recordings. They weren't really much, but I'm sure he could tell they were recordings of Marion (as she spelled her name later) without a doubt. I miss her. I miss her performances. I miss her friendship. If you were lucky enough to see her in person, you'll know that she was a great show lady. If you were luck enough to know her, then you will miss her too. She certainly made a mark in the jazz scene, one only she could have made.
Marian died several years ago of lung cancer due to cigarette smokers in clubs. I've had this album since 1963 and it is BY FAR the best jazz album I've ever heard. Such a great jazz interpreter. Never anyone like her. Good Morning Heartache....geez makes you want to rip your heart out!
Marian uses her voice as a rare expressive instrument and her smooth sugar-coated, blues influence opens new doors for jazz. She's young on this album but her later stuff reflects a real maturity - pure class - what a talent!
Yes, a good LP, even though she's only just developing her style. You can hear her moving away from the notes already. But a few years later she's all round them, holding off them for what seems like an eternity. Sublime.
Yes I recently re- discovered her when Marion appeared on a Matt Monroe special on a nostalgia station on TV. I remember her in my teens and had forgotten her unique voice.
This was her first album and came out in '62 or '63, I was nine or ten. She sent us a rough cut album, white cover and only one side recorded and we wore it out. Actually found it a few months ago when sorting through my mama's, her sister, record collection. I'm so happy to find the entire album added here, thanks to whoever had the good fortune to have an unscratched copy....as I said, I wore mine out. You've made me very happy and filled my heart with sweet memories.
This was the first Jazz singer I listened to when I was 16 in 65. My step father had the record and I listened to it a lot. I am thrilled to find it here. Please tell us a little about how her career worked out.
Ive just found this gem of an album, She was absloutely stunning, What artistry, Mr Fitch is sensational, Luckily I met Marion one time still in awe, God Bless,Tony still entertaining I hope XXX
(From the album cover)Musicians:leader, organ and piano - Dick Hymantenor sax - Sam "the man" Taylortrumpet - Joe Newmandrums - Osie Johnsonalternating on guitar - Kenny Burrell and Chuck Waynealternating on bass - George Duvivier, Milt Hinton and Joe Benjaminpercussion (alternating on conga and bongos) - Joe Venuto, Phil Kraus, and Willie RodriguezRecorded in Capitol's New York Studios on Feb 16, 17, 18, 19 , 1963Recording Engineers: Bob Arnold and John KrausProduced by Dave Cavanaugh and Bill Miller
How odd - I first heard this record on November 15th 1969 (a World Record/EMI production) I am listening to this on 16th November 2023. A nice record helped by Sam The Man Taylor in the band.
It was recorded in America, it's years since I had the LP but Dick Hyman was on some of the sessions and Sam "The Man" Taylor on tenor. I think it was recorded at two sessions in 1962
I'll try to add something here that I hope will enhance your enjoyment of this fine singer. I had the great pleasure of knowing the lady for about 3 years just before she cut this album for Capitol. Her birth name was Marian Runnels, but she was known in her family and on stage at that time as "Pepe Runnels." That's the name I knew her by. I believe she told me once how she got the nickname "Pepe," but I've forgotten. I think I mostly imagined it had something to do with her upbeat personality. In the early 1960's I was a young (22 year-old) recording engineer at a studio in Columbus, Ohio called by the prosaic name Magnetic Services Corporation. The owner was a technical genius, as well as a member of a very wealthy family, and as a result, we had the finest equipment between Chicago and Nashville at the time, our control-room mixers one of a kind hand built by the owner, and so we were well known in the local jazz community, and also by quite a few of the better jazz, rock, gospel, and country performers of the era in that part of the country. Pepe was a traveling performer then, and she would book in at the best hotel lounges in cities around the mid-west and south-east. As you know, she had that silky, smokey, deep voice that went so well in the clubs. I can also tell you that she brooked no BS from the mostly appreciative audiences that she attracted. She could be spirited, and hecklers were promptly shut down. I always went to see her whenever she came to town, and we became acquainted. Since I had the keys to the studio, Pepe and I and some of the local musicians who worked with her would occasionally go there after her last set at the lounge was over, and just mess around making impromptu recordings. I still have some of them, although they are not professionally produced, finished recordings. Mostly just messing around. I'd thread up the recording machines, mike Pepe and the musicians, and just let it roll. A good bit of them are partial songs, as they would begin and sing a few bars, and Pepe would experiment, and then stop and say something like, "Well, I just messed it up right there!" We all had a good time until we were so tired we could no longer keep awake, then we'd break it up. Pepe and I became great friends, and I'd meet her for lunch often (breakfast for her...she worked at night, so she wasn't an early riser), and we'd eat and talk and laugh. We made up drama stories we said we were going to write down and try to publish, but of course that never happened, but it made for fun table talk. As you would expect from her singing style, she was a very creative person. I enjoyed her company very much indeed, but she'd be in town for a week or so, and then head off to Chicago, or Detroit, or Cleveland and I wouldn't see her for a few months, then she'd be back in town, and we'd start up where we left off. She was always a fine lady, perhaps sexy as a singer, but strait-laced personally, yet always had a ready smile. She didn't smoke, I don't remember her drinking, except perhaps a glass of wine with a meal, she didn't do drugs...she was always a class act. Then I didn't see her for a long time, and eventually went on with my life in a different field (I was a business major). Much later, I was dismayed to find that she had passed away just a few months before I began a project to find out where she was and what she was doing. Of course, she had been doing very well indeed in Europe. I managed to contact Laurie Holloway, her husband (a wonderful pianist, and band leader in England) and sent him copies of my little recordings. They weren't really much, but I'm sure he could tell they were recordings of Marion (as she spelled her name later) without a doubt. I miss her. I miss her performances. I miss her friendship. If you were lucky enough to see her in person, you'll know that she was a great show lady. If you were luck enough to know her, then you will miss her too. She certainly made a mark in the jazz scene, one only she could have made.
Lovely comment👍
Glad to finally know her.
Marian died several years ago of lung cancer due to cigarette smokers in clubs. I've had this album since 1963 and it is BY FAR the best jazz album I've ever heard. Such a great jazz interpreter. Never anyone like her. Good Morning Heartache....geez makes you want to rip your heart out!
One of the best jazz voices ever!!!! Husky & silky at the same time.....sublime.
Marion has the best version of "When Sunny Gets Blue" A truly great and underrated singer. Great to have her album on You tube.
Fun fact. She sings the voice of a cartoon in a children' song called Tropic Island Hum. Sadly she died before it was commercially released.
Marian uses her voice as a rare expressive instrument and her smooth sugar-coated, blues influence opens new doors for jazz. She's young on this album but her later stuff reflects a real maturity - pure class - what a talent!
Yes, a good LP, even though she's only just developing her style. You can hear her moving away from the notes already. But a few years later she's all round them, holding off them for what seems like an eternity. Sublime.
Sade is the only singer who gives me similar whispery vibes.
Yes I recently re- discovered her when Marion appeared on a Matt Monroe special on a nostalgia station on TV. I remember her in my teens and had forgotten her unique voice.
When Sunny Gets Blues. O máximo!!!! Melhor gravação!
This was her first album and came out in '62 or '63, I was nine or ten. She sent us a rough cut album, white cover and only one side recorded and we wore it out. Actually found it a few months ago when sorting through my mama's, her sister, record collection. I'm so happy to find the entire album added here, thanks to whoever had the good fortune to have an unscratched copy....as I said, I wore mine out. You've made me very happy and filled my heart with sweet memories.
+Clair Cronia My absolute pleasure Clair. It would had been an act of utter selfishness if I had kept this incredible album to myself.
This was the first Jazz singer I listened to when I was 16 in 65. My step father had the record and I listened to it a lot. I am thrilled to find it here. Please tell us a little about how her career worked out.
Ive just found this gem of an album, She was absloutely stunning, What artistry, Mr Fitch is sensational, Luckily I met Marion one time still in awe, God Bless,Tony still entertaining I hope XXX
Love this and I found it. Thanks Mita you are super. Love Mary K. Technology is great !!
Wow! I did not know these songs but I love them way more than I could have known! Thank you! ✨🤍✨👌🏻
Très chic, thanks.
Maravilhosa!!!!!!!!!!!!!!!!!!!!!!!!
(From the album cover)Musicians:leader, organ and piano - Dick Hymantenor sax - Sam "the man" Taylortrumpet - Joe Newmandrums - Osie Johnsonalternating on guitar - Kenny Burrell and Chuck Waynealternating on bass - George Duvivier, Milt Hinton and Joe Benjaminpercussion (alternating on conga and bongos) - Joe Venuto, Phil Kraus, and Willie RodriguezRecorded in Capitol's New York Studios on Feb 16, 17, 18, 19 , 1963Recording Engineers: Bob Arnold and John KrausProduced by Dave Cavanaugh and Bill Miller
How odd - I first heard this record on November 15th 1969 (a World Record/EMI production) I am listening to this on 16th November 2023. A nice record helped by Sam The Man Taylor in the band.
Good one. I saw her live at Ronnie Scott's
Subscribed, totes!
So great! She was so great. Sexy sound!
It is very chic. Sorry not more of it around today.
Uau!!!!
!!!!!!!!!!!!!!!!!
Would anyone have setails of the members of the band? Is it Laurie's band?
I'm bound to be wrong, but at times the trumpeter sounds like Humph!
It was recorded in America, it's years since I had the LP but Dick Hyman was on some of the sessions and Sam "The Man" Taylor on tenor. I think it was recorded at two sessions in 1962
One of the many reasons why I hate smokers - passive smoking from singing in many venues killed her! A celestial talent, sorely missed......