Cora Woods

By Marv Goldberg

© 2024 by Marv Goldberg

This will be another short one. Cora Woods was on the music scene for some 25 years, and was very popular in San Antonio, Texas. However, there are very few ads for her and very few mentions in the press. Many of you know the four records she made for Federal, but not the ones she'd done for Bluebird in the late 1930s.

NOTE: Cora Woods was a homebody. The only ads I could find were for appearances in Texas, mostly in her home town of San Antonio. There's only one blurb that said she appeared anywhere else, and that wasn't until 1966. Therefore (unless I note otherwise), assume all her appearances were in San Antonio. Also (unless I note otherwise), all newspaper blurbs are from the San Antonio Register.

Cora Estell Woods was born in San Antonio, Texas, on February 16, 1919, the only child of Aderson Woods and Corine Randle. It turns out that the midwife who filled out her birth certificate wasn't very good at spelling: she was "Corra", her mother was "Corrine", and even Bexar County (where San Antonio is) came out as "Bear". Note that her name was also spelled "Corra" on her father's World War 2 draft registration. Since it appears both ways, I'm not sure if her middle name was "Estelle" or "Estell".

Her father, according to the 1920 census, was a shoe repairman named "Addison Woods". However, the census-taker got it wrong (as they usually do); his name was actually Aderson (at least that's what he signed on his World War 2 draft registration), sometimes seen as "Adderson". But when he registered with the draft in World War 1, they wrote down "Anderson Walter Woods" (although he signed "Aderson Walter Woods"). At that time he was a car cleaner for the San Antonio Traction Company, and that's also how he appeared in the 1914 City Directory. In the 1920 census, as "Addison", he was enumerated at Fort Sam Houston in San Antonio, as someone who repaired shoes for the army in the Salvage Warehouse Zone Supply Office. He says he's married, but there's no wife (or Cora either). Strangely, he was put down as white. In 1926, he was a boilermaker's helper. In 1930, he was some sort of railroad laborer. In 1940, he was a gardener and a yardman. On his World War 2 registration, however, he said he had no middle name; in other places, he's Aderson D. Woods. On his death certificate, he was called a minister.

Cora's mother was Corine Randle, sometimes seen as "Corrine", "Corinne", and "Randal". Aside from their names being garbled, so was their relationship. In the 1918 City Directory, Aderson and Corine appear as married, as they do in 1922, 1926, and 1927, but in 1929, she's not listed at all.

In the 1930 census, Cora and her father ("Adderson") were still living in San Antonio. He's a railroad laborer and says he's a widower. However, although I can't find Corine, the "widower" part was a lie. Corine Randle Woods died in 1974; the informant on her death certificate was Cora Woods. Actually, Corine Woods never shows up in any census. While Aderson said he was "single" in the 1940 census, it would change to "divorced" on his death certificate (on which Cora was, once again, the informant). If nothing else, this shows that Cora remained close with both her parents.

The first time Cora Woods appears in print is in the December 18, 1931 San Antonio Register. She was mentioned in a list of Douglass Junior-Senior School students who received honorable mention for their grades. In the next couple of years, she was mentioned as being in various clubs, on the honor roll, and in several school plays. Here's an example from the January 19, 1934 Register:

The Girl Who Forgot, played at the Senior School auditorium, was declared to be "good" by those who saw it. The interesting thing about that performance is the fact that REAL tears were shed by Rose, The Girl Who Forgot, during one of the trying emotional scenes. There was no magic there. Cora Woods, the young lady who portrayed the part of Rose, put herself so deeply in to the character that when the script called for sobbing, Cora just couldn't hold back REAL tears. When acting becomes so realistic as that the actor is classed as a STAR.

She would go on to graduate from Phyllis Wheatley Senior School in 1935.

But finally, what you've been waiting for! The July 22, 1936 San Antonio Light reported: "Cora Woods singing out at the Coral Gables for Operator Pal McGinty who used to be an electric refrigerator man." (C'mon, you really needed to know that.)

The September 7 edition of that paper reported that:

Coral Gables, located four miles from the city limits out Fredericksburg Road, is preparing for a large crowd Labor Day night. Radio's Frank Tanner and his 13 Kings Of Rhythm, featuring Cora Woods, is returning to San Antonio for this engagement and will remain through Tuesday.

Get used to this: over the years, Cora would be the vocalist for many local bands you've never heard of. She seemed to hop from one to the other frequently. She wasn't in Tanner's April 9, 1936 band advertisement. She was still with him when the band played the Palm Grove (in Corpus Christi) on November 14, 1936, but, by the time of the band's December 24 ad, she was gone

She then hooked up with drummer Clifford "Boots" Douglas, who had a successful territory band, based in San Antonio, called Boots & His Buddies. Note that, at least in 1939, Boots' male vocalist was a blind singer named A. G. Hibbler (you probably know him better as Al Hibbler).

On September 17, 1937, Cora recorded "Ain't Misbehavin'", with Boots, for RCA Victor's Bluebird subsidiary. It was released in October.


Cora and Boots entertained at a New Year's Eve show at the Houston City Auditorium. It would have been a normal engagement, but it turned into a riot when "hundreds of the more than 3,000 people present rushed the check room." Also, said the January 8, 1938 Register:

While trouble ensued in the lobby, a lawyer representing Best Tailors came to the auditorium with a court writ to seize the band's share of the receipts. The lawyer was told the orchestra had been paid in advance, and he left the scene highly angered.

Cora recorded three more songs with the Buddies on April 6, 1938, at the local Blue Bonnet Hotel: "Deep South", "A Salute To Harlem", and "Do-Re-Mi". "Deep South" was issued in April. Also, the week of April 15, she appeared with Boots & His Buddies at the Majestic Theater in a show called "Harlem Revue". This is the only ad I could find that has her appearing with his band.

When she appeared at the Ritz Theater, the week beginning July 29, Boots was nowhere in sight. A possible reason was given in an article in the September 30 Register, titled "Buddies No More":

All other statements to the contrary, from where I sit, it really looks as though the "Buddies" are on the verge of a disintegration - or something else that means the same thing.... With Cora Woods, vocalist extraordinary, and David Ellis, saxophonist, back home, it looks as if there is really something to the rumors that have reached my ears here of late. [However, personnel changes aside, Boots kept a band going until at least 1946.]

By October 15, 1938, she was the singer with Lawrence Douglas "L. D." Harris' band, playing at the White Elephant Club. (Harris, a trumpeter, was an alumnus of Boots & His Buddies.) On October 21, they appeared at a cake baking contest at the Library Auditorium. She sang, per the October 28 Register, "You Can't Be Mine And Someone Else's Too" and "A Tisket A Tasket". (Cora would sing at that cake contest for several years.) November 13 found Cora and Harris at The Cave. Although it was a bit late, the December 19 San Antonio Light said: "L. D. Harris has organized a swingaroo band and is featuring Cora Woods as vocalist." On December 28, they appeared at the Woodlake Country Club.

Also in December, Bluebird issued Boots & His Buddies' "A Salute To Harlem", backed with "Do-Re-Mi".

On January 31, 1939, she ("the Ella Fitzgerald of the South") sang at a benefit for the Ella Austin Orphanage at the Library Auditorium.

Cora ("sizzling songs") was one of the acts appearing on a midnight show at the Majestic Theater on February 4, 1939. Boots & His Buddies also appeared, but their names weren't linked. On the screen was that new blockbuster, "Gunga Din".

The March 31, 1939 Register said: "Cora Woods, the hotcha torch-singer. Much has been written about her, but no one has mentioned that, although she has a voice like Ella Fitzgerald, she 'sends herself and her audience' like Maxine Sullivan. Cora puts more feeling into a song than most of the big time singers. Take time out to compare, if you doubt us." When she was at the Library Auditorium, on March 24, she sang "Blame It On My Last Affair" and "I Found My Yellow Basket".

The June 2, 1939 Register told us how much her fans appreciated her:

That Cora Woods, the city's perennial favorite vocalist is as good - and as popular - as ever, was amply proven Sunday night, when, upon walking into The Grill during the middle of the show, the patrons, upon seeing her, gave a hand such as is accorded very few, after which Cora really 'sent' them with renditions of their favorite tunes. And at that rate she'll remain the city's most popular vocalist. She never forgets her public.

On July 14, she began a week at the Majestic Theater as part of the "Froggy Bottom Frolics". Milt Larkin's orchestra was also there. At the end of July, she was appearing at The Grill, along with the L. D. Harris band.

On November 26, 1939, Cora performed at the grand re-opening of San Antonio's Harlem Theatre. The next day, she (and L. D. Harris) performed at the fourth annual floral show held at the Library Auditorium.

On January 4, 1940, Cora and Harris entertained at a Sorority party. The January 6 Pittsburgh Courier said:

Cora Woods, who threatens to become another Ella Fitzgerald, but with definitely a lilting style of her own, sang the songs that everybody liked to hear and her musicians, L. D. Harris at the head, just about "sent" the crowd, and then some.

The 1940 census shows Cora (an "entertainer - orchestra"), and her grandmother, Matilda Wallace (her mother's mother) as lodgers in a household.

April 22 found Cora in a musicale, presented as a benefit for the Ella Austin Orphanage.

On October 28-29, 1940, Cora was in a play called "Blind Alley", given at the Library Auditorium. It was presented by the Alumni Association of Wheatley High School, from which Cora had been graduated five years previously.

On February 24, 1941, she appeared, with L. D. Harris, at some kind of basketball playoff game. On May 9, she and Harris were at a dance at the Woodlake Country Club, where she'd appear many times over the years. On July 4, they were back there for an Independence Day dance.

The Municipal Auditorium presented a musical revue called "Harlem After Midnight" on November 3. Also on the program was "A. G. Hibbler, the popular blind vocalist", but Harris didn't seem to be there (or, at least, the band wasn't named).

When her father registered for the draft in April 1942, he gave "Corra" as the "person who will always know your address". In spite of his World War 1 registration saying he was "Aderson Walter Woods", this time he said he had no middle name.

With L. D. Harris, Cora was part of the "Harlem Follies of 1942" at the Majestic Theater the week of April 11. Cora was called "San Antonio's perennial favorite songstress".

Cora was also part of "Duncan's Rhythm Revue", broadcast over KONO. It was supposedly broadcast each Wednesday at 7:30, but she was only mentioned in the March 12, 1943 San Antonio Register.

On April 23, 1943, Cora performed at the Kelly Field Morale Committee's dance at the Library Auditorium, as vocalist with Don Albert & His New Orchestra. From June 18-20, Cora appeared with L. D. Harris at some unnamed place in Del Rio, Texas. This is the last time her name would be associated with his, but at least it shows that she occasionally left San Antonio.

From February 14-18, 1944 Cora was part of a show held at the San Pedro Playhouse. It was described as an army relief benefit given by members of the 304th Aviation Squadron at Kelly Field. The February 11 Register said:

The talented Miss Woods, who, over a period of years has been this city's favorite girl vocalist, and who is an employee in the engine repair shop at the field, will sing the title role in a musical skit titled "Double Cross", assisted by four members of the 304th chorus.

[I'm sure you'll be fascinated to know that San Antonio's Kelly Field was named after George Kelly, the first U.S. military pilot killed (1911) in the crash of an airplane.]

On July 6, 1944, at the Empire Theater, she performed at the premiere of the movie, "Go Down, Death!", which had been filmed entirely in San Antonio. One reviewer said "I think it would have been a lot better and the acting and script understood more if it had been performed by third graders."

Later that year, she was at The Grill, also in San Antonio.

On May 11, 1945, Cora Estelle Woods married Floyd T. Reed. Other than that he was a private in the army at the time, I can't find out anything else about him. The event was noted in the May 18 San Antonio Register: "And congrats and best wishes to my good fran [sic; the columnist always wrote "friend" that way], Cora Woods, who recently vowed to 'love and obey' Private Floyd Reed for the rest of her natural life . . . best wishes for success and a life of extreme happiness to them both." Nice sentiments, but the marriage didn't last and she never shows up anywhere as Cora Reed

On March 4, 1946, Cora Woods ("the city's favorite vocalist") appeared at the Club Avalon as part of the floor show. The headliner for the two-week engagement was Helen Humes ("whose recent recording [said the March 1 Register], 'Baba-le-baba-le-ba' has become a best seller"). The orchestra was headed by James Hopkins.

After Helen Humes left, Cora continued on in the floor show. On March 22, the headliner was T-Bone Walker; on April 9, it was Effie Smith; and on April 30, it was Big Bill Broonzy. The last time she was mentioned was in their May 3 ad.

Cora was at a place called the Suburban sometime in mid-August 1946. On August 30, she was back at the Club Avalon, where the headliner was Marion Abernathy, "The Blues Woman".


Since the Club Avalon didn't always advertise the members of the floor show, I can't tell if Cora was there continuously. The next time we hear of her is in their January 3, 1947 ad. The difference this time is that Cora is the star performer (and bandleader James Hopkins is still there too).

On March 21, 1947, when Cora was in a 15-act Vaudeville show at Solomon Coles High School, she was called "Lena Horne The Second". She was, however, still appearing, with James Hopkins at the Club Avalon. She's last mentioned on June 13.

Tragedy. The October 10, 1947 Register reported that five patrons of the Pastime Bar, including Cora, were arrested for being served beer after hours. In the 1948 San Antonio City Directory, Cora was a secretary for the Hartfield Cab Company and was at the same address that was given in that arrest article.

March 26, 1948 found her back at Club Avalon. This time, however, the orchestra was Frank Garrett's.

On June 19, 1948, when Cora took part in a concert in Rosewood Park, she was again the vocalist with the James Hopkins Orchestra.

The July 23, 1948 Register made a big deal about a betrothal:

... Miss Cora Woods, personable and talented singer, whose engagement and approaching marriage is being announced this week by her grandmother, Mrs. Matilda Thomas Wallace, 1328 Burleson Street [which is also where Cora lived]. Miss Woods will be married to Corporal Evander L. Laniear, son of Mrs. Berthenia Tyler Laniear of Newark, New Jersey.

The bride-elect is a graduate of Phillis Wheatley High School, and at present is secretary for a local taxi concern. She has been a popular favorite in local entertainment circles for several years.

And sure enough, on August 4, 1948, Cora Estelle Woods married Corporal Evander Luxton Laniear. Since he was from New Jersey, I guess he was stationed in Texas.

She was still at Club Avalon in November 1948, along with Frank Garrett's orchestra. Her name was now prominent in the ad and no longer buried in the list of floor-show entertainers.

Cora was back with James Hopkins (& His Trio), this time at the Silver Slipper, on January 11, 1949.


On March 21, 1949, "Cora Woods-Laniear" was in a play called "Pick-Up Girl", a story of juvenile delinquency, at the Library Auditorium. This is the only time she was ever known as anything other than just "Cora Woods".

Cora reunited with James Hopkins and his Trio for a June 18 celebration at Leon Park. (Free barbecue!)


October 12, 1949 found her appearing at the Club San Antonio. She was now the singer with saxophonist Clifford "Scotty" Scott & His Orchestra (usually spelled "Scottie" in ads). He'd been, said the ad, with Lionel Hampton and Amos Milburn. On October 22, they were at the Woodlake Country Club.

At the time of the 1950 census, she was a singer in a night club, separated from Evander Laniear, and once again living with her grandmother, Matilda Wallace. If you're interested, she'd worked 32 hours in the prior week.

April 28, 1950 found her as part of the floor show at the Suburban Gardens which looks like it took over Club Avalon. But on June 11, she was back with Scotty for Be-Bop Night at Woodlake Terrace.


At the end of January 1951, she was at the Club San Antonio, still as the singer with Scotty's orchestra. The January 31, 1951 San Antonio Light said that Cora was "known for her torrid interpretation of blues".

She was again advertised with Scotty on May 4, 1952, when they appeared at the Jade Club.

But, by mid-January 1953, said the January 19 San Antonio Light, "Charming Blues Singer Cora Woods continues to be a shining star with the Bubba Bright combo at Club San Antonio."

Nothing at all in 1954, but in March 1955 she got to do some more recording, this time for King Records' Federal subsidiary. The four songs were: "Rocks In Your Head", "I Don't Want To Cry", "Ooh La La", and "Where Are You". All four have a group in the background, not identified on the label. However, the master numbers prior to hers were from a March 11 Tenderfoots session, so they're potential candidates.

Federal released "Rocks In Your Head", written by Cora (along with Frank Gallo and Ralph Bass) in May 1955, backed with "I Don't Want To Cry". They were reviewed in the June 11 Billboard:

I Don't Want To Cry (80): In this ballad side the thrush reveals a sensational set of pipes. In style and sound she combines features of Mahalia Jackson and Dinah Washington. A real find.

Rocks In Your Head (78): This rollicking shout is similar to "My Babe". The gal has a beat too. Could happen big.

In spite of the great reviews, the record went nowhere and Federal issued "Ooh La La", coupled with "Where Are You", in July 1955. These were reviewed in the August 13 Billboard:

Ooh La La (77): This young thrush's second release carries forward the promise of her first, several months back. This bright rhythm chant is an improvement over her other material, tho she deserves even better.

Where Are You (73): In this so-so ballad (not the standard), the talented thrush turns on more than a trace of the Dinah Washington sound.

Supposedly, she went to Los Angeles for a few years at this point. However, there's not a single listing for her in Los Angeles, either in directories or at clubs. Plus, the few mentions of her from 1957 to 1960 are all in Texas. Strangely, the San Antonio papers, that seemed to love her, made no mention of her at all in 1955 and 1956, including her recordings.

Sometime in early 1956, she had two more Federal sessions that produced (at least) "Flying Home To You Baby", "Just In Case You Change Your Mind" (a nicely done Rock 'N Roll version), "Father Forgive Him", and "Don't Fall In Love With Me".

["Just In Case You Change Your Mind" had originally been done by the Brown Dots in November 1945. There were also versions by Bull Moose Jackson, the 4 Knights, and the Antlers Of Miami (and even Bobby Darin, in 1958).]

In February 1956, Federal issued "Flying Home To You Baby", backed with "Father Forgive Him". They were reviewed in the March 10 Billboard:

Father Forgive Him (79): Cora Woods has a warm and mellow set of pipes which she uses with distinction in this religioso type, romantic weeper. Material could catch on and the side figures to move with exposure.

Flying Home To You Baby (78): [unfortunately, the file copy of the magazine is partially ripped and some text is missing] Jump blues is sung with infectious spirit. The ork backs her with an [missing] beat, and the waxing moves [missing]. It's a strong hunk of [missing].

When that went nowhere, Federal released "Just In Case You Change Your Mind", paired with "Don't Fall In Love With Me", in May 1956. They were reviewed in the May 12 Billboard and the May 26 Cash Box:

Just In Case You Change Your Mind (BB; 72): The warm contralto voice of this singer is an ideal vehicle for this favorite standard. Her velvety lower tones are a special delight. Tho the backing is definitely r&b, there could be good pop volume on this, too.

Don't Fall In Love With Me (BB; 70): Another ballad that ought to strike both pop and r&b customers favorably. The sincerity and smooth, polished delivery of the singer are mighty easy to take.

Just In Case You Change Your Mind (CB; B): Cora Woods gives a delightful reading of the melodic rhythm ballad. It is a deck that can pick up action in both the r&b and pop markets.

Don't Fall In Love With Me (CB; C+): Miss Woods goes all pop on this side with a melodic romancer. Smooth, mellow and little r&b action here.

As I said, although Cora was big in San Antonio, not one of her recordings was ever mentioned in the local papers.

In 1956, Cora copyrighted six songs (all but one of them along with Kelly Owens): "All My Love Is Yours", "Crossroads", "Have Mercy On A Fool Like Me", "May I Count On You", "You Promised Love", and "You're The Symbol Of My Love". I don't know if she ever recorded any of them.

In December 1956, her father, Aderson Woods died. The informant on the death certificate was Cora. Strangely, she gave his middle name initial as "D", when in 1917 it was "Walter" and in 1942 it was "none" (it also appears that way on his headstone).

On March 17, 1957, she appeared at The Grill (Victoria, Texas) for a St. Paddy's day dance. While Gatemouth Brown was also there, the featured act was Beatrice King & Her Rhythm Queens. March 21 found her back in San Antonio, at the Eastwood Country Club, where the headliner was Della Reese. This club was one of the few places in the country where both black and white patrons could congregate. Over the years, many R&B stars appeared there: Fats Domino, the Drifters, B. B. King, Pearl Bailey, Little Richard, Big Joe Turner, and Della Reese.

On December 14, 1957, Cora's grandmother, Matilda Wallace died. The obituary said, in part: "She was the grandmother of Miss Cora Woods, former local singer and recording artist, who now resides in New York. Miss Woods flew here Sunday for the obsequies." As with the California story, there's no trace of Cora Woods in New York.

I don't know what she might have been doing in New York, but by early April 1958, she was back in San Antonio, appearing at the Eastwood Country Club.

By July 1958, Cora was the vocalist with trumpeter Larry O'Brien's Combo, appearing at the Dragon Lady. On September 1, she was reported back with Bubba Bright's band (as she'd been in early 1953) at the Oasis.

On November 13, 1959, Cora appeared on a show at the Eastwood Country Club (the star was comedian Clay Tyson).


Cora would spend a lot of time at the Eastwood in 1960. In early March, she was there along with Louis Jordan and Jewel Brown. She was there again on July 15 and on October 16 (this time with Bo Diddley). The last ad I can find was for November 5-6; Big Joe Turner was also booked for those nights.

Generalized biographies hint at her performing in San Antonio in the 1960s and 1970s, but nothing specific. However, the October 21, 1966 Register had this: "And also word of a localite, Cora Woods, who is in Alaska, doing the night club circuits. Another San Antonian recently heard her at one of the clubs, and she is being well received." Considering that not a single ad or mention has her performing anywhere but Texas up to this point, that's really amazing. Of course, there are no ads I can find for her in Alaska.

Her mother, Corine Randle Woods, died on June 16, 1974. Once again Cora was the informant. (So much for her father being a widower in 1930.)

The June 20, 1975 Register reported that she entertained at a Father-Of-The-Year cocktail/dance party.

The last mention of Cora singing was at the July 7, 1979 40th reunion of the Wheatley High class of 1939 (hers was the class of 1935).

Cora Woods died, in San Antonio, on June 13, 1997. There was an obituary in the June 19 Register, which called her a "favorite singer at the Eastwood Country Club and other local clubs...." and ".... made several recordings during her lifetime, including a hit record in the 60s." This was really the first time they acknowledged her recording career, but as far as I can tell, she never recorded again after Federal (and certainly had no hits in the 1960s).

I've mentioned some of the jobs Cora had, since she was rarely a full-time singer. I'd like to know what she ended up doing with her life, but nothing ever said.

If you lived in San Antonio from the 1930s through the 1960s, Cora Woods would probably have been one of your favorite singers. Good as she was, it's doubtful many outside of Texas ever heard of her.



BLUEBIRD (Boots & His Buddies - vocal by Cora Woods)
B-7241 Ain't Misbehavin' / [Oh Lady Be Good - Frankie Reynolds & His Ork] - 10/37
B-7556 Deep South / [Chubby (I)] - 4/38
B-7944 A Salute To Harlem / Do-Re-Mi - 12/38

FEDERAL (Cora Woods)
12223 Rocks In Your Head / I Don't Want To Cry - 5/55
12229 Ooh La La / Where Are You - 7/55
12256 Flying Home To You Baby / Father Forgive Him - 2/56
12268 Just In Case You Change Your Mind/ Don't Fall In Love With Me - 5/56