Estelle Edson

By Marv Goldberg

© 2025 by Marv Goldberg

Estelle Edson is probably best known for her 1945 version of "Be-Baba-Le-Ba". Prior to that, she'd spent 4 years as the female singer with Ernie Fields' Orchestra.

She was born Estelle Louise "Stella" Edmerson on July 25, 1920 in Manor, Texas (a suburb of Austin). Her father was Leroy Edmerson; her mother was Lillian Idelphia Jones. [Naturally, even though I'd never heard the name "Edmerson" before, there were several Estelle Edmersons all over the country.]

In the 1920 census (taken as of January 1 that year), Leroy was single and living in San Antonio. Lillian was single and living in Austin (with Estelle's birth only a few weeks away). It's probable that Lillian and Leroy were never married, and Estelle seems to have been an only child.

Estelle's obituary said: "Mother moved to Austin when she [Estelle] was a young child". That's strange, since her mother was enumerated there only weeks before Estelle was born. The obituary also said that Estelle was born in nearby Manor. The 1920 census sheet with Lillian Jones clearly says it was taken in Austin; the sheets for people living in Manor were clearly marked "Manor", not Austin. Unless Estelle was born in a Manor hospital for some reason, I have no explanation for this.

Lillian married Leonard Luckett on January 23, 1925, in Austin; they were together in the 1927 Austin City Directory. I can't find them (or Estelle) in the 1930 census, but in the 1930-31 Austin City Directory, Lillian and Leonard were already at different addresses.

Stella seems to have been known as an entertainer as far back as 1939. There was this small blurb in the Kansas City Call of July 14, 1939, talking about goings-on in Bryan, Texas, somewhat east of Austin:

Johnnie Simmons, one of Bryan's own, and his Czars Of Rhythm kept the mammoth crowd of Jitterbugs and Alligators swinging and swaying Tuesday night, July 4, at "Tiny" Tom's Cotton Club....

The floor show composed of a bunch of beautiful Austin girls was not presented on account of stage difficulties. One of the beautiful girls, none other than the sophisticated Stella Edmerson, ... held the crowd spellbound singing one of those old Ella Fitzgerald numbers, "Rock It For Me", while Early Moore, "The Bill Robinson Of The South", tapped it out in grand style.

At the time of the April 1940 census, Estelle was living with her mother, who was now definitely divorced from Leonard Luckett. Estelle, who answered the questions, had completed two years of college at that point.

The June 21, 1941 Pittsburgh Courier had a list of people receiving degrees from Samuel Huston College in Austin. Stella L. Edmerson was listed under Bachelor Of Arts degrees conferred.

The June 21, 1941 Black Dispatch (Oklahoma City) said: "That gal, Stella Edmerson, new vocalist with Ernie Fields' orchestra, hails from Sam Houston college at Austin, Texas, and is a member of the AKA sorority. Has a pleasing appearance and can chirp. Should be made by the time the band gets back here next fall. Drop us a line, Ernie." Nothing ever said how she came to join Fields' band. Note that they got the name of the college wrong, probably thinking that Samuel Huston College was named after Texas' first president, Sam Houston.

[NOTE: She was billed as both "Estelle Edmerson" and "Stella Edmerson" in 1941. She wasn't called "Estelle Edson" until early 1942, when she simply dropped the "mer" from her last name (although "Edmerson" occasionally popped up after that).]

Appearance ads for Ernie Fields usually mentioned the names of his singers, but rarely showed photos of anyone other than Fields himself, not even his long-time vocalist, Mel Moore.

Mel Moore - Fields' male vocalist was Mel Moore [sometimes called "Melvin Moore"], who's easily confused with Melvin Moore, trumpeter and vocalist for Lucky Millinder in the 40s. Mel was with Fields from at least July 1938 through December 1949 (although we'll see something confusing in January 1945). There are those who think both Moores were the same person, but they weren't. I found separate World War 2 draft registrations for Melvin Moore in October 1940 (born on October 31, 1917 and employed by Ernie Fields) and Melvin Eugene Moore in June 1942 (born on June 15, 1923 and employed by Horace Henderson's orchestra - this is the trumpeter/vocalist).

The first time Estelle was mentioned as appearing anywhere specific with Fields was at a Swimmers' Delight dance, on July 13, 1941, in Eugene, Oregon. "A new and accomplished vocalist, Stella Edmerson, has been added to the [Fields] troupe since their last visit here.", said the July 9 Eugene Guard. While Fields appeared at the same really big venues that other bands played, he also played many small towns; I find that refreshing. Note that I'm only going to mention appearances at which Estelle was mentioned in either ads or blurbs.

Sometime in July, the band played an unnamed venue in Denver (possibly the Rainbow Ballroom). The Oklahoma City Black Dispatch of July 19, 1941 said:

Stella Edmerson, the girl chirper, seemed to have been getting the lead for the vocal honors, especially when she sent the house with "When A Woman Loves A Man" and "Jelly Jelly". But when the band came on with their original and new "Thursday Evening Blues", sung by Melvin Moore and backed by the best blues arrangers of all times, they had to be encored twice.

The band was at the Miramar Ballroom, in Boise, Idaho, on July 29, 1941. In late August, they played two weeks at the Trocadero in Wichita, Kansas; the engagement was extended for an additional two weeks.

February 19, 1942 found the band at Sunset Terrace in Indianapolis. The February 14 Indianapolis Recorder blurb called her "Estelle Edson" for the first time in print.

The March 14, 1942 Pittsburgh Courier announced that the Fields band was about to begin a 10-week tour with famed dancer Bill "Bojangles" Robinson. Band members were named as Parker Berry, King Kolax, Eddie Walker, Eddie Miller, Middleton Lewis (brass), Mack Easton, Luther West, Paul Quinchette, Hubert Perry (reeds), Creon Thomas (piano and violin), Bob Lewis (bass), Joe Marshall (drums), Rene Hall (guitar, trombone, and arranger), and Ernie Fields (leader and trombone). Aside from Mel Moore and Estelle, King Kolax and Bob Lewis were also said to be singers. The tour kicked off at the Orpheum Theater, in Minneapolis, on March 13.

The March 21 Billboard review of the Minneapolis show mentioned: "... Estelle Edson, young gal with plenty of personality, offers I've Got It Bad and Wing Time Up In Harlem [sic; should be Swing Time] to a good round of applause."

On March 25-26, 1942 they were at the Orpheum Theater in Sioux City, Iowa; on April 8, it was the Paramount Theater in Indianapolis [Estelle sang "torrid tunes"]; April 9 found them at the Kenosha Theater in Kenosha, Wisconsin [Estelle was a "Dynamic Songstress"]; and from April 10-12, they were at the Iowa Theater in Cedar Rapids, Iowa. The April 11 Cedar Rapids Gazette said:

Mel Moore is listed as a blues singer, and how he can handle those sentimental ballads - "White Cliffs Of Dover", "This Is No Laughing Matter", etc. He was called back twice Friday night, and the applause was still going strong when the next number came on. Estelle Edson sings "I Don't Want To Walk Without You" as it should be sung and then a number called "When It's Swing Time Up In Harlem" to show she really can get in the groove.

The tour was at the Rio Theater in Appleton, Wisconsin on April 16 and the Capitol Theater in Madison, Wisconsin on April 17 (the ad called Estelle "That Human Dynamo Of Song"). The last tour ad was for the Colonial Theater (Dayton, Ohio) on May 1, 1942 (in it, she was "Stelle Edson").

On May 8, the Fields troupe, without Bill Robinson, played the Avalon Theater in Niles, Ohio, but they were back with Bojangles for one last show, at the Oriental Theater in Chicago, the week that included May 17.

The June 1, 1942 Down Beat said that the band was being "groomed for the big time" by Frederick Brothers (either their managers or booking agents or both). And, "The girl vocalist, Estelle Edison [sic], concentrates on jive tunes." It actually amazes me how few times her name was misspelled "Edison".

The July 18, 1942 Pittsburgh Courier reported that, on July 17, "America's Sweetest Swing Band" kicked off a tour by playing the Pythian Temple in Louisville. Added to that tour was former Count Basie vocalist Helen Humes (at this time, rumors started to circulate that Humes and Basie were secretly married - untrue, as he was married to Catherine Morgan). As it was now a few months into World War 2, Estelle sang "Uncle Sam Spare My Man" and with that tune, "Miss Edson virtually melts the hearts of the weaker sex...."

On July 26, the tour played the Top Hat in Atlanta. The August 1 Jackson (Mississippi) Advocate mentioned the singers in the band:

This 18-artist combination embracing three top-notch vocalists - Helen Humes, Melvin Moore, and Estelle Edmerson - with variations of trios, glee club and what not, is just about the finest piece of work that any booking agency could afford to place on a tour.

As far as I can tell, this is the last time she was professionally known as "Edmerson", although she'd continue to use that name in non-singing capacities.

Here are some more stops on the Ernie Fields tour:

Comet Theater (St. Louis) - August 24-26, 1942
Pastime Club (Duncan, Oklahoma) - September 6
Dreamland (Omaha) - October 5
Sunset Terrace (Indianapolis) - October 11
Slaughter's Hall (Oklahoma City) - October 22

On January 8, 1943, the band (now minus Helen Humes) played Fays Theater in Philadelphia. (As usual, I'll say that the name is spelled, by them, without an apostrophe, including on their neon signs. Most write-ups, however, put one in.) Others on the bill were Louis Prima and his band, comedian John Mason, ventriloquist Canfield Smith, and dancers Raps & Taps. The opening night show was reviewed in the January 16 Billboard:

Making for a major click with a steady diet of the sepia band names, Samuel H. Stiefel has matched a battle royal musically for his house on this trip. It is white jazz pitched against the Harlem brand of musical heat, with Louis Prima upholding the standard-bearers of the palefaces and Ernie Fields flashing the colors of the sepia swingsters. And what the bands lack in marquee magic they more than make up for on the stage with their battling horns.

Winner by a mile is Prima, his band of 16 getting its spark from the maestro's hot trumpeting and his individual gravel-voicings for the singing. Dishes out a heavy dose of the jive and jump rhythms, with his own antics in front of the band making it count for more. Best side play is when Prima and the lad in the trumpet section kid each other with riffs and jive talk thru their horns.

On the sweet side brother Leon Prima blows his horn smoothly for Velvet Moon. But more to the likings of the house is the youthful drummer boy, Jimmy Vincent, with his Sing, Sing, Sing concerto. Also on the distaff side, and solidly, is the band's canary, fetching Lily-Ann Carroll. Devoted to the sultry chanting, gal gives out effortless with four swing hymnals and makes the house rock. In spite of the fact that patronage at the house was predominately colored, pew-holders were partial to Prima all the way.

Swing rhythms of Ernie Fields are more subdued. Besides a band of 12 is musically no match for the likes of Prima. Maestro makes pleasant appearance down front for the wand-waving chores, and at times joins the trombone section. Band's best efforts are in back of Melvin Moore, male ballad slinger with the aggregation. Sporting sugary pipes that show tutoring, his bary [baritone] range registers big for a round of current pop faves. Estelle Edson, fem warbler, just adequate for her rhythm ditty chores. Band has its most worried [?] moments for Thursday Evening Blues, a typical race blues dirge.

John Mason, colored comic, assisted by girl and boy, scores a high quota of laughs with two skits spaced during the show. Both familiar burly routines, using the shell game skit and, to better advantage, a drunk character for the Open The Door, Richie [sic] bit that Dusty Fletcher identifies himself with on the peel wheels [a reference to the burlesque circuit].

Canfield Smith, white ventriloquist, makes for merriment with his Snodgrass dummy. Delivery, for both patter and songs, is a bit drawn out, and while the punchy lines are few and far between, brings in nice returns for his efforts.

Raps and Taps, mixed sepia team, on first for a round of tapology, but efforts are on the feeble side. Gal going heavy on the masculine side, complete with full dress suit, makes for poor stage appearance. And stage presence of the hoofers not much better.

Show runs 80 minutes and can stand splicing in its earlier stages. House filling up at early supper show caught [i.e., that's the show the reviewer saw]. Boston Blackie Goes Hollywood on screen.

On March 5, 1943, the band, along with singer Ada Brown and comedian Pigmeat Markham, appeared at Detroit's Paradise Theater for a week.


On May 6 the Fields band was at the Municipal Auditorium in Oklahoma City. October 2 found them at the 400 Club in Wichita Falls, Texas. In late October, they were at the Happy Hour Cafe in Minneapolis.

On New Year's Day 1944, they appeared at the Memorial Auditorium in McCook, Nebraska. The April 15 Billboard said they'd started a "extensive tour of the East and Southeast beginning with a date in Jacksonville, Fla., Monday ([January] 10)." Part of that tour took them to the Langley Auditorium (Hampton, Virginia) on May 15 and the Odd Fellows' Temple (Wilmington, Delaware) on May 20.

The band played the Apollo Theater on May 26. Estelle & Mel were in neither the ad nor the write-up, but were probably there. Then, it was back to the Odd Fellows' Temple in Wilmington, Delaware on June 2.

On July 14, when the band was at the Mirror Ballroom in Detroit, the ad called her "Estelle Moore". July 26 found them at a USO dance in Parsons, Kansas. On September 8, they made another visit to the Odd Fellows' Temple in Wilmington (the ad promised "Estelle Edson" and "Me Moore").

On October 18, 1944 the band played the American Legion Ballroom in McAlester, Oklahoma. For Halloween, they were at the Gay Paree in Pryor, Oklahoma (the ad called her "Edison" and also mentioned the Fields Trio and Glee Club).

On November 17, they opened at Club Alabam in Los Angeles. They were booked for four weeks, but were still there on January 18, 1945. J. T. Gipson, in the November 23 California Eagle, said: "Estelle Edson's way of toying with a ballad is worth wrapping around your heart."

Now it gets a bit weird. In early 1945, several papers printed articles about Mel Moore leaving Ernie Fields and joining Lucky Millinder, replacing Judy Carol as the main vocalist. (Remember, Millinder already had Melvin Moore as a trumpeter and occasional vocalist.) For example, the January 6, 1945 Pittsburgh Courier had this:

Maker of stars and band leader extraordinary, Lucky Millinder, last week signed Mel Moore, brilliant vocalist with Ernie Fields' orchestra. Moore has given Fields his notice and will join his new employer at Club Plantation [Los Angeles] in the near future.

The youngster gives every indication of developing into the singing sensation of 1945, according to star maker Millinder. A pleasing baritone singer, he has been singing professionally since 1935. He has been with Fields' aggregation since 1938, and previously was a member of Don Albert's band.

The February 1 Down Beat amended that to say "Moore was to join Millinder prior to their opening Jan. 31 at the Silver Slipper in San Diego."

The January 4, 1945 California Eagle nailed it down with a photo showing Mel signing a contract, as Lucky Millinder looks on. It said, in part: "The young man appeared on the Hollywood Canteen program and the Columbia Broadcast's Jubilee program, with the Millinder orchestra and Lena Horne, New Year's Day and Tuesday, which was enthusiastically acclaimed."

But, after all that, it never happened. A photo in the February 8, 1945 California Eagle showed Mel Moore, G. M. Giles (a businessman of some sort), Horace Henderson (Lena Horne's accompanist and arranger for the Fields band), Ernie Fields, and Curtis Mosby (owner of Club Alabam and brother of Esvan Mosby of the 3 Chocolateers). The caption concluded with: "Fields took the occasion of his visit to announce that Melvin Moore, his featured vocalist, will not join Lucky Millinder, despite rumors to the contrary." I have no idea what happened, but the photo of Mel signing with Millinder is slightly more than a "rumor". Mel would remain with Fields through the end of 1949.

On February 11, the band was at the Black And Tan in Seattle. The February 7 Northwest Enterprise said: "Two distinctively different types of vocalists are featured: torrid tempos are vocalized by Estelle Edson, while the more romantic ballads are dispensed by Mel Moore." On February 13, it was the Shrine Ballroom in Victoria, British Columbia, and on February 22, Memorial Auditorium in McCook, Nebraska.

The band appeared at Chicago's Regal Theater the week of March 16, 1945 (with "Estelle Hudson", said the write-up). However, this engagement marked the last time Estelle was advertised with Fields. When Fields was at the Apollo Theater the week of April 27, Mel Moore was mentioned, but not Estelle.

In early June 1945, Estelle Edson, "Formerly Ernie Fields' Vocalist" was at the Club Alabam in L.A., along with Wynonie Harris and the Johnny Otis band. Two of the songs she sang were "Take All Of Me" and "Captain Kidd". She was still there four months later, and by now, she'd probably moved to Los Angeles.

In the middle of that gig, Estelle began her recording career. I don't have exact dates, but, in September 1945, she made a single recording for Modern Music and another for Excelsior.

The Modern Music tune was "Call It The Blues", accompanied by Howard McGhee & His Orchestra: Howard McGhee (trumpet), Teddy Edwards (tenor sax), James King (tenor sax), Vernon Biddle (piano), Bob Kesterson (bass), and Ray Porter (drums).

For Excelsior, she waxed "Love Me A Long, Long Time", accompanied by the Gerald Wilson Orchestra (with whom she'd soon appear at Shepp's Playhouse): Gerald Wilson (trumpet), Leo Trammel (alto sax), Floyd Turnham (alto sax), Eddie Davis (tenor sax), Maurice Simon (tenor sax), Vernon Slater (tenor sax), James Anderson (trumpet), Hobart Dotson (trumpet), Joe 'Red' Kelly (trumpet), Eugene "Snooky" Young (trumpet), Ralph Bledsoe (trombone), Robert Huerta (trombone), Melba Liston (trombone), Isaac Livingstone (trombone), Benny Sexton (guitar), Jimmy Bunn (piano), Robert Rudd (bass), and Henry Tucker Green (drums).

In late October, Estelle opened at Shepp's Playhouse. Also on the bill was the Gerald Wilson Orchestra.


Estelle made a few more recordings in either October or November 1945, this time for the Black & White label: "Be-Baba-Le-Ba", "Rhythm In A Riff", "I Changed The Lock On The Door", and "Don't Drive This Jive Away". This time, she was backed by Oscar Pettiford & All Stars: Oscar Pettiford (bass), Karl George (trumpet), Jewell Grant (alto sax), Eli "Lucky" Thompson (tenor sax), Leon Beck (baritone sax, clarinet), Wilbert Baranco (piano), Charles Norris (guitar), and, Roy Porter (drums).

Estelle started at Los Angeles' Swanee Inn in early December; she was still there on December 31.

Finally, some records: Modern Music issued "Call It The Blues" in December 1945, and Black & White released "Be-Baba-Le-Ba", backed with "Rhythm In A Riff" in the same month. "Be-Baba-Le-Ba" was part of the "Ba-Ba-Le-Ba" craze.

In January 1946, Black & White released "I Changed The Lock On The Door", coupled with "Don't Drive This Jive Away". "Lock" was an answer to Louis Jordan's "Somebody Done Changed The Lock On My Door".

In February, Excelsior issued "Love Me A Long, Long Time" (with a Gerald Wilson instrumental on the flip).


At the time, Estelle was appearing at the Royal Theater (Baltimore), along with Deek Watson's Brown Dots, the Eddie Heywood Orchestra, and old boss Ernie Fields.

Back in Los Angeles, probably in March 1946, Estelle made her last recordings, once again for the Black & White label: "My Business Is C.O.D." and "Baby Make Up Your Mind". The back-up band this time was Jack McVea & His All Stars: Jack McVea (tenor sax), Marshal Royal (clarinet), Jimmy Perdie (trumpet), John Shackleford (piano), Frank Clarke (bass), and Rabon Tarrant (drums).

Soon after that, Estelle appeared at the Riviera Supper Club in Austin for one week (possibly extended to two), starting March 24, 1946. Papers played up that she was the first black entertainer to play the white club.

Around April, Black & White issued both remaining masters: "My Business Is C.O.D." and "Baby Make Up Your Mind". Each was on the flip of a Jack McVea instrumental.

To recap: all of Estelle's recordings were made in a six-month period and all were released within a four-month period (except for a single reissue, which we'll see later). It could hardly be called an extensive recording career. (Note that not a single one of her songs was ever reviewed in the trades.)

On September 14-15, 1946, she was at the Zanzibar in Sacramento, California. At some point, she appeared at the El Grotto Supper Club in Chicago and was pictured on an El Grotto float that was in the annual Bud Billiken parade. The (poor quality) photo appeared in the September 28 Chicago Defender, but it didn't say when the parade took place.

On December 21, 1946, she was part of the Christmas Basket benefit show at Los Angeles' Lincoln Theater. The Delta Rhythm Boys were there, as was Cecil Gant.

The April 12, 1947 Pittsburgh Courier had an article (written by a press agent) titled "Vocalist In Workshop":

A stickler for perfection and a firm believer in honest Abe Lincoln's adage, "Be prepared and your chance will come", Estelle Edson is studying) for a career in voice and dramatics at Talent Workshop on the Sunset Strip in Hollywood.

The willowy entertainer, one time vocalist with Ernie Fields' orchestra, has been enrolled at the exclusive school for the past year. She is the only person of her race there and Vera Williams, her teacher, predicts a bright future for her in her chosen field.

Already she has been tentatively promised film work at 20th Century-Fox Studios. But she has turned a deaf ear to all such glittering opportunities until, as she puts it, "I feel I am ready."

Although she has recorded with, a degree of success. she states she feels she could do much better with more training.

Among the night clubs in which she has appeared are Shepp's Playhouse and Club Alabam in Los Angeles, and the Rhumboogie in Chicago.

La Edson made history when she did a smash two weeks engagement at Club Riviera, just outside of Austin, Texas. She received top billing and favorable mention from critics in the Austin daily press. The chance for the Riviera stint came when she visited her home in Austin.

Miss Edson is a graduate of Sam Houston [sic; should be Samuel Huston] College where she majored in English. She is affiliated with AKA Sorority.

Around May 1947, Black & White reissued "Don't Drive This Jive Away". The flip was "Goody Goody Baby" by Jo Evans.


A complaint: columnist Gertrude Gipson, in the November 13, 1947 California Eagle, said: "... then there's Estelle Edison [sic] whose added poundage not only has changed her appearance but Estelle seems to have changed her style of singing . . . Tho she still maintains the sweet mellow tone, as for me, I prefer the other way best."

On December 3, Estelle, along with Madeline Greene, was at the Ringside Cafe in L.A.

Probably in college, Estelle seemingly made no appearances in 1948, 1949, and the first half of 1950.

In the April 1950 census, Estelle Edmerson was a "housekeeper" in the household of famous geologist James Gilluly, who was now a professor at (probably) UCLA. Estelle was working on her Masters' degree at UCLA, so it's possible he gave her a job so she could earn a steady salary while she was attending college. (The 1950 California voter registration list has Stella L. Edmerson at that same address.)

The August 10, 1950 Los Angeles Sentinel reported that Estelle was a part of pianist Marl Young's trio (with Billy Hadnott on bass). Young was also attending UCLA, where the two of them met.

[As early as 1951, Estelle and Marl Young began efforts to combine the two musicians' union locals in Los Angeles: Local 47 was all white and Local 767 was all black. The merger finally took place on April 1, 1953.]

In December 1950 and January 1951, the Marl Young Trio was at Sharp's, in Pasadena, for nine weeks. By that time the bassist was Chuck Hamilton. The April 19 California Eagle said that: "Estelle Edmondson [sic], the lass who does some wonderful 'tonsil tickling' and is appearing with the Marl Young Trio, is also working on her master's degree out at UCLA."

Nothing much until May 1952, when the Trio (with "Estell Edson") appeared at the 49'er Cafe in El Monte. In September, they were at the 1841 Club in Hollywood. In November, it was Club Oasis in L.A.

Estelle was at the El Sombrero Ballroom in L.A. with Marl Young (but the Trio wasn't mentioned) for a July 3, 1953 benefit for the California Eagle's Boy's Club.

There was a big article about Estelle in the July 9, 1953 California Eagle. It was headed "Landlord Settles Suit With Singer":

Talented singer Estella Edmerson, known professionally as Estelle Edson, won her battle with her landlord last week, but she still has to move.

The suit which landlord David Pearl brought against her for double rent and treble damages was settled without the case coming up for trial.

Pearl's attorney approached Miss Edmerson and her counsel, Atty. Carl A. Earles, Thursday morning before the case was called. He offered to settle for the rent due at the old rate, $55 a month, before Pearl doubled it to $110 a month in an apparent attempt to get Miss Edmerson to move from her home at 3805 Montclair Street. He also asked half of the court costs.

There was a condition, however, to the offer. Miss Edmerson must vacate. Monday was the deadline.

Appearing with the landlord and presumably prepared to testify was Mrs. Martha Ellis, also a tenant at the Montclair street address.

The trouble started in March, when Miss Edmerson and 13 other tenants drew up a petition complaining about rats in the yard, mice in the houses and general unsanitary conditions. A copy of the petition was sent to the Health Dept., which intervened. As a result of this, the conditions complained of were cleaned up.

Pearl, however, then reportedly told other tenants that he was going to get Miss Edmerson evicted since she was the "ring leader." Shortly thereafter he increased her rent, and allegedly returned the payment she had tendered at the old rate. When she failed to pay at the $110 monthly rate, he brought suit against her.

With their bassist gone, the act became the Marl Young Duo. They appeared at the 5 O'clock Club, in Burbank, from February 12 through March 26, 1954. Since they needed some rhythm behind Marl's piano, Estelle both sang and played the drums.

Jumping the gun a bit, the February 25 California Eagle said: "Winsome Estelle Edson, who used to chirp with Marl Young's ork is now a schoolmarm at Jordan High!" They were correct about her being a teacher, but wrong about her not being with Young any more.

Her last mention with him was on May 27, 1954, when "Marl Young & Estelle" appeared at Alyce Blue Gown in Van Nuys, California. (That was probably the name of a room in Barnett's Cafe.)

To get her Masters' degree in 1954, Estelle submitted a thesis titled A Descriptive Study of the American Negro in United States Professional Radio, 1922-1953. Along with that, she produced the "Man Of Color" radio program (KABC) when original producer William Luke left in April 1954. She'd stay with the show until its demise in December of that year. I find it kind of strange that, although she was crusading for blacks on radio, the show kept the title "Man Of Color", seemingly eliminating women from the mix.

In October, 1955, Marl Young, Estelle Edmerson, Adolphus Alsbrook, and James Jackson appeared at the El Rey Theatre, Los Angeles.

The August 16, 1956 Los Angeles Sentinel informed us that: "Winsome Estelle Edson, cute thrush, who formerly sang with Marl Young's group, isn't there anymore." No further details were given.

A year later, the August 8, 1957 Los Angeles Sentinel said: "Former singer Estelle Edson cards [writes to us] from 'T-Town' she's having a wonderful vacation and rest from her energetic teaching chores in L.A." Unfortunately, several cities are known as "T-Town"; my vote, in this case, is for Tulsa, Oklahoma, where Ernie Fields lived. I guess she really had given up singing, there's never another mention of "Estelle Edson"; from now on, she's only referred to as Estelle Edmerson.

The August 9 Austin American said:

"School Integration" will be the subject of a discussion Sunday between Arthur Dewitty, Austin Negro leader, and Miss Estella Edmerson, teacher in the Los Angeles City Schools.

Miss Edmerson, a former student at Huston-Tillotson College [Samuel Huston College had merged with Tillotson College in 1952], was the first Negro to receive a master of arts degree in the Department of Theater (Language) Arts at UCLA.

A blurb in the January 5, 1961 California Eagle called her "John Adams Junior High School instructor and chairman of the Oratorical Contest Committee".

On September 13, 1961, Estelle married Virgil O. Banks in Los Angeles. They would remain married until his 2001 death, but didn't have any children.

At some point between 1961 and 1968, Estelle and Virgil moved back to Austin, where she'd remain for the rest of her life. The June 28, 1968 Austin American-Statesman had a small article about her when she attended a summer institute in Boston. From it, we learn that she was currently an English teacher at Keating Junior High School. The article called her Estelle Edmerson (although her married name was Estelle Banks); other articles, over the years, used her married name. By 1974, she was teaching at Reagan High School (in Austin).

Estelle Louise "Estelle Edson" Edmerson Banks died on December 5, 2006 in Austin. There was a long obituary in the December 8, 2006 Austin American-Statesman, which said, in part:

Stella Louise Edmerson Banks was born January 25, 1920 in Manor, Texas as the only child of Lillie Idelphia Jones and Leroy Edmerson. Her mother moved to Austin when she was a young child. She completed her grade school education in the Austin Public Schools going through Blackshear Elementary, Kealing Junior High, and Anderson High Schools.

Stella was the first female drum majorette for the Anderson High School Band. When the band marched down Congress Avenue for their home coming parade, spectators came from all around Austin to see Stella lead the band. The Austin American Statesman coverage read: "She's the greatest majorette to ever march down Congress."

Stella and her aunt Willie Mae (Ankie) [Jones] were raised together after the deaths of both of Ankie's parents when she was a girl. Stella's mother was Ankie's eldest sister. Both girls were popular in East Austin and later on at college.

Stella first entered Tillotson College, but after two years she enrolled and graduated from Samuel Huston College [prior to 1952, they were separate colleges; she was an English major]. She was smart and she excelled academically. She also exhibited great talent as a singer, a dancer, and even as a songwriter and playwright. Stella and Ankie often sang Friday nights at Rosewood Park.

After graduating from college, Stella joined the Ernie Field's Band from Tulsa, Oklahoma. During the 1940's she toured the United States three times as a singer/dancer with various bands. Her stage name was Estelle Edmerson. [They tried. But since that was her actual name, why point it out as a stage name.]

When she settled down in Los Angeles, California, she continued to entertain, but she also honed her organizational and leadership skills protecting musicians' rights and benefits working with the Musicians' Local 47. She extended her already busy life to include work in theatre and network broadcasting.

Stella attended graduate school at the University of California at Los Angeles (UCLA) where she earned a Master of Arts Degree. Later she continued advanced graduate research pursuing a Ph.D. in Education at UCLA.

In 1956 Stella experienced a tremendous spiritual rebirth that became the impetus for a huge life change. She left the entertainment industry and began teaching English at Fremont High School.

During the early 1960's, she reconnected with her college sweetheart, Virgil Banks, who was living in San Francisco. They married in 1964 [sic; it was 1961] and moved back to Austin together. Here, as well as in L.A., Stella distinguished herself as a teacher and became known for her standards of excellence in education. She taught English, Language Arts, and Social Studies in the Austin Independent School District (AISD) at Kealing Junior High School and Reagan High School. She also produced numerous theatrical dramas with her students.

During the 1970's and 80's, Mrs. Banks brought attention to vital issues that faced young people. She served as the Chairperson for the Human Relations and Professional Rights Committee, District 13, Texas State Teachers Associations. She is credited with speaking at length at the 1985 National Educators Association 23rd Annual Conference on Human and Civil Rights, on the need for teachers and parents to give students the basic truth that "there must be a purpose of fulfillment in their lives." She received thunderous applause for her remarks during a capacity-filled session.

Stella Banks' many professional affiliations included activities in the California Teachers Association, Austin Association of Teachers, Texas State Teachers Association, the National Council of Teachers of English, and the Delta Kappa Gamma International Sorority....

In the final years of her life, she was lovingly cared for in the home of her aunt and life-long friend, Ankie Kirk. Her cousin, Connie Kirk was intimately involved in providing this care.

Stella will long be remembered for her intelligence, wit, kindness, and for her extraordinary life. She was predeceased by her husband, Virgil in 2001. She leaves to mourn, the sole surviving member of her family's second generation, her aunt, Mrs. Willie Mae Kirk. Also sharing her loss is a host of descendents from the 14 children of the Henry and Sarah Jones Family [Estelle's grandparents], and Stella's many friends and students.

Estelle Edson wasn't really more than a blip on the musical radar, but she went on to have a meaningful and rewarding life outside of the recording field.


MODERN MUSIC (Howard McGhee & His Orchestra - vocal by Estelle Edson)
125 Call It The Blues / [Gee I'm Lonesome - voc Pearl Traylor] - 12/45

EXCELSIOR (Gerald Wilson & Orchestra - vocal by Estelle Edson)
150 Love Me A Long, Long Time / [I Don't Know What That Is - instrumental] - ca 2/46

BLACK & WHITE
760 Be-Baba-Le-Ba / Rhythm In A Riff - 12/45
761 I Changed The Lock On The Door / Don't Drive This Jive Away - 1/46
            above two as Estelle Edson With Oscar Pettiford And All Stars
762 My Business Is C.O.D. / [Play It Over - Instrumental] - ca 4/46
763 Baby Make Up Your Mind / [House Party Boogie - instrumental] - ca 4/46
            above two as Jack McVea & His All Stars With Estelle Edson
840 Don't Drive This Jive Away / [Goody Goody Baby - voc Jo Evans] - ca 5/47
            reissue of 761 (Estelle Edson With Oscar Pettiford And All Stars)