Lu Elliott

By Marv Goldberg

© 2025 by Marv Goldberg

Lu Elliott was one of the many (, many, many) female singers Duke Ellington employed. She had a really nice voice and was also hired by bandleaders Benny Carter, Lucky Millinder, and Erskine Hawkins.

Lucy Arleane Elliott (also seen as "Lou" and "Lu", but never "Lucille") was born on August 3, 1924 in Nansemond, Virginia. (Her middle name spelling is from her birth record; it never seems to appear anywhere else.) She was the daughter of Claudius Clifford ("C.C.") Elliott and Minnie Viola Evans. [Note that I'll call her "Lucy", "Lu", "Lou", "Elliott", "Elliot", or "Eliot" to match ads and write-ups with no further explanation.]

Lucy had a brother, Herman Randolph Elliott (born in 1919), and two sisters: Minnie Viola Elliott (born in 1921) and Lillie Harfene Elliott (born in 1923). Since Lu was later said to have a sister who sang as "Billie Lee Elliott", I'm guessing that was Lillie's stage name, but there are only a scant couple of references to her.

For what it's worth, Claudius had three other children: Rob Lee Elliott, William O. Elliott, and Essie P. Elliott, all from a previous marriage [to Hester, who had died in 1916]. Claudius, himself, died of the flu in April 1928, when Lucy was only three. He was truly a man of many talents. When he married in 1908, he was a barber; in the 1910 census, a farmer; in the 1920 census, an auto mechanic; and on his death certificate, a painter. [And yes, I know he had two other children, Charles and Douglass, from a first marriage, but they don't enter into this at all, so forget I mentioned them.]

At the time of the 1930 census, the family was still living in Nansemond, which is in Suffolk County, Virginia. By then, mother Minnie had re-married (to William Purnell), and all four of her children (Herman, Minnie, Lillie, and Lucy) were with her.

By 1940, Minnie and her four children had moved to Manhattan. She told the census-taker that she was, once again, a widow, but that was a lie; William Purnell didn't die until 1954.

Lucy was intent on a singing career; in the early 40s, still in her teens, she won the amateur night contest at the Apollo Theater.

The first time we hear of Lucy Elliott professionally was in an October 25, 1943 ad for the Cafe St. Michel in Montreal. Strange that there was no prior mention in New York.

Lucy was one of the acts hired for the Xmas party given by the New York Amsterdam News for its Bronx newsboys. [What's a "newsboy", daddy?] This was told to us in their January 8, 1944 edition, which said the party was held "last Wednesday". That could mean December 29 or December 22 (it's hard to figure out what past date a weekly newspaper is referring to).

Nothing more until a single sentence in the February 8, 1946 Detroit Free Press, when Benny Carter's band was playing the Downtown Theater in Detroit. After mentioning vocalist Dorothy Dandridge, it said:

Lucy Elliott is another vocalist with the band who wins a welcome with "I Got It Bad" and "My Guy's Come Back". [You'll see later that this is the point when she was hired by Carter.]

Then, the band was off to Los Angeles, where they played the Orpheum Theater, along with Helen Humes and Harry "The Hipster" Gibson. While Dorothy Dandridge isn't mentioned, the March 20, 1946 Los Angeles Daily News gushed: "Vocalist Lucy Elliott is also heard in several songs." A slightly more interesting review appeared in the March 30 Billboard, which reviewed the March 19 Orpheum show:

Winding up the band's portion of the show are Patience And Fortitude, with Lucy Elliott, band's thrush, doing a vocal duet with the leader, and the final ripper, Jump Call. Miss Elliott is stiff on delivery, but her pipes have good quality.

Lucy was recorded singing "Night And Day", in a broadcast from the Trianon Ballroom, in Los Angeles, sometime in the spring of 1946. (The Benny Carter band had opened there on March 26, and immediately began making nightly broadcasts from the ballroom.)

In early April, Lucy recorded "Lover Man", with the Carter band, for the Armed Forces Radio Services; it ended up on AFRS JUBILEE #186. (These recordings were put on discs to be played over Armed Forces Radio and also shipped to soldiers overseas; they weren't commercially available.)

On April 29, there were two more songs for AFRS: "I'm The Caring Kind" and "Frim Fram Sauce". These both appeared on AFRS JUBILEE #191.

The June 22, 1946 Billboard reviewed the Benny Carter band's June 5 appearance at Hollywood's Swing Club. Of Lucy, they said:

Voicers Lucy Elliot and [Clarence] Candy Ross (who doubles from brass [he was one of Carter's trombonists]) are listenable. Miss Elliott has pleasing pipes, but could use more sales savvy.

The July 6, 1946 Los Angeles Tribune reported that the Benny Carter band was leaving for the East on July 7. Once there, the week of August 2 found them at the Apollo Theater. Lucy's name wasn't in the ad, but she was mentioned in the review of the show in the August 7 Variety:

Lucy Elliott makes a strong impression with her warbling. Starting with "Gypsy Caravan", then changing pace into "Frim Fram Sauce", the songstress was called back twice to do "Come Rain Or Come Shine" and "Lover Man, Where Can You Be?" She's got a well-trained set of pipes, although used on the conventional side.

The week of August 30, the band opened at the Earle Theater in Philadelphia. Also on the bill were Ella Fitzgerald and Josh White. This seems to be the first time Lucy's name appeared in an ad for the Benny Carter band. The August 31 Philadelphia Inquirer said, in part:

Benny Carter's ear-assaulting brass band is on the stage at the Earle, playing "Stardust", featuring Jimmy Cannady's electric guitar; "Just You And Me", "A Prelude To A Kiss", and "Back Bay Boogie". Ella Fitzgerald, who gets top billing, was an aural relief....

The band vocalist was comely Lucy Elliott, who sang "The Gypsy" and "Frim Fram Sauce".

Probably in August, the band had a session for DeLuxe Records of Linden, New Jersey. This resulted in "Your Conscience Tells You So", with vocal by Lu Elliott, issued in early September. This seems to be the first use of "Lu", rather than "Lucy" (although it wouldn't stick for a while). The flip was "Twelve O'Clock Jump", an instrumental.

On September 20, 1946, they were at the Carolina Warehouse in Asheville, North Carolina; the ad mentioned "Deluxe Records". Forgetting about Asheville, the ad for their September 22 appearance at the Paradise Ballroom (Nashville), said "Direct From New York". You'll probably remember that, to me, the phrase "Direct From" means that the act had played there at some point between the time the first fishes crawled out on dry land and yesterday.

On September 26, they were at the National Theater in Louisville, Kentucky. The prior two ads had her as "Lucy", but this time, it was "Lu Elliott".


She (as Lucy Elliott) appeared at the Armory in Wilmington, Delaware on October 5, 1946, but by herself, not with Benny Carter.


But she ("Lu Elliott") was back with him when the band played the Rio Theater in Boston on October 12, 1946.

Then, it was back to Los Angeles, where, in early November, Lucy recorded another couple of tunes with Carter's band: "Patience And Fortitude" and "I Got It Bad And That Ain't Good". They'd both be on AFRS JUBILEE #203, with "Bad" being reissued on #295. However, this is the last we hear of Lucy singing with Benny Carter. After that, she returned to New York.

And what did she do when she got there? The November 23 New York Amsterdam News said: "Didn't know that Lucy Elliott, former singer in Bennie [sic] Carter's Band, and now chirping for Willie Bryant and his swingsters, was a Bronxite until a few days ago. Lucy is headed for the spotlight." [While I lived in the Bronx in 1946, my parents wouldn't take me to see her. This is, by the way, the only mention of her with Willie Bryant.]

Go to the cleaners and have your tux pressed: on December 19, 1946, Lucy A. Elliott married Horace Clem Sims in Manhattan. He was a guitarist/vocalist with Mandy Ross & His Walkin' Rhythm from at least 1944-47. He had a child, Horace, Jr from a previous marriage, but the marriage to Lucy lasted: they'd be together for the rest of her life. I don't believe they had any children of their own.

The April 19, 1947 New York Amsterdam News had an article about Elbert J. Terry, a theatrical agent who'd just resigned as Maxine Sullivan's manager to devote time to his booking agency. Three acts that he represented were the 4 Notes, Babe Wallace, and Lucy Elliot.

Lucy's only other mention in 1947 was when she played the New Jersey State Fair on September 25. The write-up said that she was the "vocalist from the Harlem Revue". However, there were many shows with that title and this is the only reference to her being with any of them.

When she played the Apollo Theater the week of May 21, 1948, Lucy had become the vocalist with trumpeter William "Cat" Anderson's band. Her name wasn't in the ad, but it was in the write-up. Also on the bill were Paul Gayten & His Trio, Annie Laurie, Pigmeat Markham, and Son & Sonny ["Son" was Roland James, brother of singer Ida James].

She was back at the Apollo the week of September 3, 1948, having replaced Annisteen Allen in Lucky Millinder's band (as "Lu Elliott"). She sang two numbers, one of which was "These Foolish Things". However, the replacement was purely temporary, probably only for that one engagement.

The September 24, 1948 New York Age, in Chick Solomon's "Camera Reporter" column, asked various people along Harlem's 125th Street "What is the greatest thrill that you've ever experienced?" One of those he asked was Lu Elliott:

As a kid, I used to hop up to the Savoy [Ballroom] every chance I got. I plagued the bandstand just listening to my favorite bands. About ten years ago, Benny Carter played an engagement at the spot and I resolved that some day I would be chirping to his musical accompaniment. Three years ago, I arranged for Mr. Carter to audition Lee Richardson. I went along. Mr. Carter also listened to me, but he hired Lee. Months later, my wish came true. Mr. Carter wired me from Detroit to come out and sing with his band. It will take a book to tell of my happiness.

She may have gotten the time interval wrong. The first time she was mentioned with Benny Carter was in the February 8, 1946 Detroit Free Press, when the band was playing the Downtown Theater in Detroit. It looks like Lee Richardson stayed with Carter up until the time Lu joined (he was last advertised on January 25, 1946, and by early February was singing with Luis Russell's orchestra).

On September 28, 1948, Lucy copyrighted a song called "What's Wrong". She'd record it, but it would take some 20 years.

Lu Elliott ("The New Look In Song") opened at Harlem's Baby Grand, along with Cat Anderson, starting on November 19, 1948. They were still there a month later.


In early 1949, probably in January, she recorded a single tune, with the Cat Anderson Orchestra, for Gotham Records in New York (as Lou Elliot): "Black Eye Blues". It was released in April, with a Cat Anderson instrumental ("Home Town Stomp") as the flip. The band was William "Cat" Anderson (trumpet), Earl Johnson (tenor sax), Al Washington (piano), Earl May (bass), and Connie Kay (drums). (Thanks to Bernard Mascle for this information.) This is the first time we see her as "Lou Elliott".

The March 19, 1949 Pittsburgh Courier had her photo, along with this caption:

To Grace The Spotlight - You can't really say that about Lou Elliott, ... the song stylist who has appeared with more bands than any other singer in the country, and all of them in the top bracket. However, she enters the circle of the new last week when she decided to hit it off musically on her own. Under the Sun-Tan Studio banner, the song stylist will embark on a nation-wide theater tour comes spring.

However, she wasn't on her own for long. On May 12, 1949, "Lou Elliott" recorded a song called "Don't Be Mean, Baby", for Abbey Records, with the Tyree Glenn All Stars (all of whom were Duke Ellington musicians). Two of the other songs at that session ("Sultry Serenade" and "Dusty Serenade") were instrumentals, and a third, "Get Away From My Door", had a vocal by Dick Vance. Although "Don't Be Mean, Baby" was never released, this began her association with Ellington.

[Many months later, that session was mentioned in the October 7, 1949 Down Beat, which credited her with singing "Don't Be Mean, Baby" and also named the musicians: Tyree Glenn (trombone and vibes), Johnny Hodges (alto sax), Jimmy Hamilton (clarinet), Harry Carney (baritone sax), Billy Strayhorn (piano), Wendell Marshall (bass), Jerome Darr (guitar), and Sonny Greer (drums).]

The August 12, 1949 Down Beat said: "Singer Lou Elliott has joined the Duke Ellington band on rhythm vocals. She formerly sang with Benny Carter." She was with Ellington when he played the Howard Theater (Washington, D.C.) the week of August 29, 1949. His other singers were blind Al Hibbler and Kay Davis (of the amazingly high voice).

When the Ellington band was at the Click Restaurant (Philadelphia) at the end of August, they made radio broadcasts and two Lou Elliott songs were recorded: "The Hucklebuck" (on August 31) and "All Of Me" (on September 2). In addition, they wandered up to Columbia's New York studios on September 1, where she did the vocal on "The Greatest There Is".

From November 18-24, 1949, the Ellington unit was at Philadelphia's Earle Theater, along with Wynonie Harris, the Orioles, and Dusty Fletcher (doing his "Open The Door, Richard" routine). Lou Elliott sang "He's A Whiz". The next day (November 25), Ellington began a week at the Apollo Theater. For some reason, Lou wasn't with the band on this show, being replaced by a dancer named Joan Barry.

But she was still one of his vocalists, and, on December 22, 1949, she recorded two songs with Ellington for Columbia: "On The Sunny Side Of The Street" and "Joog, Joog".

Most of you know that Joe Van Loan (who'd join the Ravens in late 1951) was used on the second bridge of "Joog, Joog", but no one knows exactly why. Ezio Chiarelli opines: "Van Loan, in that same period, was in the Elmer Snowden Quartet; Snowden was a former employer of Ellington; was it a coincidence, or did they recommend Van Loan to each other?"

The January 6, 1950 Morning Call (Allentown, Pennsylvania) talked about the problems Ellington had had the night before. He was scheduled to play two shows at that town's Lyric Theater, but didn't get there in time for the first show. Fortunately, they managed to double up for the second show and everyone seemed to be satisfied.

In late January 1950, the band did a broadcast from the Paradise Theater in Detroit. Lu was recorded singing "On The Sunny Side Of The Street".

When the band was at the Parkway Theater (Madison Wisconsin) on February 2, 1950, Lu Elliott, sang (at least) "Sunny Side Of The Street" and "Do Nothing Till You Hear From Me". Many papers printed the show's scheduled repertoire, but all that it ever said of her was that she'd sing "Songs". On February 3, it was the Kiel Auditorium in St. Louis; then, the Civic Opera House (Chicago) on February 5, along with the Orioles. The band's singers were still Al Hibbler, Kay Davis, and Lu Elliott.

When they were at Prudden Auditorium (Lansing, Michigan) on February 7, the Lansing State Journal called her "... Lu Eliot, a blues singer who nearly stopped the show with her numbers."

Then, the band went up to New York, where, on February 11, 1950, there was a studio session for Mercer Records (owned by Duke's son, Mercer Ellington), using several of Duke's musicians. The four songs recorded were: "The Greatest There Is", "Hello, Little Boy", "Don't You Know I Care", and "I Got It Bad". However, the vocalist on these wasn't Lu Elliott, but Duke's new singer, Chubby Kemp.

Next was Convention Hall (Enid, Oklahoma) on February 14, where Lu sang (at least) "I Got It Bad And That Ain't Good". When the band played Russ Auditorium (San Diego) on February 19, both Lu's and Chubby Kemp's names appeared.

Lu Elliott seems to have left Ellington after that performance. The February 25, 1950 Los Angeles Tribune, speaking about the February 20 show at the Shrine Auditorium, said: "Which brings us to Chubby Kemp. Chubby was substituted for Lu Elliott...."

Sometime in February, Columbia issued "On The Sunny Side Of The Street". Possibly mirroring Lu's leaving, her name wasn't on the label. When "Joog, Joog" was released on Columbia's Race Series in March (and re-released in April on the Pop Series), Lu's name was, once again, conspicuously absent.

When she was at a benefit show for the Claremont Community Center in the Bronx on March 10, the March 11 New York Age said:

The entire show from Cafe Baby Grand is scheduled to take part. The cast is headed by MC Nipsey Russell and includes Eddie "Lockjaw" Davis; Lady Darlene, exotic dancer; Blue Time Carl (Rev) Davis; Lou Elliott, formerly with Duke Ellington's band; and the James Quintet. [She'd be at the Baby Grand for at around six weeks.]

At the time of the April 1950 census, Lucy and Horace were living with her sister, Lillie, in Manhattan. The document is a mess. It starts with "Elliott, Lilie" (correctly written, even if misspelled - it's supposed to show last name, then first name - note that I'm adding commas in the names just to make them more readable). The next line shows "Horace, Lucy" ("Entertainer - Cocktail and Clubs"), then "Horace, Sims Jr" (Lucy's stepson), and, finally "Horace, Sims" (Sewing Mach. Operator"). Not only did they have "Horace" as the last name, but Horace himself was enumerated as Lucy's wife!!! Ah, to be a carefree census-taker in the spring.

More important than the census, April publications reported that Lu (or Lou, depending on the publication) had been signed by Apollo Records.

In early June, Lou Elliott spent a week at the Club Riviera in St. Louis, along with the Erskine Hawkins band and Mabel Scott.

The first Lou Elliott Apollo release was "A Brand New Kind Of Love", backed with "I'll Close My Eyes", issued in July 1950. "Brand" was a Cash Box Best Bet in their August 5 edition:

Upper shellac [the "Brand" side] is a torchy ballad sung convincingly by girl singer Lou Elliott. The chirp uses Jerry Jerome's orking to good advantage to turn in a fine interpretation with a sound beat and gripping melody. Bottom is a standard oldie ballad. Lou Elliott's rendition is once again in the sultry mood with some first class pulsating piping. Ops [juke box owners] would do well to listen very closely to the first face ["Brand"] and then start placing the side as fast as they can make the rounds.

However the August 12 Billboard begged to differ:

A Brand New Kind Of Love (59): This thrush recently took off from the Ellington crew for a fling on her own. This is a pleasant tho unexciting first disking.

I'll Close My Eyes (72): The thrush does a fine warbling job with this pop ballad hit of some years ago. She has a pleasant sound and shows signs of compromising with the current note-bending styles on the market.

The August 12, Chicago Defender had an article titled "Duke Ellington Song Thrush Hits On Disc":

NEW YORK - Lou Elliott, chirper with Duke Ellington, now makes her debut as an exclusive Apollo wax artist with a terrific pairing. Lou struck out on her own a few months ago and has since been knocking 'em out in New York's Bistro Boulevard.

"A Brand New Kind of Love" is given an exquisite bit of torchment here by Lou Elliott . . . she sings this brand new tune with lust, gusto and bounce which are earmarks of Lou's up-beat style. "Brand New Kind of Love" presents something brand new in styling - completely recognizable melody with completely individualized treatment.

Paired with "Brand New Kind of Love" is an oldie - "I'll Close My Eyes." Here is a soft, sweet tune.

Lou Elliott made her record debut officially when she waxed "Sunny Side" and "Jogg Jogg [sic]" with Duke Ellington last fall. She went over with a bang, then packed her rig and left the Duke. Her initial appearance as a single was a 6-week stand at New York's Cafe Baby Grand, Harlem's new showcase. Since then, she's made the rounds of the top niteries in Harlem, Brooklyn, Long Island, and Canada and with terrific success.

The August 19, 1950 New York Age reported "Singer Lou Elliott not returning to Duke Ellington entourage, despite all rumors."

A couple of weeks later, she turned up at the Showboat in Philadelphia for a return engagement, although I don't know when she was originally there. Between those appearances, she'd been at Bill Martin's Club in York, Pennsylvania for three weeks.

Sometime in November, WWRL's Dr. Jive celebrated his second year on the New York airwaves with a jam session. Attending were Willie Bryant & Ray Carroll and Jack Walker (DJs on WHOM), Al Collins (DJ on WNEW), Arnett Cobb, Lucky Thompson, Billy Taylor, Bud Powell, and Lou Elliott. But, amazingly after all these years, here's something I didn't know: this was the original Dr. Jive, Phil "Trash" Gordon. Tommy Smalls would come along later (first mentioned in 1953).

By late November, Lou Elliott was back at the Club Baby Grand. Here's an interesting article from the November 25 New York Age:

SHO BIZNESS: That former DUKE ELLINGTON thrush, LOU ELLIOTT, who opened at the BABY GRAND Friday for her second stand there this year, was presented with a beautiful bracelet-earring set by the inmates of a Pennsylvania prison. The reason is a heartwarming one. When LOU was singing in Philadelphia a couple of weeks back, one of the local disc spinners showed her a song written by a prisoner in that institution. Lou liked the tune and made a trip out to the prison to encourage the tunesmith. While there, she learned that little or no entertainment was ever available for these men, confined for varying amounts of their life and offered to sing for them. The warden was enthusiastic and arranged a show, which the inmates received with open arms and wild cheers. As a token of their appreciation, some of the craftsmen in the prison made this little bracelet and earrings and sent them to LOU. LOU feels more people should offer to help in the rehabilitation of men shelved and forgotten for that one big mistake.

In March 1951, Apollo released another Lou Elliott record: "Listen To My Plea", coupled with "Too Many Tears". The sides weren't reviewed.


On September 13, 1951, Lu Elliott began a week at the Earle Theater in Philadelphia. Also on the bill were Nellie Lutcher and Erskine Hawkins & his Tuxedo Junction Orchestra, with Jimmy Mitchell as vocalist. Lu sang "I Got It Bad And That Ain't Good" and "Black Eyed Blues". I can't tell if she was a member of Hawkins' band yet, but she certainly was after this show. (Trumpeter Erskine Hawkins was known as "The 20th Century Gabriel".)

In early October, Lou Elliott recorded a couple of tunes, with Erskine Hawkins, for King Records: "Lost Time" and "Remember My Love".

King issued "Remember My Love" in December 1951 as "Lou Elliot" (with an instrumental as the flip). It was reviewed in the January 26 editions of both Billboard and Cash Box:

(BB; 81): The Lou Elliot vocal on this fine ballad and the soprano sax solo are both strong enough to get some action for Hawkins' first disk for the label.

(CB; no rating): The under dish offers Lou Elliot with the vocal to a nice ballad and she does a fine job with it.

When that didn't take off, King issued "Lost Time" in early April 1952. Once again, there was an instrumental on the flip and once again she was credited as "Lou Elliot". It was reviewed in the April 12 Cash Box and the May 21 Down Beat:

(CB; no rating): A moderate bounce is given a hot treatment by Erskine Hawkins and his orchestra. The arrangement features lots of brass and spots the trumpet in a strong solo. Lou Elliot handles the cute lyrics zestfully, and together the vocalist and ork bring in a listenable disk.

(DB; four stars): Lu Elliot, who used to sing with Duke, has the vocal on Lost Time, and she's improved so much that this side, which has striking big-sounding effects from the band too, has possibilities. [Not sure why they called her "Lu Elliot, when the label said "Lou Elliot".]

On April 11, the Hawkins band was at the Manhattan Casino in St. Petersburg, Florida. Hawkins said, of Lou, that she was the first female vocalist he'd taken on the road since 1946. "We're bringing her along slowly and daily she gets better. She has some of the best tone qualities I've ever heard and she doesn't really know the range of her voice." (From the April 13 Tampa Bay Times.)

The Hawkins band appeared at the Apollo Theater the week of June 6, 1952. Here's what Apollo owner Frank Schiffman had to say about her in his notes: "Was vocalist with Erskine Hawkins Band. Fairly attractive girl. She has a nice bouncy style. Registered well."

Sometime in September 1952, Lou waxed "Fair Weather Friend" for King, with the Hawkins band.

On October 3, the band began a week at Philadelphia's Earle Theater. Also on the bill were the Orioles, Moms Mabley, and Bette McLaurin.


The October 30 Jet Magazine reported that people were talking about "The 14-room East Orange, N.J. house just bought by Erskine Hawkins' singer Lou Elliott and her musician-husband Horace Sims." At some point, Horace became the guitarist with a group called the Afro-Cubanaires.

The December 25, 1952 Jet had an article titled "What Happened To Duke's Girls?". It listed 14 of his female singers: Ivie Anderson, Joya Sherrill, Betty Roche, Wini Johnson, Kay Davis, Marie Ellington, Rosita Davis, Jean Eldridge, Dolores Parker, Lu Elliot, Bobbe Caston, Marion Cox, Debbie Andrews, and Chubby Kemp. He certainly had a lot of them, looking for the ideal replacement for Ivie Anderson, who had left him in 1942 after 10 years. They left out Yvonne Lanauze, who was with him in 1950 (and would go on to the 3 B's & A Honey).

January 1953 saw King release "Fair Weather Friend". Once again, there was an instrumental on the flip, but this time they spelled her name correctly: "Lou Elliott". It was reviewed in the January 31 Cash Box and the February 21 Billboard:

(CB; B): Another slow tempo item in that relaxing style. Lou Elliott does a tender vocal job on this deck.

(BB; 71): Thrush Lou Elliott does a fine job in reading off the lyrics to an attractive ballad.

On April 5, Lou sang at a benefit for the Monmouth County [New Jersey] Chapter of the American Cancer Society.

Sometime in 1953, Lu Elliott had a release on the Mars label from New York, owned by bandleader Woody Herman: "Common Sense", backed with "If You Still Love Me". It wasn't reviewed and the exact release date is unknown. The tunes have an early version of the Dread Chorus.

Lu was at the Apollo Theater, with Erskine Hawkins, the week of April 24, 1953. She wasn't in the ad, but kinda made the write-up in the April 25 New York Age:

The cast will also include Apus and Estrellita, Stuffy Bryant, Gordon and Gordon, and Elliott.

Fortunately, Variety reviewed the show (which also had Sarah Vaughan) in their April 29 edition. They said:

With three rhythm, five reed and as many brass, the Hawkins combo gets the sesh [session] off to a breezy start with the "Down Home Jump". It paves the way for willowy Lu Elliot, who thrushes an acceptable "Begin The Beguine", but is a bit too strident in the upper registers with "Hold Me".

Frank Schiffman's comment: "Appeared as vocalist with Erskine Hawkins Band. Quite Good."


Things You Really Need To Know Department, courtesy of the March 4, 1954 Jet: "Lou Elliott, singer with the Erskine Hawkins orchestra, is the only woman tuba player in the musicians' union. She played in her high school band."

The March 16, 1954 ad for the Top Hat (Montreal) had "Lou Elliott - featured vocalist with Erskine Hawkins Orch.", but not the orchestra itself. However, both were at the Latin Quarter, in that city, beginning on March 22.

In case you've forgotten Horace Sims, the May 1, 1954 New York Age said:

The El Tempos, New Jersey's latest gift to the entertainment field, are developing into one of the top Mambo and Latin American rhythm combos in the country. Guitarist-vocalist Horace C. Sims heads the group, with West Indian-born conga drum artist Maie Gordon singing some "gone islands" blues.

Hawkins and Lou were back at the Apollo the week of June 4, 1954, along with the Orioles. Frank Schiffman said: "Appeared as vocalist with Erskine Hawkins Band. Quite Good. Girl has improved."

Then, she and Hawkins became part of the "Biggest Rhythm And Blues Show", with Roy Hamilton, the Drifters, Rusty Bryant, the Spaniels, Faye Adams, the Counts, Lavern Baker, and Big Maybelle. That show was at the Lyric Theater (Indianapolis) on August 12, but I'm not going to track it all over the country.

The Hawkins band returned to the Apollo Theater the week of October 1, 1954, along with the Drifters and Pigmeat Markham. Schiffman said: "Vocalist with Erskine Hawkins Band. Quite good."

But then she was gone. The December 8, 1954 Variety reviewed the Lou Elliott performance (without Erskine Hawkins) at the Club Savannah in downtown Manhattan:

Lou Elliott, who has graduated from the ranks of band vocalists, is an interesting singer. Although hip in the manner of modern day singers, this songstress brings in some of the characteristics of her Negro forbears. There's a touch of spirituals in some of her tunes. It's a highly interesting style that entices attention.

Miss Elliott is an attractive looker and well-gowned. Her tunes are standards that are easily assimilated, but her offbeat treatment makes her an item for attention of the uptowneries.

The December 25 Detroit Tribune had this to say:

NEW YORK - The most terrific young singer on the cabaret circuit in the East these days is Lou Elliot, former vocalist with Duke Ellington and Erskine Hawkins.

Audiences find it difficult to decide whether Lou is best as a ballad or blues-rhythm singer, she's so sensational in both classes.

Last week, local listeners heard her each evening on Art Ford's "One Night Stand" show over WNEW. She was doubling from the Savannah night club in the [Greenwich] Village, where she is currently featured singer in the lavish new revue, "Caribbean Nights", produced by Joe Schiavone, the Savannah's dynamic owner.

The Art Ford show presents new outstanding talent.

Miss Elliot, a petite and pint-sized piece of dynamite, has a surprisingly strong set of vocal chords for one so diminutive.

On July 31, 1955, Lu appeared with Erskine Hawkins once again, this time for a single night at the Arch Tavern in Monessen, Pennsylvania. However, this is the last time her name was ever associated with his.

Then, Lou Elliott got a Classy Gig: On October 16, 1955, she was part of "The Jazz World", a segment of the "Omnibus" TV show (on CBS), hosted by composer Leonard Bernstein. A second Classy Gig was appearing at Manhattan's New School For Social Research, on October 23, as part of a concert of "Music And Musicians Of Greenwich Village". Others performing were Jimmy McPartland & His Dixieland Band and boogie woogie pianist Sammy Price.

A few days later, Lou was back at the Apollo Theater (the week of October 28) as part of "1955's Newest, Youngest Rhythm & Blues Stars", featuring Jack Dupree (not quite new or young), Earl King, Otis Williams & the Charms, Marie Knight, Little Willie John, Nipsey Russell, Crip Heard, and Hal Singer's band. For some reason, Frank Schiffman didn't comment on her appearance this time.

But the November 2, 1955 Variety did: "[Dancer Crip Heard is] followed by Lou Elliott, female ex-vocalist for Duke Ellington and Erskine Hawkins. Femme has a unique style; it's a real strident rumble, and crowd mitts her heavily for it [she gets a lot of applause]."

Lou isn't heard from again for a year, until she was at the Apollo again, the week of December 26, 1956. This time, she shared the stage with old bandmate Al Hibbler, the Golden Gate Quartet, and the Illinois Jacquet band. Schiffman's comment about her: "Al Hibbler Revue. Held spot very well." You may not realize it, but everything Schiffman has said about her is tantamount to worship, compared to comments he's made about other acts.

But Lou disappeared again for another year and a half, not surfacing again until June 1958, when she appeared at the Bon Soir in Manhattan. The November 8, 1958 New York Age said: "Lou Elliot is the singing star at the newest Harlem nightspot, Off-Beat, where divine Venus is the mistress of ceremonies."

Another six months went by before there was another mention. This time, she sang at a benefit in Hackensack (on June 9, 1959) for a church fund. Also there were bandleader Illinois Jacquet and drummer/singer Olatunji (a decade before his Drums Of Passion).

A couple of months later, beginning September 7, 1959, she was at the 500 Club in Atlantic City.


1960 began with Lou appearing at the Baby Grand on 125 Street in Harlem. In early June, she was at the Angus Restaurant in Manhattan. I don't know what she normally did with her life, but she seemingly went for long stretches without appearing anywhere (or at least anywhere that advertised her).

But she did have another record, this time for ABC-Paramount. Issued in October 1960, the sides were "Big Joe", coupled with "One". Released as "Lu Elliott", these very teenage-y sounds were reviewed in the October 19 Variety, the October 29 Cash Box, and the October 31 Billboard:

One (Variety; no rating): has a dramatic ballad quality that rocks to jock and juke tastes.

Big Joe (Variety; no rating): is in the big-voiced rocking groove and Lu Elliot handles it with a vocal blast that's effective.

One (CB; B+): Solid teen-drama in this sincere true-love statement from the thrush, who is backed by a potent rock-a-ballad sound from the full ork-chanting chorus. Striking date that could step out.

Big Joe (CB; B+): A bright swing-rocker in which the performer often sounds like Roberta Sherwood. Watch it too!

One (BB; 3 stars): Emotion-packed thrushing stint on moving ballad with churchy flavor.

Big Joe (BB: 3 stars): Fervid chanting by canary on bouncy rhythm-novelty.

Later that year, she was at the Baby Grand again, at least for New Year's Eve.

Nothing more until this item from the September 28, 1961 Jet: "Bedded at East Orange (N.J.) General Hospital is singer Lou Elliott, who was ordered to take a long rest by her doctor." But it wasn't just a case of overwork; the November 30 Jet had: "Show business pals of stricken singer Lou Elliott are giving a benefit at Smalls Paradise November 26 to help pay her $3000 hospital bill." Remember that the date on a magazine is when it's to be taken off the newsstand; that explains the seeming discrepancy in the dates.

But Lou recovered and was at the Apollo Theater again the week of October 26, 1962. She actually wasn't supposed to be there, but was called in to replace Chris Montez ("Let's Dance") for some reason. The other acts were: Hank Ballard & the Midnighters, Little Eva, the Duprees, Bobby Lewis, and Screaming Jay Hawkins. Frank Schiffman said: "Inserted in show replacing Chris Montez. Five singers [?], well gowned. Did very well in spite of being in this type show."

The January 19, 1963 Indianapolis Recorder told us:

Popular singer and good friend, Lou Elliot, has been chosen as a cover girl by SEPIA MAGAZINES. Sepia will also carry her complete life story and she certainly deserves it. Not too long ago, a serious illness took Miss Elliot almost to death's door. She has fought her way back to good health and is being booked by Queen Artist Corporation, which is headed by the fabulous DINAH WASHINGTON. We predict that LOU ELLIOT will become a big name in '63 simply because she has what it takes to 'make it'. She scored heavily a short while ago when she appeared at the Apollo Theatre on a 'rot 'n' roll' show and, mind you, she is not a 'rot 'n' roll' singer. [Pop Quiz: guess which Indianapolis newspaper didn't particularly like Rock 'N Roll.]

In June and July, Lou was at the Looke Lodge Inn in Yorktown Heights, New York.


Another Lou Elliott record came out in August 1963, this time on Roulette: "For Lovers Only", credited to "Henry Glover & Lou Elliot & The New Allegros". (It's somewhat reminiscent of King Pleasure's "Moody's Mood For Love".) The flip was an instrumental by the New Allegros.

It was reviewed in the September 21 issue of Cash Box: "Henry Glover & Lou Elliot are the hip vocal swingers on this far-out stand." They gave it a "B".

The December 21, 1963 New York Amsterdam News reported that Lou had been held over for two weeks at the Persian Room in Miami Beach, but I don't know when she'd started.

On December 14, 1963, famed singer Dinah Washington died. Lou, called Dinah's "protégé", sang at the services.

She was at the Key Club in Newark in January and February 1964, then at the Parisian Room in Miami Beach on February 21 for three weeks. Her booking agent was Ruth Bowen, wife of the Ink Spots' Billy Bowen.

Not another thing for nearly three years, until a December 17, 1966 blurb in the New York Amsterdam News said she'd been held over at the Newark Key Club for ten days and would then appear at the 20 Grand Club (Detroit) from January 27 - February 7, 1967, along with B. B. King.

The January 12, 1967 Jet told us: "Singer Lu Elliott [she seems to have mostly dropped the "Lou"] is making it back onto the recording scene with a newly signed three-year contract with ABC-Paramount. She's already inked for an early January recording date." The January 12 Los Angeles Sentinel said the same and also added something we never knew before: "[B.B. King's] magnificent revue will be joined by Miss Lu Elliott, the pretty bronze chanteuse from England [which, I'm told, is somewhere east of the Bronx]."

The January 28 Michigan Chronicle had a nice article about her, titled "Lu Elliott Comes To Driftwood":

Lu Elliott, ABC-Paramount Recording artist who opens with the B. B. King revue at the 20 Grand on Friday, Jan. 27, is one of the most popular night club singers in the East. She has recently been appearing at top supper clubs in Boston, Cleveland, Buffalo, and Washington, D. C. and her native New York City. She is a favorite with the Jet Set at such places as the Bon Soir, Basin Street East, and the San Su San.

Miss Elliott has been acclaimed by some of the New York critics as one of the outstanding musical talents in the business today and has been called "vibrant, articulate, and soulful." [Remember, boys and girls, the word "acclaimed" has no meaning whatever in blurbs like this one, unless you're told who did the acclaiming.]

Frank Farrell [a New York columnist] says "she can sing anything" after having heard her at the Bon Soir. Once she has set the mood for the lyrics, Miss Elliott is off on a rollicking funfest whether it is one of her romantic ballads, a blues number or an uptempo tune.

When Duke Ellington heard Lu Elliott sing at Basin Street East he dubbed her "The Sweetheart of Song". He claims that she has more soul than most singers now in the business. "She has everything required of a good night club singer," the Duke observes,

Although she is an admirer of many femme singers including Carmen McRae, Sarah Vaughan, Lena Horne, and the late Dinah Washington, she has her own style and makes no attempt to imitate anyone.

Following her engagement with B. B. King at the 20 Grand, she will open at the New Crescendo in Los Angeles. [They were there from February 9-19.]

Notice that, other than the title, it said nothing about the Driftwood.

In February, ABC released the Motown sound of Lu's "Have You Tried To Forget?", paired with "I Love The Ground You Walk On". They were reviewed in the March 4 Cash Box:

Have You Tried To Forget? (a Best Bet): Shuffling, nocturnal torch song could make this deck happen for lark Lu Elliot. Give it a spin.

I Love The Ground You Walk On (B+): Smooth but potent love ballad over here.

On April 7, Lu appeared at the Red Glove, in Great Neck, Long Island.


The March 25, 1967 New York Amsterdam News told us that: "Lou Elliott, ABC-Paramount singer, to Australia for 10 weeks on May 1." However, the April 29 Billboard said: "Lu Elliot, ABC Records artist, to Australia for six weeks of hotel and theater dates." At least we know she was going to Australia. It gets even more confusing: the Saturday, May 6 Amsterdam News had this: "Warbler Lu Elliott and hubby Horace Sims had a very touching parting at Kennedy Airport, Wednesday [which would have been May 3], when the svelte singer boarded a big jet headed for a three month engagement 'Down Under' in far off Australia. Prior to leaving, both had been bedded for nearly a week with a nasty flu bug. In spite of hoarseness, etc., Lu still managed to cut a fantabulous LP for ABC-Paramount Records."

So now you know that she left on May 1 or May 3, and that she was going for six weeks, or ten weeks, or three months. Since those songs had been recorded back in January, who knows when she had the flu? I have to stop believing what I read in papers.

The June 1 Jet said:

"Would you believe lunch in bed and living like a queen?" pens singer Lu Elliott who is being held over for another month at the Chevron-Hilton way down yonder in Sydney, Australia.

Then, the July 1 Philadelphia Tribune capped it off with:

... Lu Elliott, who is returning from Sydney, Australia next week after a fifteen week triumph "down under". In Sydney, they were billing Lu Elliott as "The Queen Of The Blues" because "she is the greatest singer of blues songs since the death of Dinah Washington". What the Australian news reporters didn't know was that Lu Elliott was a protégé of Dinah Washington.

While several articles mentioned Lu as being Dinah's protégé, before 1963, their names were never mentioned together.

The August 17, 1967 Jet said that B. B. King had formed King-Zito Production Management in order to revive the careers of people like Wynonie Harris, T-Bone Walker, Eddie "Cleanhead" Vinson, Amos Milburn, Big Joe Turner, and Lu Elliott.

Remember the recordings that Lu did back in January? In October 1967, ABC put them out as an LP titled Lu Elliott Sings Way Out From Down Under. This reflected her trip to Australia, and even pictured her with a kangaroo. It was reviewed in the December 2 Billboard:

Lu Elliott sings standards with soul, and handles soul numbers such as "Speaking Of Happiness" with deep emotion. Her appeal, though, should be primarily pop. Miss Elliott can handle a lyric with the best of them.

At the end of 1967, Lu went to Europe with B.B. King. The January 20, 1968 New York Amsterdam News said: "Blues singer B. B. King and Lu Elliott have been held over in Europe and their tour extended until Jan. 29." Then, the February 13 Philadelphia Tribune said: "Blues singer B. B. King and Miss Lu Elliott back from their European tour and the reports in the foreign newspapers were sensational. They were showered with accolades in every city in which they appeared and Chanteuse Lu Elliott told your reporter that she wants to return to Paris next year."

On April 5-6, 1968, Lu was at the Club Allegro in Garfield, New Jersey. Then it was out to the West Coast, where she appeared at the Redd Foxx Club in Los Angeles. While there, she made her first appearance on the Steve Allen TV show on May 23. During 1968 and 1969, she would become a semi-regular on Allen's weekday show.

In May 1968, ABC issued a second LP, With A Little Help From My Friends, containing a lot of standards. It was reviewed in the July 20 Billboard:

Miss Elliott is a gal that's loaded with talent . . . and that talent vibrates in the groove of this disk. Her voice is powerful yet comfortable, and she's made a great choice of material. She rocks "If I Were A Bell", gently swings "My Romance", and comes off sensitively and touching with her interpretation of "Don't Go To Strangers". All in all, Miss Elliott is a performer to watch, and watch carefully.

And, it got a wonderful review in the October 1968 HiFi Stereo Review:

RECORDING OF SPECIAL MERIT - LU ELLIOTT: With A Little Help From My Friends. Lu Elliott (vocals), orchestra, Tommy Goodman cond. and arr. My Romance; I Know How; Treat Me Good; Don't Love Me; If I Were A Bell; and six others. ABC ABCS 637 $4.79.

Performance: Impressive
Recording: Excellent
Stereo Quality: Very good

This is an absolutely super job by a lady who deserves much more public attention than she has yet received. Miss Elliott seems to have been around quite a few years singing with the bands of Ellington, Hawkins, and Benny Carter, interspersed with some nightclub engagements. Her first album last year escaped notice (mine, at least), but from the liner notes here it would seem that almost everyone in the music business is familiar with, and an enthusiastic fan of, her work. With this album she ought to scoop up a large section of the general public, because she delivers a really fine recital.

Lu Elliott has a rich, powerful, and musical voice and a really dynamic way with lyrics. She actually does breathe life back into the remains of such songs as My Romance, The Very Thought Of You, and If I Were A Bell. Vitality is most certainly a hallmark of Miss Elliott's work, but it is used in the service of her talents as a singing actress. Like any good actress, she is able to create mood, communicate feeling, and really involve the listener. I have never heard a recording of On Green Dolphin Street that comes anywhere near what is offered here. She is surrounded by superb arrangements by Tommy Goodman.

The one lapse for me was something called I'll Show Them All which, according to the liner notes, is a sure show-stopper in clubs. Perhaps it is, but on records it turns out to be one of those dreary stand-up-and-fight numbers (You're Gonna Hear From Me out of I'm The Greatest Star out of Everything's Coming Up Roses) that occur in musical comedies at crucial moments in the plot and supposedly make the audience thrill to the heroine's courage. They always make me think of one of Lucy's tirades against the world in Peanuts. In this one, Miss Elliott seems to me strident and almost out of control. It aside, I can recommend everything in the album to you unreservedly.

I know you've totally forgotten it by now, but back in 1948, Lucy Elliott copyrighted a song called "What's Wrong". Now, some 20 years later, she finally got to record it (with "If I Were A Bell" as the flip). It was released on the LU EL label (as "Lou Elliott with John Malachi Trio"), distributed by Apollo Records. Although the disc defies all attempts at dating, I'm putting it in 1969 only because pianist John Malachi's Trio made appearances in that year.

On April 14, 1970, Lu opened for two weeks at The Apartment, on Second Avenue in Manhattan. After that, it was the Key Club in Newark, and then the Orchid Lounge in Asbury Park. August 22-27 found her at the 500 Club in Atlantic City.

Later that year, she sneaked out of the country to appear in the Virgin Islands. The November 24, 1970 Philadelphia Tribune said: "Miss Lu Elliott breaking records in the Virgin Islands and will be held over until after Thanksgiving." She was still there on December 16, when there was an ad for her at the 21 Club.

Get out your party hats: the August 14, 1971 New York Amsterdam News had this:

NEWARK: Singer Lu Elliott (in private life, Mrs. Horace Sims) is still young enough to observe birthdays and she's invited everybody to her Natal Day Happening at the Key Club (Newark). August 9th, Lu will simultaneously open a week's engagement at the club. On August 27, the talented warbler joins the B.B. King one-niter Blues Show in Atlantic City. [Was the party on August 9? Her birthday was August 3.]

On September 6, 1971, Lu was part of the Midsummer Nights In The Park concert series held in Newark's Branch Brook Park Ice Center. The blurb in the August 27 Herald-News noted that husband, Horace Sims, was now an "insurance executive".

Probably the High Point in Lu's career came in early December 1972 when she was on a Joe Franklin Memory Lane cruise in the Caribbean. Franklin was the host of a nostalgia radio show for years (and I was even a guest on it when my Ink Spots book was published in 1998). But what made it really memorable for Lu was that she wasn't the only singer there. Forget B.B. King; forget Dinah Washington; forget Al Hibbler; Lu shared the ride with Mrs. Miller. If you don't know who that is, you can hear her on YouTube. Here's what the December 31, 1972 New York Daily News had to say:

Now, for Miss Miller. Those of you with weak hearts had better rest before reading on.

The room was hushed as Joe prepared to introduce her. The doors had been closed to prevent escape and waiters were busily serving double and triple scotches to those passengers whose nerves were not equal to the occasion. The ear plugs we had borrowed from our room steward were snatched by someone in the dark and we grimly faced up to the test as defenseless as a naked baby.

Miss Miller (she insists on the Miss even though she was once married for two days) came out and peered through her glasses at the assembled guests. Then the orchestra broke into the Greek version of "It's A Sin To Tell A Lie" and Miss Miller began singing. [I have to admit I don't understand the "Miss". She was always billed as "Mrs. Miller". However, it's actually nice to hear someone who sings worse than I do.]

A December 1972 photo shows Lu with some other folks, including Bonnie Davis and Clem Moorman, who'd been in the Piccadilly Pipers.


The Newark Key Club, where Lu appeared on many occasions, was owned by Walter Dawkins, who'd been a member of the Velvetones (Coronet and Sonora). He committed suicide in the club on March 19, 1973; both Lu and Al Hibbler sang at his funeral.

Lu was back at the Baby Grand in early August 1974. She'd be there through August 11, along with the Frank Heppinstall Trio. (Frank was a saxophonist who'd been with the Red Caps in the 1950s.)

Here's a rare negative review. The April 19, 1975 Buffalo News, in talking about a new album: The World Of Duke Ellington Vol. 2, said: "There's everything here from third-rate vocals by Yvonne Lanauze and Lu Elliott...."

In 1975, following a two-week appearance at the Holiday House in Pittsburgh (April 29 - May 10), Lu was hospitalized as a result of severe anemia and spent a month in Columbus Hospital, Newark. The July 29, 1975 New Jersey Afro-American had a big article titled "Lu Elliott's Friends Pack Key Club's Benefit Show":

NEWARK - It was a jam-packed Key Club at Halsey and William St., when scores of top entertainers and hundreds of friends and fans attended a special benefit night for singer Lu Elliott, who is recuperating from a month-long stay in Columbus Hospital, Newark.

Miss Elliott, one of the Key Club favorites and who had just closed a record-breaking two-week engagement at the Pittsburgh Holiday House when she fell ill to a severe case of anemia, said in an interview last week that "I can't fully express the joy so many friends brought to me in this event."

She said that she was especially grateful to Key Club Owner Jean Dawkins, and the entertainers and friends who came from great distances to participate.

Miss Elliott, who reports she is recovering nicely. but advised by her physician to refrain from show business for a while, was unable to be present at the recent affair.

Among the celebrities. who turned out in person were ... The Sam Williams Express, ... singer Lenny Welsh, who had just returned from Europe.... Rose Marie McCoy, noted songwriter of Teaneck, NJ, ... Miss Billie Lee, Miss Elliott's sister, also a noted singer....

Offering a few remarks and also a medley of songs was the honoree's husband, Horace Sims.

Telegrams were received from Dionne Warwicke, Redd Foxx and Pat Lundi.

Note that I've left out the names of loads of people I never heard of.

In December 1975, Lu, with the Sam Williams Express, played Club Daiquiri in St. Thomas, Virgin Islands. She seems to have been appearing there yearly for several years. The group consisted of Mel Ford (organ), John Lawson (guitar), Walter "Jo Jo" Garth (drums), and Geral Brown (bass). Sam Williams and Lu Elliott did the vocals. They returned there in February 1976. This was in the June 5, 1976 New York Amsterdam News:

Lu Elliott and The Sam Williams Express broke the record at the Windward Hotel [in St. Thomas], as they closed after a six week extended engagement there and were taken to the sister hotel, Estate Carlton, St. Croix for an additional three week stay.

Lu is a recording star for ABC records and the group's music ranges from traditional 'Jazz' to contemporary 'funk' and even includes a touch of comedy. No doubt it is their versatility, tight arrangements, and relaxed approach that contribute to their success in the Virgin Islands.

At some point, probably before that trip, she recorded loads of disco songs with the Sam Williams Express. These ended up on four 8-track tapes, on the Altone label. Since they were never mentioned in any publication, I'm guessing they were released in 1976. This is based on when the originals of the songs they're singing were released (for example, "Fly, Robin, Fly" hit the charts in October 1975) and when she's first mentioned with the Sam Williams Express. See the discography for titles.

Note that all of the tapes say the songs are by "Lu Elliott & The Sam Williams Express and Others". Does that mean she sang along with others or that only some of the songs were by her (and them). No credit for individual songs was given (at least not on the tape cartridge itself).

On August 18-22, 1976, Lu and the Sam Williams Express entertained at L. B.'s Supper Club in St. Albans, Queens, New York. On August 6, the club had Sir Charles Hughes, who had been known as "Carnation Charlie Hughes" when he'd been with the Drifters in 1956-8.

Lu was in Atlantic City in an "Evening At The Wonder Gardens", a benefit for casino gaming, on October 31, 1976.

On June 4, 1977, "An Evening With Lu Elliott" was held at the NIUP Theater For The Arts in Newark. It was a combination event, honoring Lu and a benefit for the NIUP Theater. It also featured Al Hibbler and The Lu Elliott Experience (actually the Sam Williams-Lu Elliott Experience).

Miss Lu Elliott & Her Revue appeared at the New Smalls Paradise from September 8-11, 1977, and again on September 15-18. Also there was Arthur Prysock.

The Portland, Oregon Skanner from September 14, 1978 had this: "As quiet as it's been kept, Lu Elliott has been singing up a storm in Las Vegas for the past two weeks with the George Kirby show." It couldn't have been a very long association. Kirby was out on bail while appealing a drug conviction. On November 28, he was sentenced to 20 years in prison. Note that nothing said the name of the venue.

The Milburn and Short Hills Item of August 2, 1979 said: "The Burch Auditorium at Essex County College, Newark, will ring with the sound of music at 7 p.m. August 9, when international performers Al Hibbler, Lu Elliott, Leon Eastland, and the Sam Williams Express appear in a benefit for the Order Of The Eastern Star."

The Passaic, New Jersey Herald-News of October 26, 1979 told us that not only was Lu Elliott Sims a singer, but she was also the director of the Newark Institute Of Urban Programs. She's was honored as such during a Women's Day observance at Essex County College on October 29, receiving a Women Of Achievement Award.

Nothing more about Lu until an article in the March 22, 1981 New York Times titled "LU ELLIOTT AT COOKERY":

Since 85-year-old Alberta Hunter collapsed from exhaustion after a performance several weeks ago at the Cookery, East Eighth Street at University Place [Greenwich Village], where she has been singing for three and a half years, several stopgap performers have filled in for her. Now Barney Josephson, the owner of the Cookery, thinks he has found a suitable replacement for Miss Hunter.

She is Lu Elliott, who had a notable period as vocalist with Duke Ellington's orchestra in the 1950's. So it is not surprising to find the Duke well represented in her program. And she does the Duke full justice.

On ''Mood Indigo',' with only the piano of Robert Banks and the bass of Jimmy Lewis as accompaniment, she evokes the color and texture of the instrumental trip - trumpet, trombone, clarinet - that Mr. Ellington featured on the tune. The calm, controlled projection that enables her to do that also gives her ''Sophisticated Lady'' a warm serenity, and when she moves into the light, finger-snapping groove of "It Don't Mean A Thing", her soft, subdued manner seems to underline the rhythmic beat of the tune.

Her other primary source is Billie Holiday's songs but not her style. Miss Elliott's ''Billie's Blues'' is slow and smoky, phrased with a provocative hesitation that gives it an extra sizzle. For the most part, she holds to a very effective low-keyed style that works at almost any tempo and gives her singing a rewardingly personal quality.

In May, she was still at the Cookery, from Tuesday to Saturday, backed by Gerald Cook on piano and Jimmy Lewis on bass.

On December 17, 1981, Lu sang at the funeral service for famed comedian Dewey "Pigmeat" Markham.

On January 9, 1982, the Lu Elliott Trio performed a program of Duke Ellington music at the Main Street Library in Port Washington, Long Island. February 7 found her singing at an art show in Atlantic City. At the time, she was appearing in that city's King Edward Lounge at the Golden Nugget Hotel Casino. This was a long-term engagement; she was advertised through March 1985 (sometimes as the Lu Elliot Trio).

When she left the Golden Nugget, she began at the Atlantis Hotel and Casino (also in Atlantic City). Originally scheduled to appear through April 7, she was extended to May 5.

Later that year, she began a long stay at the Casino Lounge of the Castle (once again in Atlantic City). She performed on Fridays and Saturdays from November 8, 1985 through January 3, 1987.

But that was her last appearance. Lucy Arleane Elliott Sims passed away, possibly from cancer, on March 5, 1987 in Newark. There was an obituary in the March 14 New York Amsterdam News:

Attractive Lou Elliot [sic] will always be remembered by friends and fans as an energetic singer who had a distinctive style. When she mounted the stage a noisy room became silent because she immediately captivated the audience.

Born in Suffolk [County], Va., she took to show business like a duck takes to water. The 62-year-old performer graced the bandstand with the Duke Ellington, Lucky Millinder, Benny Carter, Cat Anderson and Eddie Heywood orchestras as well as touring Europe with B.B. King. [Note that I can't find any appearances with Eddie Heywood.]

For the past several years she worked in Atlantic City at the Golden Nugget and Castle casinos.

Funeral services for Elliot, who had been married to Horace Sims for four decades, were held at St. Peter's Lutheran Church, 54th St. and Lexington Ave. Her remains were laid to rest in Fairmont Cemetery in Newark, N.J.

It took nearly three months for them to notice, but there was a small mention in the May 31 Asbury Park Press:

There was some very sad news on the casino lounge front this week.

Veteran contralto jazz singer, Lu Elliott, who was a favorite at places like the Castle Hotel and Casino in the recent past, died recently.

Miss Elliott was a fine lady with enormous talent and zest for life.

She will surely be missed by all who were fortunate enough to have known her.

Lu's husband, Horace Clem Sims, died in April 1994.

Lu Elliott could do it all: big band singing, R&B, R&R, disco, soul, and jazz. And she did it all well. In spite of that, and the wonderful reviews her voice got, she never really made it as a star. She should have.


Special thanks to Ezio Chiarelli and Charlie Dyson of Ellingtonia.com