Donna Hightower
By Marv Goldberg
© 2024 by Marv Goldberg
Donna Hightower had several singing careers. As "Little Donna Hightower", on Decca, her tunes seemed to be a mixture of Pop and R&B. When she recorded for RPM, it was as a Rock 'N Roll singer. Later, on Capitol, she switched to Jazz, which she embraced for the rest of her life. Like Joan Shaw and Bertice Reading, once she relocated to Europe, she became a big star.
Lubertha Hightower was born in Caruthersville, Missouri on December 28, 1926. (Caruthersville is on the Mississippi River, right across from Tennessee.) Her parents were Henry Hightower (a sharecropping cotton farmer) and Corrine "Carrie" Davis, both from Mississippi (per the 1930 census). However, when he answered in 1940, her father said he was born in Alabama.
Note that, while "Lubertha" wasn't (I was amazed to find out) an uncommon name, census-takers were stumped by it. In the 1930 census, she was "Lou Bertha"; in 1940, it was "Lue B."
Lubertha was the oldest of nine siblings, and helped her parents as a field hand after school. As a child, she later said, she listened to Country & Western music on the radio. She also sang in church from the age of 10.
By 1930, the family had moved to Swayne Township, Arkansas, and two siblings had been added: Mattie Bell (2) and Eunice (6 months), both born in Arkansas.
By 1940, the family was living in Braggodoccio, Missouri. Dad was now a road worker for the WPA (the Depression was still raging). However, based on ages, Mattie Bell is now "Josie M." and Eunice was now "Martha M." (and both were said to have been born in Missouri). They were joined by Margaret (7), Geneva (6), Eva (4), and Henry, Jr. (2). (Strangely, Henry, Sr., who answered the questions, didn't seem to know where the last two had been born; that field is blank for both.) There would be two more children: Robert (born 1941) and Thelma (born 1944).
On June 6, 1942, Lubertha Hightower married Levi Gildon in Matthews, Missouri. They would have two children together: Robert (born 1942?) and Judy (born 1944). However, all accounts say that, by 1949, she and Levi had been divorced.
In the 1950 census, there's a Robert Gildon (aged 8) living as a foster child in Gary, Indiana. That's probably him, but why was he a foster child? Whatever the reason, by the time Donna died, he was calling himself Bobby Hightower. Lubertha's parents would live in Benton Harbor, Michigan for a while, and, in May 1958, a Robert Gildon was listed as an eighth grade student there.
At some point, she relocated to Chicago, where she worked as a short-order cook in a diner. Singing while she worked wasn't a bad idea, since Bob Tillman, a reporter with the Chicago Defender, heard her and got her an engagement at the Strand Hotel Lounge, followed by the Crown Propeller. This led to her being signed with Decca Records, as "Little Donna Hightower". She'd reverted to her maiden name, but I don't know why she chose "Donna". Decca said her name was too long to be commercial, but she refused to change it, saying it had the same number of letters as Ella Fitzgerald's.
Actually, maybe I do know why she chose "Donna". When she married again in 1952, it was as "Bertha L. Gildon". She later copyrighted a song as "Bertha La Donna Hightower". It's possible that "La Donna" or "Ladonna" was her middle name.
On October 9, 1951, she had her first Decca session. Accompanied by the orchestra of Horace Henderson (Fletcher Henderson's younger brother), she recorded a cover of Johnnie Ray's "Cry" and "I Ain't In The Mood". These were released later that month.
The October 27, 1951 Billboard said:
Decca Records more or less killed three birds with one stone. The diskery last week inked and recorded three separate entities associated with the Horace Henderson Quintet, currently working in Chicago. The diskery sliced sides with the Henderson unit itself. The firm also made a pair of sides with Floyd Smith, who is guitarist with the Henderson band. Smith is a veteran muskier and may be remembered by collectors for his decade-old recording with the Andy Kirk ork of a guitar solo, "Guitar Blues". One of the sides he made is a sequel to the latter effort. Also signed and recorded was the thrush with the Henderson unit, Little Donna Hightower. She's a 17-year-old canary. Her first sides couple "Cry" with "I Ain't In The Mood".
First off, we have to note that the "17-year-old canary" was actually 24 at the time. Also, it implies that Donna was the singer with his band, although nothing else, other than Decca, seems to link them together. However, the wording is ambiguous enough that it could just mean she was recorded with the Henderson unit backing her.
The record was reviewed in the November 17, 1951 Billboard:
Cry (80): Thrush packs wallop into a close-up, personal rendition of what is shaping up as a sleeper hit. This version, with much feeling could do big. Gal has a warm, big voice with an appealingly youthful quality.
I Ain't In The Mood (80): Novelty blues in medium drag tempo has thrush and heavy echo piping a sock lyric with an effective tag. This one could also hit.
Remember that a big part of these ratings has to do with the size of the record company: Decca had the resources to push it to the top. In fact, "Cry" is strident and screechy (as some other of her Decca releases would be) and couldn't hope to compete with Johnnie Ray's version.
On January 18, 1952, Donna started at the Flame Show Bar, along with Andre D'Orsay, who'd once been in the Red Caps.
On February 3, Donna had her next Decca session, waxing "Honest And Truly" and "I Found A New Love", both of which were released later that month. She wrote "I Found A New Love", as Bertha Gildon, and copyrighted it on February 28, 1952.
Decca had high hopes for "Honest And Truly", an oldie that went back to at least 1926. They were so hopeful, that they released four versions of the tune. The March 9, 1952 Richmond, Virginia Times-Dispatch told us all about it:
Mr. Decca has a popcorn tune which looks so promising that the big music manufacturer has released four different versions - all in one week!
"Honestly [sic] And Truly" is the title of the tune that Mr. Decca is so excited about. And a popcorn tune is an item the music trade believes can be equally successful in the popular dance field as well as the corny hillbilly level.
So Mr. Decca looked over his talent lineup and decided the persons and groups who could put "Honest And Truly" over with a big bang would include:
(1) The Guy Lombardo band with vocal by Kenny Martin and the Lombardo Trio - a smoothie designed for the dance trade.
(2) The Ink Spots, whose close harmony makes "Honest And Truly" a fetching thing at the vocal level.
(3) Roland Johnson for the hillbilly clientele.
(4) Little Donna Hightower for the rhythm and blues treatment [honest and truly, it sounds like a pop arrangement to me, not R&B].
Who wrote "Honest And Truly"? A tunesmith named Fred Rose, quite famous for another popcorn tune. Remember "Chattanooga Shoeshine Boy"? [Why do they even bother? The correct title is "Chattanoogie Shoe Shine Boy" and it was actually written by Harry Stone and Jack Stapp. Fred did have a couple of others: "Deed I Do" and Hank Williams' "Kawliga".]
Poor Mr. Decca! His hopes were dashed when not one of these charted. Donna's was reviewed in the March 3 Cash Box and the March 29 Billboard:
(CB: no ratings): An oldie currently being revived is given a rhythm presentation by Little Donna Hightower. Donna's clear, warm caroling of this pretty melody is enhanced by the use of the multiple voice trick that is being used so often today. The orking spots an outstanding sax run and the total result is a strong etching. Lower lid is a fast moving piece on which Little Donna Hightower does a grand vocal. [Really? In parts of "Honest And Truly", she seems to be on the verge of screaming.]
Honest And Truly (BB: 84): This is one of the finest r.&b. items turned out by Decca in many a moon. Hightower gal duets with her own dubbed-in voice thru an echo chamber yet. The ditty, of course, is the fine old standard. This could be a big one.
I Found A New Love (BB: 80): Ditty here is an up blues item. The thrush pounds out a beat-full chant for another fine effort.
Some more recording; this time five songs on April 4, 1952: "Don't You Think I Ought To Know", "Kiss Me, Baby", "Farewell Blues", "You Had Better Change Your Ways", and "The Face In The Mirror". "Don't You Think I Ought To Know" (which had been done by Bill Johnson & the Musical Notes some five years previously) and "Kiss Me, Baby" were released later that month.
On June 12, 1952, "Bertha L. Gildon" married E. George Hamilton in Chicago. Hamilton seems to have been a singer (in August, a George Hamilton was the male vocalist at the Key Club, where Donna was also appearing). Since she never seems to have been known as "Bertha Hamilton" or "Donna Hamilton", I don't know how long the marriage lasted; but it didn't.
Her latest record was reviewed in the June 14 Cash Box:
Kiss Me Baby (CB: B+): Donna Hightower drives out a moderate bounce item with zest and with a projection of personality that sends the lid soaring. Good orking, featuring some slick saxing, sets the artist up in strong style.
Don't You Think I Ought To Know (CB: B): The under portion is another rhythmic number that Little Donna socks out expressively for another strong end.
However, the July 7 Down Beat was more realistic, giving "Don't You Think I Ought To Know" one star and the flip, two:
Little Donna has little meat to dig into in Think; a Roy-ish upper register trumpet solo is all that's worthwhile. [This probably references trumpeter Roy Eldridge.] Easy striding band work, spotting a tidy alto [sax] solo, is the only distinction of the flip side.
By August 22, 1952, Donna had become the vocalist with the Hank Hazlett Trio, playing at the Key Club in Minneapolis. In 1943, Hazlett had replaced army-bound Austin Powell in the Cats & The Fiddle.
The Minneapolis Spokesman of August 22 said:
Key Club Musicians Here: The musicians who are playing at the Key Club are Hank Hazlett, leader and Spanish guitar; Maurice Turner, bass fiddle; Buddy Davis, piano and vibraphone; Donna Hightower, Decca recording artist and vocalist. An added attraction from the Little Harlem Club in Chicago is George Hamilton, baritone vocalist. [And, presumably, Donna's husband.] The musicians are all from Chicago and staying at the home of Mr. and Mrs. William E. Gray, 420 E. 37th St. [Aren't you glad I tell you these things?]
This turned out to be a long-term engagement; they were all there up until New Year's Eve. The November 28, 1952 St. Paul Recorder said:
The Hank Hazlett Trio, composed of Buddy Davis, pianist and Maurice Turner, base [sic] drummer, along with the capable leader of the combo Hank Hazlett is now playing at the Key Club, 1229 Washington Ave So., every night and Sunday afternoon matinees.
The popular trio featuring Dinah [sorry Donna] Hightower, vocalist, got its start in Chicago in 1947 and has played successful engagements in many outstanding nightclubs.
Miss Hightower with her ultra modern version of popular music, seems to have a way with the patrons. The entertainers will be here through the holiday season.
After that, Hazlett and Donna were off to Club 39 in Indianapolis, where they opened on February 7, 1953. The only other ad was on February 20.
In July 1953, there were a couple of articles detailing Decca's attempted return to R&B. Their roster now included the Shadows and Coleman Hawkins, as well as Little Donna Hightower. To this end, Decca had released Donna's year-old "Farewell Blues", backed with "You Had Better Change Your Ways" in June. They were reviewed in the July 18 Billboard:
Farewell Blues (73): This is not the oldie, but a new blues item which the thrush tackles for good results. Echo, big beat, good orking all add up to a good side.
You Had Better Change Your Ways (70): Tin Pan Alley type of ditty with a good beat doesn't sound as strong a hunk of material as the top side.
Donna and Hank Hazlett were back at the Key Club (Minneapolis) on July 31. And so was the press agent who had no idea who Donna was. This was in the July 31 Minneapolis Spokesman, titled "Hazlett Trio Plus Dinah Hightower At Key Club Now":
The Hank Hazlett Trio, "greatest little band in the country" has finally been secured by the Key Club according to Frank Sloan, manager. "When they were here before they played before a packed house", Sloan said.
Mr. Sloan pointed out that he was forced to wait six months to engage this unique outfit.
Appearing with the trio is Dinah Hightower, prominent blues singer and recording artist of Chicago. Miss Hightower, who was slightly injured in an automobile accident weeks ago is a great favorite of Key Club patrons.
There was nothing about that accident in the press of the time, but a 1959 article, which we'll get to later, said: that her car "jumped the highway" and she "narrowly escaped drowning".
The Hazlett Trio would be at the Key Club through at least October 16. This appeared in the August 11, 1953 Minneapolis Star-Tribune: "Little Donna Hightower, bop singer, is back shouting in the Key club. She likes it around these parts so much, in fact, she bought a house in Minneapolis and decided to stay. She's booked indefinitely."
While Hazlett remained at the Key Club through New Year's Eve, Donna was no longer advertised with him after mid-October.
But in April 1954, Donna returned to the Key Club, this time with Leon Lewis' 5 Cats. The April 16 Minneapolis Spokesman had this:
Donna Hightower, local entertainer [I guess she really did move to Minneapolis], sometimes called the "Sweetheart of Key Club" patrons "is really packing 'em in at the Key Club six nights a week" according to the management.
Miss Hightower, a popular night club singer of blues and jazz is being featured at the club along with a combo called the "Five Cats". The Key Club manager says Miss Hightower seems to please her audience with some of her popular numbers such as "Hi Ho Silver", her own version of "Secret Of Love" [presumably they meant "Secret Love"], and the more popular "Money Honey".
She was last mentioned at the Key Club on May 21.
I have to wonder. Since audiences really seemed to like her, which, to my ears would be unlikely based on her Decca sound, could it be that she was made to sing like that by the Decca production staff? Just a thought.
On April 26, 1954, she (as "Bertha La Donna Hightower") copyrighted a song called "Daddy Wino". I don't know if she ever recorded it for anyone.
She, and Leon Lewis' Combo, appeared at Kruger's Hay Mow (which seems to have been in St. Paul) on May 2, 1954. It was a dance put on by the Cameo Social Club.
When she next surfaces, it's to begin a new phase. The June 25, 1955 Cash Box said:
Saul Bihari, head of Modern Records, announced that they have signed a sensational new fem warbler by the name of Donna Hightower. Her first release, out this week, is "Dog Gone It, You Did It" b/w "Love Me Again". [Note that after days of working on this, my jaw is still hanging open because of the next part:] Miss Hightower says that talented vocal chords just seem to run in her family. Her sister is Lavern Baker. [Say what???]
However, Donna never appeared on Modern, but on its RPM subsidiary. On all her RPM records, except possibly the last one, she's accompanied by the Maxwell Davis Orchestra. Note that RPM "master numbers" were assigned at pressing time, so it's impossible to figure out when any of her songs were recorded.
The two tunes mentioned were released in June. Donna is credited as writer on both, and they have the uncredited Jacks in the background. They were reviewed in the July 7 Billboard and the July 16 Cash Box:
Love Me Again (BB; 72): The thrush seems more at home with this ballad of her own cleffing. [More at home than what?]
Dog Gone It (BB; 70): With an arrangement patterned after the recent Lavern Baker hits, Miss H. turns in a fairly effective tho mechanical shout.
Love Me Again (CB; B): Donna Hightower shows that sister Lavern Baker [I hope Lavern sued] is not the only one in the family with talent. Donna, with a mediocre piece of material, comes off well. Group support helps the disk. Better than average wax.
Dog Gone It (CB; B): Donna has a better tune to work with here and the result is a happy lightweight bouncer. Ok for both R&B and pop markets.
This would be the closest Donna would ever get to a hit in the U.S.: "Dog Gone It" rose to the #6 position on the Memphis charts. On September 24, Cash Box said: Buffalo Booking Agency announced the signing of Donna Hightower, RPM artist.
That Agency sent her off on a tour of Texas, along with Louis Jordan, B. B. King, Johnny "Guitar" Watson, Harold Conner, Dottie Smith, and the Voices. I can't find any ads, but they played Houston, Fort Worth, and Dallas.
On September 29, she appeared at the Californian Club (Los Angeles), along with Robin Robinson. There was only a single ad.
Sometime in September, RPM released "Bob-O-Link", coupled with "Since You". Donna wrote both with Maxwell Davis and, once again, the Jacks were backing her, but uncredited on the label.
"Bob-O-Link" was a Cash Box Best Bet in their October 1 edition, but, again, never went anywhere. The disc was reviewed in the October 10, 1955 Cash Box:
Bob-O-Link (B+): Donna Hightower delivers a cute bouncing ditty that conveys the high spirits of the thrush. Happy effort that could make it in both fields [R&B and Pop].
Since You (B): Simple romantic bouncer delivered without flourishes. Ok side that does not come up to the charm of the "Bob-O-Link" side.
Donna's next RPM release was November's "Right Now" (written with Maxwell Davis), backed with a cover of Priscilla Bowman and Jay McShann's "Hands Off". It was a Cash Box Best Bet on November 12 and was reviewed in the November 12 Cash Box and the November 19 Billboard:
Hands Off (CB; B+): The tune, currently zooming all over the country [by Priscilla Bowman], is given a strong cover version by Donna Hightower. Donna is bound to get a good sale on the strength of her treatment, but the mercurial take off of the original makes it a rough task for any later "Hands Off" releases. Could be very strong in areas not yet covered by the competition.
Right Now (CB; B): Donna Hightower backs with a slow beat wailing blues with deep emotion. Melodic wax with good possibilities.
Hands Off (BB; 76): A cover on the Jay McShann disk. Miss Hightower and Davis belt out a smart reading and it should get action.
Right Now (BB; 75): Miss Hightower and the Davis ork are very effective with this blues ballad. Side has a world of feeling and a relaxed delivery. Watch it.
On November 18, Donna, along with the Colts, was on Hunter Hancock's "Rhythm & Bluesville" TV show (KNXT, Channel 2 in Los Angeles). November 25-27 found her at the Club Mar Lin in Los Angeles.
And then, her most prestigious date: the Apollo Theater the week of December 2, 1955. Donna shared the stage with the Cadillacs, the Pearls, the Sil Austin band, the Spence Twins, Little Willie (tap dancer), and comedian Crackshot Hackley. After that, it was back to the Club Mar Lin.
There was a small write-up about her in the December 31, 1955 Pittsburgh Courier, titled "Donna Hightower, A Girl To Watch":
CHICAGO - A "gone" singer is Donna Hightower, a former Chicagoan, who has taken up residence in Los Angeles. She is the newest songstress to be tabbed for "tops" in the professional music world.
Having recently scored at the Apollo Theatre in New York City with her RPM recordings, "Dog Gone It", "Bob-O-Link", and "Hands Off", she was placed with the Billy Shaw booking agency by her personal manager, John E. Barnette, well-known West Coast artists' representative.
Barnette, who is back on the Coast now, passed through this city to check the possibilities of Donna's opening at the Crown Propeller or the Stage Lounge after Jan. 8, when she leaves Miami.
She was at the Palm Club in Miami in early 1956, but there's no record of her appearing at the Crown Propeller or the Stage Lounge. The January 21, 1956 Billboard had this:
The Virginia district theaters ... bring in the r&b packages twice a month and play them in theaters in Richmond, Portsmouth, Norfolk and Newport News. Talent making the rounds at these spots this weekend includes Chuck Willis, Choker Campbell, Donna Hightower, the Charms, and others.
On the same date, Cash Box said:
Donna Hightower now on tour in the East including the Apollo Theater in New York, and the Palm Club in Miami, Fla. Donna has a brand new Pontiac, and a new six room ranch-style home to return to when she finishes the tour. Her RPM record of "Hands Off" is going big.
Strangely, the January 14 Billboard said: "The Howard, Washington [D.C.], will bring in a flock of fine talent the week of January 20. Included are Donna Hightower, the Heartbeats, the Charms and Nolan Lewis." However, Donna wasn't there at all that week, not appearing until the week of February 17, along with the Moonglows, the Charms, the Colts, and Choker Campbell's orchestra.
On March 1, she opened at the Orchid Room in Kansas City, along with Smiley Lewis, the Paul Williams orchestra, and Crip Heard, the one-legged dancer.
Then, it was the Office Lounge in Corpus Christi, Texas, where Donna and Clarence Green appeared on August 1 and 3, 1956. August 9 found her at the Melody Club in San Angelo, Texas.
The August 11 Cash Box primed us for confusion: "Donna Hightower flies to New Orleans for recording session, then leaves for dates in Canada." I can't find any appearances in Canada at all, but remember New Orleans.
On Labor Day 1956 (September 3), Donna and Clarence Green were back at the Office Lounge in Corpus Christi. The show was advertised as "The Blues For Two".
Did you remember New Orleans (if not, we're talking aprosexia)? The October 13 Cash Box said: "Joe Bihari left last week for a trip around the country during which he will record several Modern and RPM Records artists. Joe recorded Donna Hightower last week in Houston and while in New York will record the Cadets, the Jacks, and Etta James." [Won't the studio be too small to fit both the Cadets and the Jacks?] So, unless there are loads of unissued masters from two separate sessions, did Donna record in New Orleans or in Houston?
November saw Donna's last RPM record release: "He's My Baby", backed with "I Ain't Gonna Tell". Songwriting credits for both went to Donna and "Ling" (Saul Bihari's pseudonym). They were reviewed in the December 1 Billboard:
He's My Baby (75): The thrush describes her rock and roll lover, and finally gets completely carried away in a frenzy of enthusiasm. A lively, emotionally convincing demonstration.
I Ain't Gonna Tell (73): Another fine performance by Miss Hightower. This is a rhythm-ballad whose beat is vigorous and full of cute twists. The singer's fans can chalk up two good ones here.
But I guess her fans used the chalk for something else, since there's not a single mention of Donna Hightower in all of 1957. The only appearance I could find for her in 1958 was at the Howard Theater (DC) the week of February 21. She shared the stage with Noble "Thin Man" Watts, Gene Allison, the Turbans, Lee Andrews & the Hearts, and Dee Clark.
While I find her RPM recordings a lot more to my taste than the Decca ones, there was still no success for Donna Hightower.
And then, for some reason, she moved to New York and started working for a music publishing firm, recording demo records so that songs could be shopped around for other artists to record. One of these was "Light Of Love", a gospel-type sound, which ended up being recorded by Peggy Lee for Capitol. Dave Cavanaugh, Capitol a&r man, heard the demo and he would remember it.
I'm completely in the dark as to why she moved to New York. There were plenty of publishing firms in Los Angeles (and it was even the home of Capitol Records).
The story goes that Cavanaugh had set up a session for Dakota Staton, but she canceled and he remembered Donna's demo. He found out where Donna worked and offered her a deal to record a jazz album.
Thus began the next phase in Donna's career. The October 11, 1958 Cash Box reported:
The signing of Donna Hightower, blues singer, who just a few years ago was a short-order cook in a Chicago drug store, to an exclusive Capitol Records contract, was announced last week.
Through mutual friends, Miss Hightower's singing was brought to the attention of Dave Cavanaugh, an Artists and Repertoire producer for Capitol, who offered her the recording contract. Cavanaugh will produce all of Miss Hightower's recordings.
Of course, each source reported the story differently, but the one where he remembered the demo and then tracked her down was from Donna's own recollections.
Donna recorded at least 12 sides, all standards (presumably in multiple sessions in October and November 1958). This would result in an LP called Take One! But first, in December, there was a promo EP with four of the tunes (called Selections From Take One): "C'est La Vie", "Baby, Get Lost", "I Get A Kick Out Of You", and "Maybe You'll Be There". The label states that the full LP would be released on January 5, 1959.
And it was. In addition to those four songs, it contained "Perfidia", "Lover, Come Back To Me", "There I've Said It Again", "Because Of You", "Don't Take Your Love From Me", "Too Young", "Anytime, Any Day, Anywhere", and "Trouble In Mind". These are all pop standards and all done in a jazz style. [I have to be honest: my Troubled Youth dictates that I always think of "Too Young" as "They Tried To Sell Us Egg Foo Young".]
The January 13, 1959 Shamokin, Pennsylvania News-Dispatch said: "Donna Hightower is the newest darling of the Capitol Records family, thanks to her first album, 'Take One'. It's won her five night club dates." The first of these was the Flame Show Bar (Detroit), starting January 23. The ad called her "The Voice You've Got To Hear" - remember that.
The Cincinnati Post of January 24 talked about the album:
Donna Hightower has the shrill "edge" to her voice usually associated with Dinah Washington's bluesy style; much of the sophistication and trick phrasing of Dakota Staton; and occasionally the rich smoothness of Ethel Ennis.
She also has a distinct manner that is her own, a "cuteness" that never gets too cute, and the ability to make a well-used song interesting.
Backed by a jazz combo that includes Joe Wilder on trumpet, Hank Jones on piano and Don Lamond on drums, Donna makes her Capitol debut a rather good one with a swinging "Perfidia" plus "Trouble In Mind" and "Lover Come Back To Me". Good album.
The January 27 Detroit Free Press messed up the title: "Donna Hightower, singing headliner at the Flame Show Bar, has a new record album called 'The Voice You've Got To Hear'." Oh, well.
The Los Angeles Evening Citizen News of February 7, 1959 said: "'Take One' features a most interesting song styling by Donna Hightower. This one is strictly for the buffs." What can we learn from this? Well, chances are you're not going to like the album unless you're a buff. However, you'll note that it never says what kind of buff you have to be.
The February 14 Cash Box reviewed the album:
Excitingly debuting here, Miss Hightower will have listeners sitting up and taking notice of her jazz-inspired singing. Apparent at once is her wide vocal range, which she puts to good use, alternately chirping blues and swing. Her clear, crisp delivery is reminiscent of Carmen McRae, yet has many distinctive ways of her own. Good programming piece [for radio DJs].
But wait, the February 15 San Francisco Examiner had its own take:
Capitol's "Take One" (T-1133) presents a new jazz singer, Donna Hightower, who may be intended as Capitol's answer to Mercury's Ernestine Anderson. If so, she needs to learn but two things - first, how to phrase, and, second, that the lyrics are part of the meaning of a song. Her intonation is unusually accurate for a singer of today; her voice is colorful, dramatic. But she would do well to forget that she ever heard Sarah Vaughan.
Believe me, that was a glowing 5-star review compared to what appeared in the March 19, 1959 Down Beat (I left in the part about Ed Townsend, who didn't do well either):
Several new voices made their way into the record world in recent weeks. On New In Town (Capitol T 1140), Ed Townsend makes his way through a batch of standards, backed by Nelson Riddle's studio band. Undaunted by technical inadequacies and lack of discipline, Townsend sings The More I See You; Lover, Come Back To Me; Rockin' Chair; Mam'selle'; Symphony; and Prisoner Of Love, among others. Townsend could use a vocal coach. So, too, could Donna Hightower, whose initial LP is Take One (Capitol T 1133). Miss Hightower, a cross between Della Reese and Dakota Staton, scatters derivative, distorted, nasal sounds through the LP. She's more at ease, and less strident, on ballads, but she wasn't ready to record when this was cut. This means, of course that this record will probably be a best seller. The backing, it should be noted, is by a quintet of jazzmen, including Joe Wilder, trumpet; Mundell Lowe, guitar; Hank Jones, piano; George Duvivier, bass; and Don Lamond, drums.
Ah well, not everyone can be a Tiny Tim or a Mrs. Miller.
But Donna did get a prestigious booking: on February 10, she started a week at the Village Vanguard jazz club in Greenwich Village. Billboard reviewed the show on February 16:
Thrush Donna Hightower made her New York club debut at the Village Vanguard last week. The singer, who has an album out on Capitol, is in the mold of Dakota Staton, but she does not reach the same level of excitement with her vocalizing as the latter. Miss Hightower sold her ballads, such as "C'est La Vie" and "Don't Take Your Love From Me" with warmth and feeling, but on her rhythm tunes, she failed to make the same impression.
Although Capitol was pushing her to be a jazz star, in February 1959 they released her version of Ray Charles' "Ain't That Love" (which he'd done for Atlantic a couple of years previously). The flip was called "Forgive Them". They were reviewed in the February 28 Cash Box:
Ain't That Love (B+): Winning session on the old Ray Charles delight. Miss Hightower keeps the spirit of things going through, as do the ork-chorus.
Forgive Them (B): Inspirational overtones to this moving track.
"Ain't That Love" was possibly her last try at R&B/R&R.
On April 6, she was one of the acts performing at the MOA Convention in Chicago. This was the annual meeting of the Music Operators Of America, a gathering of those who owned and stocked juke boxes (lots and lots of them). Other acts scheduled were Red Foley, the Mills Brothers, Tommy Edwards, the Diamonds, the Kirby Stone Four, Sonny James, and Jackie Wilson. Presumably you learned all you need to know about juke box owners from watching "The Girl Can't Help It".
As long as Donna was in Chicago, she appeared at the Blue Note on April 22, along with pianist George Shearing.
Back to the Key Club in Minneapolis. She spent three weeks there (May 25 - June 14), the first with Tommy Edwards, the second with Eddie "Lockjaw" Davis, and the third with Martha Davis & Spouse.
On June 16, she appeared on Marty Faye's TV show ("Marty's Morgue") on WBKB, Channel 7 in Chicago.
And now, it was all going to change. The July 10, 1959 Minneapolis Spokesman reported:
Donna Hightower is all aglow because she just got the message that she will be spending quite some time in Europe - within a matter of weeks. Matter of fact, soon as she closes her Dee Cee engagement, she will wing to New York, pack a few duds, then head for Elizabeth's home town [that is, Queen Elizabeth's England].
Incidentally, Donna's entourage will include the secretary she recently hired. The lucky Miss was a school chum of Donna's way back when. At the last minute Donna cancelled reservations she had on a jet and booked passage on a sleek ocean liner. Said she'd never been on water and the trip should be relaxing. You aren't forgetting about that time your car jumped the highway (back in Minnesota) and you narrowly escaped drowning, are you, Donna? [Remember that?]
In late 1959, Donna toured England, France, and Sweden, along with Quincy Jones, the Platters, and French singer Johnny Hallyday.
In November, 1959, Capitol issued Donna's second jazz album, Gee, Baby Ain't I Good To You? At least some of the dozen songs had been recorded in March. It was reviewed (4 Stars) in the November 30 Billboard:
Expressive, perceptive readings by the thrush on uptempo blues and ballads with fine swinging backing by Sid Feller Ork. Selections include "Everyday I Have The Blues", "All Or Nothing At All", and title theme.
And then, Billboard almost ruined it in their December 14 edition: "Records getting action ... include ... 'Twangy Guitar With A Beat' by Donna Hightower on ABC-Paramount." They were so close; it was actually an LP by Dean Hightower.
At this point, we're almost ready to take leave of Donna, since the rest of her singing career, immensely successful as it was, took place in Europe. I'll just recount some of the highlights.
Donna was mentioned in the April 21, 1960 Jet:
It seemed like "old home week" in Paris with a baker's dozen of fine, Negro-American musicians and singers appearing, primarily at the Olympia. Heading the list were: Miles Davis and his Trio, the Oscar Peterson Trio, and the Count Basie band, presented in concert by Norman Granz. Others were: Quincy Jones and his new orchestra; singers Jimmy Randolph and Donna Hightower....
Donna decided to live in France, then Belgium, and finally, in 1969, Madrid, while doing shows in Greece, the United Kingdom, Sweden, Switzerland, Czechoslovakia, and Germany.
In 1970 or 1971 (sources differ), she won the Costa del Sol International Song Festival, which led to her recording, in Spain, for Columbia Records, although her songs were issued in much of Europe by Decca. Donna worked with singer Daniel Candón de la Campa (who called himself "Danny Daniel") in the duo of "Danny & Donna". They had a hit that year with "El Vals de las Mariposas" ("The Waltz Of The Butterflies").
While in Europe, she married for at least the third time, to someone named Ivon Vanoutrive; they would later divorce. When her father died in January 1971, it mentioned (among other children) his daughter, "Miss Donna Hightower of Madrid, Spain". However, when her mother died, in December of that year, it was "Mrs. Donna Hightower Vanotrive of Madrid".
Probably in 1971, a Jamaican bootleg record appeared on the "Kent" label. One side had "The Girl In My Dreams" by the Cliques; the flip was "Crazy Feelings" by Donna Hightower. If you don't recognize the title (which was on the label as "Crazey Feelings" by D. Higtower") it's simply because the song is actually by Etta James.
In 1972, she had a monster hit with "This World Today Is A Mess" (a soul sound), which reportedly sold more than a million copies worldwide. She'd later say "I owe a lot to that song, but I am first and foremost a jazz singer." The writer credit went to "Donna Vanoutrive Hightower". However, Spanish Columbia decided not to sell any of her songs in the U. S., and it was never released here.
Not to pussyfoot around it, she also became an alcoholic. She later said: "I'd have five beers before lunch. Everybody drinks over there, but I was the only one getting drunk."
In 1990, after 30 years in Europe, she returned to the U.S., to live in Austin, Texas, as Donna Hightower Vanoutrive. Her last performance was in Spain, as the guest of honor at the IV Festival International de Jazz in 2006.
Lubertha "Donna" Hightower died, in Austin, on August 19, 2013. An obituary said she still had two sisters, Mary Taylor-Fernandez and Evelyn Fields, and a brother, Ray Hightower (which is odd, because she'd never had a brother Ray before, only Henry and Robert). It also named her two children as Judy Sims of Gary, Indiana and Bobby Hightower, of California.
Aside from her RPM recordings, I'm not crazy about Donna Hightower. When Down Beat called her "strident", I'd have to agree. (Audiences seemed to love her however, so what do I know?) But I have to compare her to Joan Shaw, another expatriate. As I said in my Joan Shaw article: "Joan's early R&B recordings are quite good and her voice can easily be compared to fellow Virginian Ruth Brown's" and "I could spend hours listening to her wonderfully smooth, soulful jazz voice." Not so, with Donna.
Special thanks to Victor Pearlin and Marion Beach.
DECCA (Little Donna Hightower)
48254 I Ain't In The Mood / Cry - 10/51
48284 Honest And Truly / I Found A New Love - 2/52
28233 Don't You Think I Ought To Know / Kiss Me, Baby - 6/52
48299 Farewell Blues / You Had Better Change Your Ways - 6/53
UNRELEASED DECCA
The Face In The Mirror (recorded April 4, 1952)
RPM (Donna Hightower, with the Maxwell Davis Orchestra)
432 Dog Gone It / Love Me Again - 6/55
439 Bob-O-Link / Since You - 9/55
The above two records are with the uncredited Jacks
445 Hands Off / Right Now - 11/55
481 I Ain't Gonna Tell / He's My Baby - 11/56
UNRELEASED RPM
Cool Baby Cool (not the song by the Penguins and the Flairs)
CAPITOL (Donna Hightower)
PRO 842 [7" promo EP] Selections From Take One - 12/58
C'est La Vie / Baby, Get Lost // I Get A Kick Out Of You / Maybe You'll Be There
T 1133 Take One! - 1/5/59
Perfidia
Maybe You'll Be There
Lover, Come Back To Me
There I've Said It Again
Because Of You
Don't Take Your Love From Me
C'est La Vie
Too Young
Baby, Get Lost
I Get A Kick Out Of You
Anytime, Any Day, Anywhere
Trouble In Mind
4151 Ain't That Love / Forgive Them - 2/59
ST 1273 Gee, Baby Ain't I Good To You? - 11/59
Every Day I Have The Blues
Gee, Baby Ain't I Good To You?
All Or Nothing At All
I Laughed To Keep From Crying
Lonesome And Sorry
The First To Know
The Blues Don't Care
Can't Help It
Born To Be Blue
I'll Be Around
A Cottage For Sale
I'm Alone Because I Love You
KENT (a Jamaican bootleg)
MX-20 Crazy Feelings / [The Girl In My Dreams - Cliques] - ca 71
Not only does the label say "Crazey Feelings" by "D. Higtower", but the song is actually by Etta James.
