Myra Taylor
By Marv Goldberg
© 2025 by Marv Goldberg
Myra Taylor, who had a beautiful voice, had one of the shorter recording careers. Also, she had one of the longest. (I hope to clear up that confusion shortly.)
NOTE: There's Kansas City, Kansas and Kansas City, Missouri, both of which will figure in our story. I'll abbreviate them KCK and KCM as much as possible. KCK and KCM are contiguous, even though in different states.
Myra Jardine Render was born on February 21, 1917 in Bonner Springs (on the outskirts of Kansas City, Kansas), the daughter of Albert James Render and Nellie Catherine Adcox. Her only sibling was an older sister, Wyola Marquette Render. When Albert registered for the draft in June 1917, he told the draft board that he had a wife and two children.
Sometime after that, the family moved to Kansas City, Kansas itself, where, in December 1919, Nellie started divorce proceedings against Albert. It was mentioned in the December 21 KCM Star as a new divorce suit.
Only days later, in the 1920 census (taken as of January 1 that year), Albert was living in Richmond, Missouri and said he was a widower. However, Nellie was alive and well in KCK; she was a maid and said she was married. I have no idea where Myra and Wyola are; they'd be placed in foster care at some point.
Nellie and Albert were finally divorced in September 1920. I don't have an exact date, but sometime in 1924 Nellie died in Kansas.
The State Of Kansas held its own census in 1925. Both Wyola and Myra Render show up in KCK. They're living with the family of St. Wilburn Elmore and his wife Jessie Mae Taylor Elmore, presumable foster parents. The Elmores have two daughters of their own and the Render sisters were listed as "adopted daughters". Myra later said she suffered "years of abuse" at the hands of the Elmores.
In the 1930 census in KCK, the federal census-takers were up to their old illiterate tricks. Now called "step-daughters", they were enumerated as "Wyola Ronder" and "Laura Ronder".
By 1931, the young Myra was working as a housekeeper in Kansas City, Missouri, earning $5 a week. But, every chance she got, she sneaked into clubs on 12th Street. Starting as a dancer at the Sunset and Reno Clubs, she was soon hired, graduating to singing, as well as dancing.
The first time we read about her was in the December 9, 1932 KCM Call, when Myra Render sang at a funeral service.
In May 1934, Myra Render married William Ramsey Taylor in St. Joseph, Missouri. The marriage didn't work out, but I can't find a divorce record. By 1940, he was living in Los Angeles with his then-wife, Gladys.
The May 22, 1937 Omaha Guide reported that Myra Taylor sang at the Spring Style Revue. She was called "the girl with that most pleasing smile in dance and song."
Let's get ahead of ourselves for a moment. Clarence Love had a successful territorial orchestra. For a few months in 1937, it was taken over by singer Orlando Roberson as his backup band. He probably should have paid them; in mid-August the band quit Roberson.
Meanwhile, in St. Joseph, Myra was singing at the Fontenelle Club. She ("swing singer") was first advertised on September 18, 1937. Also functioning as a dancer and MC, she'd be held over and was last mentioned on October 24. At the same time, Clarence Love opened at the 25 Klub in Dallas on a six-month contract.
An article in the Kansas City Star on February 22, 1998 had Myra looking back at joining Clarence Love's orchestra. It said:
In 1936, she was a 19-year-old dancer in a ballroom show in Dallas. Her heart's desire was to sing. A man named Clarence Love, who had a band that played the sweetest music she'd ever heard, played in the club where she was a dancer....
Her dressing room was right next to the bandstand. Every night, after her dance routine was done, she would stand in her doorway mesmerized as the Love band played four sets.
One night, she asked Love if she could sing a song with his band.
He said no. But not in a mean way.
So she asked him every night for four weeks. He said no every night for four weeks. But she kept asking. And one night he gave her a chance.
He let her sing every night after that. He even encouraged his sideman, [pianist] Eddie Heywood, to write some arrangements for her, so that the band would enhance her voice even more.
Actually, as we've seen, it was 1937, not 1936, making her 20. However, since it was 60 years in the past, that can be forgiven. What doesn't make sense to me is that she'd just been the star of the show at the Fontenelle Club for a month: singer, dancer, and MC. While she probably really wanted to sing with Love's band, the article makes it seem like she was this little nobody who'd never amount to anything without his help.
But, my reservations aside, by the end of November 1937, she'd been hired as the band's vocalist. The December 4 Pittsburgh Courier said, talking about Clarence Love at the 25 Klub:
Billie "Myra" Taylor, songstress, has been engaged to appear in the club and as a vocalist with the Clarence Love band.
And, no, I have no idea where the "Billie" came from.
The March 26, 1938 Pittsburgh Courier, had an article titled "Love's Band Hit On Tour". It said that the band was "Featuring the torrid singing of Myra Taylor, swing stylist...."
But, for whatever reason, the paring didn't work out and she was gone from the band after only four months. On April 7, she ("songstress") opened at the Cotton Club in Joplin, Missouri. Not only that, but she got her own 15-minute radio show on Joplin's WMBH. However ["Daddy, he's using that word again!"], it was one of the shortest radio careers, only being advertised on April 7 (at 4:15) and April 9 (at 5:45).
On April 29, 1938 trumpeter Roy Eldridge's band opened at the Colonial Theater in Detroit. The April 28 Detroit Free Press said: "Myra Taylor does the singing with the band." But was she the band's singer? Presumably not; there was never another mention of them together.
In early July, Myra was part of the "Bigger And Better Than Ever" revue at Chicago's Club DeLisa, also featuring Sam "Spo-Dee-O-Dee" Theard. They were both still there when the revue changed to "Rise And Shine" by early August. The August 13 Chicago Defender had this review:
Pretty Myra Taylor must be more than pleased with her new sweetie as she gaily told him that the other fellow was "Exactly Like Him". Now, Myra, is that nice?
I suppose they could just be talking about her singing "Exactly Like You", but why can't these people just write in English?
On December 30, Myra was part of the show at Swingland, in Chicago. She shared the stage with Horace Henderson's band, singer Alma Smith, and tap dancer Pete Nugent. It said that Myra was from the Three Deuces, another Chicago spot.
The January 14, 1939 Pittsburgh Courier called Myra "Chicago's newest singer of popular songs" and said:
Myra Taylor comes forward and sends with a romantic melody written by Eddie and Kusby Case. The number anent [i.e., "concerning"], "Love Is Everywhere", is destined to become a tongue-tip tune in short order.
The February 25 Pittsburgh Courier had this: "Local playboys and pharmacists can catch up with their singing star, Myra Taylor, since the Swingland closed." I really need an English-Stupid dictionary to keep up with this stuff. After that, she returned to the Three Deuces.
But by the middle of March, she was at the Cabin Inn (Chicago), possibly only for the night of March 21.
Here's what I have to put up with when researching these singers, courtesy of the May 6, 1939 Pittsburgh Courier:
Patrons of the 222 Club on North State Street [Chicago] are enjoying the mellow manner in which Myra Taylor sings the latest and most popular song hits. Miss Taylor, having been employed at the 222 Club for more than two years, took a period of time out last fall and early this winter to appear in Skoller's Swingland revue. So great was the demand for her return to the 222 Club, her proposed rest period had to be postponed.
So, if she'd been there for two years, how come there was never a previous hint that she'd ever been at the 222 Club. I suppose they could have meant two months, which would make a lot more sense. No matter, she'd be gone from there in a couple of days.
On May 7, she ("Miss Personality") was advertised as being at the Cedar Country Club in Chagrin Falls, Ohio, a suburb of Cleveland. The May 14, 1939 Cleveland Plain Dealer called her "a hotcha songbird". The show actually opened on May 18.
A blurb in the July 21, 1939 Kansas City Call talked about where she'd been:
When you talk about rhythm and swing, list charming Myra Taylor as its chief exponent. This little lady, who sings and dances delightfully, helps to provide the fireworks in the show currently appearing at Bennie Mason's Cedar Country Club, Cleveland, Ohio.
Originally signed for four weeks, Miss Taylor is now entering her sixth week at the club and, if her previous record is any criterion, may be here for many seasons yet to come. Plans are on foot, however, to have Miss Taylor open at the Apollo Theatre in New York, shortly.
Myra went to Cleveland by way of the Three Deuces Cafe in Chicago, where she stayed nine months, to set some sort of record.
Born in Bonner Springs, Kansas, she worked at the 25 Klub in Dallas, Texas for 5 months, the Harlem Night Club in Omaha, Neb., for five months, and clubs Swingland and DeLisa in the Windy City for seven and ten weeks, respectively
Although she never would appear at the Apollo, I can't really argue with the rest of it, other than that the Omaha venue was called Club Harlem (and never advertised). Also, didn't that nine months at the Three Deuces get in the way of the two years at the 222 Club? The moral is: never believe longevity statistics in these blurbs.
By mid-August, 1939, Myra was appearing at the Little Harlem in Buffalo, NY. A month later, she'd switched over to that city's Club Moonglo, where she'd remain for the rest of the year. The ads said "Mr. Rhythm meets Miss Swing", but failed to identify "Mr. Rhythm". In early December, she ("who sings classical numbers and nursery rhymes in swing time") held "battles" with Streamline Sue ("who warbles the latest popular songs in swing").
Right after that, it was back to Chicago's Three Deuces. In the club's Off Beat Room, you could hear Stuff Smith's orchestra. She was supposed to be there through January 1940, except that a New Year's Eve fire destroyed the place, including Myra's wardrobe and arrangements. She then joined Harlan Leonard's orchestra, the Kansas City Rockets. Leonard, a clarinetist, had once led the reed section with Bennie Moten's orchestra.
In "Kansas City Jazz: From Ragtime To Bebop - A History" by Frank Driggs and Chuck Haddix (Oxford University Press - 2005), she related how she joined Leonard, when he was appearing at the Trianon Ballroom in Chicago. She was visiting her pianist at his hotel and ran into some of Leonard's band members, including saxophonist Jimmy Keith. She sang "This Is My Night To Dream" for them and they immediately went to get Leonard. She sang; he heard; he hired (or, as Julius Caesar put it: "canebat; audivit; conduxit"). She'd remain with him for about three and a half years.
The January 19, 1940 Kansas City Call reported that "Myra Taylor, from the Three Deuces night club in Chicago, will appear as vocalist with [Harlan] Leonard's aggregation." This was when they were playing the Century Room in KCM that weekend.
On January 29, it was the Municipal Auditorium in KCM. At the time, the orchestra also featured "mad drummer" Jesse Price.
The February 15, 1940 Down Beat chimed in with: "Myra Taylor, Kansas City girl, who worked for a short while with Stuff Smith here [Chicago], joined Harlan Leonard's band and went into New York to open with the outfit at the Golden Gate Ballroom last week. She succeeds Helen Rothwell as vocalist."
On March 10, the band appeared at the Ritz Ballroom in Bridgeport, Connecticut. According to the March 8 Waterbury Democrat, they came "Direct from the sensational 'Golden Gate' in Harlem...."
In New York, on March 11, 1940, Myra recorded a single song with Leonard: "I Don't Want To Set The World On Fire". It would be released, later that year, on RCA's Bluebird subsidiary. As far as I can tell, this was the first ever recording of that song.
In the April 1940 census, the Elmores were living in Kansas City, Kansas, but neither Myra nor Wyola was there; I can't find either of them in that census. When St. Wilburn Elmore died in 1966, neither Myra nor Wyola was mentioned in his obituary.
The April 5 Kansas City Call had a small article about Myra:
Myra Taylor, vivacious and jitterbug vocalist for Harlan Leonard's orchestra, will be seen and heard Sunday night at the Blue Room of Street's Hotel, where a "welcome home" party will be held for Harlan and his orchestra.
Myra is one of those rare swingsters who can sing both "hot" and "sweet" numbers, and is fashioned along Ella Fitzgerald lines. She is one of the "hometown" gals who went to the big city and made good.
Myra was born and reared in Kansas City, Kansas [close], but went to Chicago to try her luck. She became a dancer at the famous Grand Terrace Cafe and then started singing. [There were a couple of blurbs that said she'd once been at the Grand Terrace, but it was in such a small capacity that she was never mentioned in any ads]
They were first advertised at the Blue Room on April 7 and there was another ad on April 28.
On July 15, in Chicago, Myra recorded another song for Bluebird with the Rockets: "My Pop Gave Me A Nickel". The tune, clearly based on Ella Fitzgerald's "A-Tisket, A-Tasket", was released later that month. The flip was a Harlan Leonard instrumental, "400 Swing".
The September 1, 1940 Down Beat almost liked "My Pop" (loved the flip):
The first side ["400 Swing"] is a killer - precise, clean ensemble work, excellent tenor, two trumpets and tram [trombone] solos, and some of that solid K.C. rhythm. This guy Jesse Price [the drummer] may be flashy, but you can't prove it by his playing on these, which is steady as Fats Waller's left hand - and that's saying something. [Price was known as a flashy drummer.] The reverse is a juke box number which pleases if nothing else.
I've noted in the past that Down Beat didn't really like vocalists, who used up valuable time when the band could have been playing.
On October 13, the Rockets were at Lyric Hall (KCM). After that, they were at Lincoln Hall every other Sunday for the rest of the fall season. The October 18 KCM Call not only told us that, but also that Myra had been convalescing from a tonsillectomy. The band also seemed to be at the College Inn.
In October 1940, Bluebird released her March recording of "I Don't Want To Set The World On Fire", with the instrumental "Skee" on the flip. For me, the arrangement of "Fire" doesn't work; it's simply much too fast for that type of song.
The band had a special performance at Lincoln Hall, on Monday, November 11, for Armistice Day.
Another Bluebird recording session in Chicago, on November 13, 1940. This time, Myra waxed "Dig It", kind of an advertisement, since she's saying "dig our band". At the time, they were playing the College Inn in KCM. They were also broadcasting, over KCKN, from the place each night, except for Sundays (when they were at Lincoln Hall). It was a 15 minute program, starting at 10:15.
"I Don't Want To Set The World On Fire" was reviewed in the November 23 Billboard and the December 1 Down Beat.
Billboard: The express train tempo of the first side ["Fire"] belies its titular implications, for it's taken at a pace that could set most anything on fire. The title of the second side ["Skee"] is a tip-off on what to expect here. This disk will warm the cockles of a swing fiend's heart, but will leave everyone else cold.
Down Beat: More of that Kansas City style a la Leonard with Fred Beckett's trombone and Hank Bridges' tenor [sax] doin' the heavy. Skee has a good beat. It's a simple riff tune, simply arranged by Tad Dameron. Its backing features a Myra Taylor vocal and more thrilling Beckett, even if he is sloppy about intonation at times. Taylor sings like Ella.
The November 29, 1940 KCM Call said that, when the band would be at the Lincoln for their December 1 Sunday performance:
Myra Taylor, the lovely vocalist with Harlan, possessing the voice combination of Ivy Anderson [sic; should be "Ivie Anderson", Duke Ellington's vocalist] and Ella Fitzgerald, will send the patrons with the swellegant arrangement of "I Don't Want To Set This [sic] World On Fire", newest recording release of the band.
The December 27 KCM Call said that Myra was going to be a guest on a radio program:
Myra Taylor, top Kansas City songstress and vocalist with Harlan Leonard's orchestra, will appear in person on the Magic Carpet program of station KCKN at 10:30 today. Each, day KCKN picks a celebrity in the entertainment world for a guest appearance. Tuesday morning, Cab Calloway, now playing at the Newman, was the guest. The program lasts 15 minutes.
Not bad if you're considered in the same class as Cab Calloway.
The January 17, 1941 KCM Call reported that Harlan Leonard had signed a long-term contract to play Lincoln Hall every Sunday night that he was in town, including broadcasts from the venue. However, he had a music problem (along with most other bands that did radio broadcasts): the ASCAP-BMI WAR. It said, in part:
Now that the BMI ban has forced ASCAP tunes off the air, Harlan's air time has been cut down owing to the fact orchestras are having difficulty in finding enough good tunes for nightly radio appearances. This will make the dance attendance swell.
On June 23, 1941, the band was at the Kentucky Paradise (in KCM). The June 20 Call said: "It is the full-throated blues singing voice of Myra Taylor in the feature spot."
Another multiple Sunday night gig was at the New Dreamland, in Little Rock, Arkansas, starting July 27.
In September 1941, about a year after its recording, Bluebird finally released "Dig It". The flip was the instrumental "Keep Rockin'". Later that same month, they returned to the Blue Room in KCM's Streets Hotel.
Down Beat reviewed "Dig It" in their October 15 issue:
Two more examples of the rough, unpolished brand of jazz as dealt out by the Kansas City Band of senders. Dig It is a novelty, mostly vocal, handicapped by poor singing on the part of Myra Taylor. Only the final [instrumental] ensemble chorus is noteworthy. [It went on to praise the instrumental side. I rest my case.]"
An article in the December 15, 1941 Down Beat said that Harlan Leonard had just hired a "flashy girl pianist", Orvella Moore. It went on to name the members of the band: Jimmy Ross, Herb Wiggins, Charlie 'Little Dog' Johnson (trumpets); J. E. Green and Floyd Haynes (trombones); Harlan Leonard and Earl Jackson (alto saxes); Jimmy Keith and Curtis Foster (tenor saxes); Winston Williams (bassist); Freddie Hopkins (guitar and vocals); Raymond Howell (drums). Vocalists were Myra Taylor and Ernie Williams.
On December 23, the band was at the Elks Charity Ball at Lincoln Hall in KCM.
From April 8-11, 1942, the band was at Scott's Theater-Restaurant in KCM. The ad promised a full 2-hour show with a stage show, movies, and dancing. In mid-May, the Rockets began a long-term engagement at KCM's Fairyland.
The May 15, 1942 KCM Call talked about the burning question that troubled millions all over the world: "They're all asking why Myra Taylor checked out of the DuSable Hotel [Chicago]."
It probably had something to do with her marrying Wendell Marshall (in KCM), on May 17. Wendell was a policeman, not the bass player of the same name. The bride was given away by St. Wilburn Elmore, which is strange, if she'd really been mistreated by her foster parents. His wife, Jessie, was also there. The May 29 Call had an article about the wedding that didn't contain too many errors:
"Myra Render Taylor, daughter of Mrs. Belle Tucker...." Actually, Belle was Wendell's mother.
"... Mrs. Viola Ford of Bonner Springs and Marybelle Tucker, sisters of the bride." Of course it should have been "Mrs. Wyola Ford", and Marybelle was Wendell's sister.
By July 3, Myra was part of the 12th Street Revue at the Castle Theater. Also in the show was Julia Lee. On August 8, Myra sang "Because" at a church wedding.
The September 4, 1942 Call reported that the Leonard band was preparing for an extended tour, after having been at Fairyland since May. They'd make [the Rainbow Ballroom in] Denver, Colorado their first stop, and then head east, ending up in New York.
As well as being in the Rockets, Myra was still a part of the 12th Street Revue in late September.
Although that September 4 blurb said that they'd be heading east after Denver, they ended up at Zucca's Terrace in Hermosa Beach, a little south of Los Angeles. They broadcast nightly over KHJ at midnight. A new vocalist/MC with the band was bassist George Bledsoe, who'd go on to be a member of Stanley Morgan's Ink Spots in the early 1960s.
By early December, they'd transfer to the Hollywood Casino for a week. In late January 1943, they played the Lincoln Theater for another week. The February 13 Billboard reviewed the January 26 show and said of Myra:
Winding up the show is Myra Taylor, band vocalist, who goes to town on Oh, Dear, What Can The Matter Be? Followed by This Is My Night To Dream. What Miss Taylor lacks in voice, she makes up for in personality. Mugs and shakes, but puts over the tune in fine style.
By early March, when drummer Jesse Price rejoined the band, they were at the Riverside Club in Phoenix. The March 26, 1943 Call had this:
Myra Taylor, who is currently riding a wave of popularity with Harlan Leonard in Phoenix, Ariz., and in Los Angeles, doesn't believe she wants to come home to Kansas City. At the present moment, the west coast is really the "golden west" as far as bronze musicians and entertainers are concerned.
Harlan echoed the sentiment in the April 30 Call:
Harlan Leonard and his crew, with the mad drummer, Jesse Price, and Myra Taylor, returned home for the annual Wheatley hospital revue, but if you let Harlan tell it, the "west is the place to be. Money runs like water and everybody is thirsty."
Myra herself returned to Los Angeles, opening at Club Alabam on May 22, 1943.
By May 31, she was part of the cast of "Africana", playing at the Music Box Theater in Hollywood. Also on stage were Harlan Leonard; Ivy, Vern, & Von; the Charioteers; Avery Parish; and Monty Hawley, among others. It was reviewed in the June 12, 1943 Billboard:
What this show intends to accomplish is far from clear. It starts with a Central Avenue [Los Angeles] scene, then shifts to San Antonio, with a scene in Lem Richard's church on Easter morning. Reverend Richard is giving an oration on social equality while Johnny Taylor, comic, mugs and fidgets for laugh. If these performers are striving to sell social equality using the show as a medium, they're only making light of their own battle.
Second half of the show is a revue. It moves faster than the first, but even here, the acts are without rhyme or reason. Perhaps were it definitely known what goal had been set, the show would be more interesting and entertaining.
The Charioteers are the big hit with their vocal harmonies. Tunes include Stardust, Gaucho Serenade, Ride, Red Ride, Amen, and The Glory Road. Harlan Leonard's band has good tempo and does a job. Avery Parish's boogie-woogie was well received. Alex Lovejoy, straight [a straight man], is one of the bright spots in the show, as is Myra Taylor, comedienne, and the instrumental and vocal work of Ivy, Vern and Von. Leon Warwick does swell bass vocals, and Pepper Welch clean tap cleating. Anise Boyer and Marie Bryant have featured numbers as dancers and do good work.
Africana is thrown together, poorly staged and produced. Electricians missed cues, and the stagehands had all thumbs.
Africana is an amateur show with professional talent.
On June 7, it was announced that the show would close while they desperately tried to revise it; it never re-opened.
And then, the parting came. The August 27, 1943 Call said: "Myra Taylor is at Los Angeles Club Plantation, while her former boss, Harlan Leonard is at Club Alabam." No reason was given for her departure.
On September 10, Myra was back in KCM, at the Chez Paree, in a production called "Victory Revue". The last ad (on October 1) said of Myra: "She's back from fresh triumphs in California - for a short time only!" The September 17 Call had a small article titled "Myra Turns On The Charm":
Myra Taylor, who went to California with Harlan Leonard and his Kansas City Rockets, returned to town a fortnight ago and proved herself to be the "Kansas City Bombshell", the caption under which she was billed in Los Angeles' Club Plantation. Myra came in with a new wardrobe and a new technique on the semi-classics, "Indian Love Call" and "Summertime". The Chez Paree patrons couldn't get enough of her. Myra says she's returning to California shortly. She shares plaudits with a new blues singer, Earl Coleman, who sings in the Eckstein style. [Note that Billy Eckstine's actual name was "Eckstein". He doesn't seem to have started using the more familiar spelling until around 1944.]
On September 24, Myra was at a war bond rally in the KCM Municipal Auditorium. The October 2 Pittsburgh Courier, in mentioning it, noted that there was also a band and variety show, made up of soldiers from Ft. Riley, Kansas.
[I bring that up because Ft. Riley had a pivotal place in the history of the world. In the spring of 1918, around Ft. Riley, what was to eventually be called the Spanish Flu began. Army camps were badly overcrowded as men were being hurriedly trained to be shipped to Europe; General Pershing was constantly calling for more and more American soldiers. Men were sent from camp to camp and the flu went with them. There were those who pleaded with President Wilson to delay troop shipments for a few months, but no one at the top listened. By the time it had ended, in 1919, the Spanish Flu had killed at least 50 million people worldwide. So why was it called the "Spanish Flu"? With a war on, there was a lot of censorship; papers couldn't be allowed to print items which would panic the populace. Spain, however, was a neutral country and was, therefore, free to report it extensively in their papers.]
The December 11, 1943 Billboard said: "Myra Taylor, singer formerly with Harlan Leonard's band, to play Lincoln, Million Dollar, and Burbank Theaters in Los Angeles."
The only accounts of Myra in all of 1944 were appearances in USO shows at military bases. She was with a unit called "Let's Go" that also had Eubie Blake. For example they were at the Dodge City Army Airfield in Dodge City, Kansas in April; the U.S. Naval Ammunition Depot in Hastings, Kansas in May; the Naval Armed Guard in Brooklyn in mid-July; the New Castle Army Air Base in Wilmington, Delaware in early August; and Camp Lee, Virginia in early September.
Myra's only mention in 1945 was this, in the January 25 California Eagle:
We often wonder where the fine thrush "Myra Taylor" disappeared to - we've heard nothing as to her whereabouts.
In March 1946, she appeared at the Tower Theater in KCM. She had her photo taken backstage with famed reed player, Sidney Bechet. Also there was Timme Rosenkrantz, a Danish baron who, in love with American jazz, was touring the country. On June 28, she started a week at KCM's Sterling Club.
On October 31, 1946, in Kansas City, she recorded four songs for Mercury Records, backed up by sax player Jimmy Keith's Orchestra: "The Spider And The Fly", "Still Blue Water", "Take It Easy Greasy", and "Tell Your Best Friend Nothin'". Myra had written all of them. I have to remark again what a nice voice she has; it comes through on both the ballads and up-tempo tunes.
Mercury rushed out "The Spider And The Fly", backed by "Still Blue Water", in November. "Spider" was very popular, although not a nationwide hit. It was also done by Annisteen Allen (with Lucky Millinder, on Decca); June Christy (with Stan Kenton, on Capitol); and the Aristo-Kats (on RCA Victor). She was ultimately denied royalties by publisher Blasco Music, who claimed that despite the record being a "smash" there were no profits.
Also in November 1946, Myra was part of the Boogie-Woogie Cavalcade at KCM's Municipal Auditorium. Also on the bill were Julia Lee, Big Joe Turner, and Nat Towles' orchestra.
In December, Mercury released "Take It Easy Greasy", coupled with "Tell Your Best Friend Nothin'".
"Spider" was reviewed in the January 11, 1947 Billboard:
Myra Taylor turns out a fine spinner with Jimmy Keith's orchestra playing a solid groovy accompaniment. "Spider And The Fly" is played in 6-8 tempo, with piano and bass doing a boogie figure, which gives band a swing similar to Jan Savitt's shuffle rhythm. There is also some interesting trumpet improvising, which will please hot fans. "Still Blue Water" is a slow blues in a minor key on the order of "Blue Prelude". Miss Taylor sings with a subtle sob and a real "blues" vibrato that adds up to a stellar performance. The band is muted and soft and thrills with close voicing and beautiful harmonies. Will fetch nickels anywhere they dance. Excellent for race locations.
Myra copyrighted "Spider" on January 16, 1947. The entry said that "Myra Taylor" was a pseudonym for "Renda Marshall".
In January, Myra, along with Jay McShann and Jimmy Witherspoon, was at Scott's Theatre-Restaurant in KCM. She was called "The Kansas City singer who has skyrocketed to fame".
The February 1, 1947 Billboard reviewed "Tell Your Best Friend Nothin'":
Sepia K.C. chanteuse Myra Taylor offers a pair of originals here, with Tell Your Best Friend Nothing [sic] the more potent. Lyrics, an important factor in the race pitch, are top drawer and well sold by la Taylor. Mating [flip side], with backing also by Jimmy Keith's just so-so combo, is built on dated jive patois phrase, done in jumpier tempo. A mediocre mating with race allure only.
From February 15 through late April, Myra and Jimmy Keith (and His Swingtet) were at KCM's Stork Club. She was now being billed as "The Spider And The Fly Girl".
March 7 found her at Memorial Hall at a dance given by the Chad Social Club Of Greater Kansas City. On April 18, the "Stork Club Revue" was at the Chez Paree. Then, on April 26, Myra opened at the Rainbow Club in KCM. On May 9, she was joined there by Jimmy Keith's band.
July 5, 1947 found Myra and Jimmy at the "Boogie-Woogie And Jive Jamboree" at the local Uptown Theater. Also on the bill were Julia Lee, Bus Moten, the 5 Scamps, and Samuel "Baby" Lovett (a drummer who was generally associated with Julia Lee). There were many others, but they aren't names I know.
She was back at the Uptown on November 15, as were Julia Lee, Baby Lovett, and the 5 Scamps.
Sometime in late 1947, Myra had another Mercury session, this time with the Reiser-Meyers Trio in Chicago. This was the time when record companies were recording anything in sight to prepare for the January 1, 1948 musicians strike.
The only mention of the Reiser-Meyers Trio is an appearance in KCM from July 23-30, 1948. Two of them were Dave Reiser and Joe Meyers (unknown instruments), who'd each had his own orchestra in 1944, and who'd both been in a trio called the Streamliners. The third Streamliner (in August 1945) was pianist Raymond Smith, but I don't know if he was still part of the Trio.
The eight songs were: "Move Out", "Quit Barking In My Rhubarb", "Clinging Vine", "It's A Sin To Tell A Lie", "I Had Something Good (But It's Gone)", "This Is My Night To Dream", "I'm In My Sins This Morning", and "Booted". Myra wrote all of them except "Quit Barking In My Rhubarb" and "It's A Sin To Tell A Lie". "Move Out" and "Clinging Vine" were written by "Taylor-Ford", presumably sister Wyola Ford.
Another long-term engagement: Myra started at The Playhouse in KCM on December 11, 1947 and stayed until mid-April 1948.
In December 1947, Mercury issued "Move Out", backed with "Quit Barking In My Rhubarb" (Old McDonald talking to his dog). They were reviewed in the January 3, 1948 Billboard:
Move Out (81): Soft trio vocal under Taylor thrush effective. Adds up o.k.
Quit Barking In My Rhubarb (73): Novelty ditty take-off on "Old MacDonald".
Around April 1948, Mercury released "Clinging Vine", coupled with the old standard "It's A Sin To Tell A Lie".
Something was wrong and Myra needed an operation. It was first reported in the April 23, 1948 Call and elaborated on in the April 30 edition:
Lovely Myra Taylor, popular vocalist and composer of the hit tune "The Spider And The Fly", entered Wheatley Hospital, where she underwent a major operation last week. The condition of the talented Kansas Citian was called satisfactory. She is expected to be about her vocal chores within several weeks.
The April 30 ad for The Playhouse said that Myra "will be back soon". She returned on May 15 and remained until the end of June.
On May 17, she was one of the acts (along with Julia Lee and the 5 Scamps) at the Sportesta. This was a yearly ceremony to honor black athletes who'd made outstanding achievements in championship sports.
On July 3, it was another "Cavalcade Of Boogie-Woogie" at the Uptown Theater. It had the usual cast of characters: the 5 Scamps, Julia Lee, and Baby Lovett. This time, they'd also added Ada Brown (she'd sung "That Ain't Right" with Fats Waller in the 1943 film, "Stormy Weather").
On September 12, 1948, all of the above were at a "Jazz Jamboree" at the Music Hall, as a benefit for Kansas City's Marine Corps Reserve. Myra's next long-term engagement was at the Cuban Room. She was advertised from October 15 through February 5, 1949.
While she and Wendell Marshall were having marital problems, at least she dressed well (according to the October 29, 1948 Call):
Mrs. Myra Taylor Marshall (The Spider And The Fly "Girl") and her husband have put aside their differences and are now like two little love birds. Myra was stunning in a green satin dress with brown sequined-lace trim ... the lace formed a yoke in the dress and fell to the hem ... the lace and satin pinned and draped to one side ... she wore a green satin beanie with a brown feather which went well with her red hair.
But all was not sweetness and light. According to the November 19 Call, Myra was caught in the middle of a union dispute:
Myra Taylor, the "Spider And The Fly" girl, a member of AGVA [the American Guild Of Variety Artists], an entertainers union locked in dispute with AFM [American Federation Of Musicians] affiliate here, is entangled in the musicians variety artists tiff this week at the Cuban Room, where she is currently appearing. Myra has to do her dance and vocal act without music until the question is cleared up.
The December 17 Call actually went so far as to name her husband: "Among the interested spectators giving the 'Three Stars Of Rhythm' a big hand were Wendell Marshall and Myra Taylor Marshall."
Myra's last Mercury record was released around January 1949: "I'm In My Sins This Morning", backed with "Booted". While "Booted" usually means kicked out, I really don't know what she's singing about. ("You say you love me / Man, I know that's a lie / I'm a Kansas City gal and I've got my boots laced high".) While they were recorded at the Reiser-Meyers Trio session, the labels on this one just say "with Trio Accompaniment". They were reviewed in the January 29, 1949 Billboard:
I'm In My Sins This Morning (64): Thrush has an affecting little-girl air of naivete in her smooth blues piping. She could project stronger and show more of beat, however.
Booted (67): She does this self-consciously "hip" rhythm novelty cutely, but undersings it.
I'm not sure why it was such a big deal to have records released on Mercury, but down through the years (up until at least 1964) she was always referred to as a Mercury artist.
On February 6, there was a "Cavalcade Of Kansas City Music" at the Municipal Auditorium. The audience of 1500 voted Myra the city's most popular female vocalist. Evelyn Twine, who would soon lead the 5 Scamps' "The Fishing Song", came in second.
February 23 found Myra at the Sherman Club for two weeks. In mid-April, it was Johnny Baker's for another two weeks ("Shuffleboard Tournament Every Tuesday").
She, Jimmy Keith, Julia Lee, the 5 Scamps, and the 4 Tons Of Rhythm were at the annual Sportesta on May 9 at the Lincoln High School auditorium.
Abandoning KCM for a bit, Myra appeared, on May 7-8, 1949, at Flagler Garden in Wichita, Kansas.
But, she was back in time to appear at Club Zelmaroda on May 21. After that, it was two weeks at The Cave (under the Hill Hotel), starting June 13. July 1 began a week at Tony's Venetian Room, in Des Moines, Iowa. At the end of the month, it was the Mayfair Lounge in Wichita, Kansas, along with the Tommy Douglas orchestra.
And then, a big life change. This was in the November 4, 1949 El Paso, Texas Herald-Post, under the "Divorce Suits Filed" column: "Myra Taylor Marshall vs. Wendell Marshall".
The December 23 KCM Call had this:
And how pleasant to get a letter from Etta Moten and a program from her concert tour in Texas and New Mexico ... guess who she saw in El Paso, sitting on the front seat ... Myra Taylor. Etta wrote that Myra came back stage and told her all about "ASHES". Myra just loves that song ... bless her.
From the December 24, 1949 El Paso Times' "Marriage Licenses" column: "Al G. Raven, 32, 311 North San Marcial Street, and Miss Myra Jardine Marshall, 31, 311 North San Marcial Street." They must work pretty quickly on divorces in Texas.
From March 15 to April 14, 1950, Myra, along with Jimmy Keith, was at the Cuban Room in KCM. The April 7 Call almost told you about it: "husky-voiced Myra Taylor is back from a long stay in Mexico and is now singing [the sentence never ended]".
In the April 1950 census, Al and Myra Raven were living in El Paso. Since she was appearing in KCM at the time, Al gave the information and listed no occupation for her. But some people don't deal well with reality (or the mail was really slow back then): in that same census, Wendell Marshall said he was "separated".
From November 10-16, 1950, Myra ("Star Of Stage, Screen, Radio, T.V.") was at Tony's Club 100 in Des Moines.
Starting February 2, 1951, she was at the Air Port Inn Night Club in Las Cruces, New Mexico for a month. Back in El Paso, she was part of a Charity Club drive sometime in April.
The usual cast turned out for the 1951 Sportesta on June 4, this time held at the Resident Theater.
Returning to El Paso, Myra ("The Border's First Lady Of Song") was at the Coliseum, on August 12, along with Gerald Hunter's Orchestra. She appeared at the Chinese Palace, Juarez, Mexico, for New Year's Eve. Note that El Paso is on the border with Mexico, just across the Rio Grande from Juarez.
On January 21, 1952, Myra entertained patients at the William Beaumont Army Hospital at Fort Bliss (in El Paso). An article said she was "practically a fixture at the Lobby", which I take to be the Lobby Bar in El Paso's Camino Real Hotel.
The March 21, 1952 Call said that:
Myra Taylor invaded the Orchid Room last week and set the place on fire with her interpretations of songs that she made popular here before she left for Texas and Mexico. Myra is still a favorite with all Kansas Citians and she really loves to perform for her friends. I was talking to her the other day and she tells me she has been on one job in Mexico for the last 13 months and is to return pronto after her short vacation here. We all enjoyed you, Myra, and hope you will return soon to give out with some of the fine things musically that you did this time.
I never understand these timelines. She couldn't have been "on one job in Mexico for the last 13 months", but that would have come from her, not made up by the writer.
A place I never heard of: she was at Hymie's, in Albuquerque, New Mexico, starting April 25, for three weeks. In mid-June, she was at the Circus Club in San Antonio, Texas, remaining until early July.
The ad said she was "Back By Popular Demand" at the Chinese Palace in Juarez, starting October 4, 1952.
And then, Myra Taylor embarked on a round of appearances in the Pacific Northwest that went on for a couple of years. Not only have I never heard of any of the places she played, I never even heard of some of the cities they were in. Was there a reason she didn't want to stay in El Paso?
On November 24, she started at the Cave Club in Vancouver, British Columbia. However, forget Myra, I'm going to see Lady Godiva "with her real live horse". The November 29 Vancouver Sun said: "Bountifully endowed Myra Taylor sings prettily for the customers at the Cave horse show. She has something and it's obvious just what."
On February 10, 1953, she was at Allen's Theater Room in Spokane, Washington. She was called "Inimitable Song Stylist - From Blues To Boogie".
Next was the 3-D Club, in Great Falls, Montana, from February 16-21. (This time the ad said she "Sings Everything From Bach To Boogie", but I'm not aware of any Pop songs that Bach wrote.) On March 23, she started two weeks at Kirkpatrick's Boulevard in Coeur d'Alene, Idaho. She was back at the 3-D Club from May 2-24. From there, it was the Ozark Club, also in Great Falls, for about two months. October 26, found her at the Lewiston Country Club, in Lewiston, Idaho, for a week. The ad said she'd been there before, but I can't find any previous ads.
In mid-March, 1954, Myra was back at the Ozark Club. Also there was singer/pianist Doris Knighton, who had been with the Cats & The Fiddle. From July 26-August 21, she was at the Copper Club in Anaconda, Montana. Next was two weeks at the 97 Supper Club in Klamath Falls, Oregon, starting on September 28. (Their ad said that she has a recording out currently on both Capitol and Mercury labels. They're talking about "Spider", which was 8 years in the past; the Capitol recording was actually Stan Kenton's.) Another two weeks was spent at the Hi-Line Club in Havre, Montana, starting on November 2. (Their ad, too, said that she'd recorded for Capitol and Mercury.) Finally, she was advertised from December 7-11 at Clingman's Supper Club in Eugene, Oregon.
Home again: the April 27, 1955 El Paso Times said that Myra was at the Chinese Palace in Juarez.
Well, as long as she was back in El Paso for a while, she might as well divorce Al Raven. It was in the "Divorces Granted" column of the June 14, 1955 El Paso Herald-Post. They really hadn't seen much of each other for nearly three years.
Back to the Northwest. She was first advertised at the Alibi Club (Shelby, Montana) on October 5-15. (The ad talked about Stan Kenton's version of "Spider", but wrongly said that it was on Mercury.) Right after that, it was the Hi-Line Club in Havre, Montana. Then back to the Copper Club (Anaconda, Montana) from December 5-11. Starting on December 19, and remaining until New Year's Eve, she was at the VFW Club in Rapid City, South Dakota.
1956 started with Allen's Tin Pan Alley, in Spokane, Washington for the week beginning February 27. Three years previously, she'd been at Allen's Theatre Room, which might have just been re-named.
Then down to a warmer clime: on March 16, she began two weeks at Lazar's Pink Poodle in Phoenix, Arizona. The ad was even wilder than usual:
Her records "The Spider And The Fly" and "Boogie-Woogie" with Stan Kenton have been outstanding hits!
From there it was over to the Cotillon Supper Club [not "Cotillion"] in Tucson, Arizona, opening on April 13 and remaining until May 11. Next, it was the Valley Club, in Santa Fe, New Mexico, on May 14, for two weeks. And then, back to the Chinese Palace, in Juarez, for two months beginning September 2, 1956.
But nothing more for over a year, until she returned to Allen's Tin Pan Alley (Spokane) on December 16, 1957. The ad called her "Star Of Mercury Records", although it had been around nine years since her last release. She spent New Year's Eve at the Bella Vista in Billings, Montana.
She immediately left Montana to open at the Avalon Club (Casper, Wyoming) on January 6, 1958. There was only the one ad, but it made sure to say "Myra has recorded with the famous Stan Kenton Band". Was she promoting that story? Who knows?
Sometime in February, she was at the Park Hotel in Great Falls, Montana. The only ad, on February 22, said it was her last two nights. In March, she was back at the Ozark Club in Great Falls. The first ad was on March 29; she was still there on August 23. At least this ad weaseled out of it by saying "You'll remember her as the gal who wrote 'Spider And The Fly' for Stan Kenton."
As I said, the last Ozark ad was on August 23, but the first Key Club ad (Minneapolis) appeared on August 22. As usual, I have no explanation. Also at the Key Club was ventriloquist Stu Gilliam and his doll, Oscar. On September 19, Lavern Baker was added, but it was the last time Myra was mentioned. Making my life even more fun, she (and Stu Gilliam) were both advertised as being at the Orchid Room in KCM on September 19, while she was also in Minneapolis. Even better: the September 21, 1958 Kansas City Star said that she "closes her engagement tomorrow night". Why me?
The October 31, 1958 San Antonio Register showed you how cheap newspaper space was. This is the entire blurb from Kellar Chase's column: "P. S. Tried my best to omit my very good friend of long standing, Myra Taylor, who is the featured singer on the show, plus she is a show stopper." Obviously space wasn't cheap enough for him to mention where she was singing.
It might have been at the Chez Paree in Corpus Christi, Texas, where she was advertised ("Mercury Recording Artist") on November 7. On November 12, she and baritone Hal Brown gave a musical program at the Mirror Room of the Nueces Hotel for the Corpus Christi Downtown Optimist Club.
Nothing more until August 31, 1959, when she returned to Allen's Tin Pan Alley in Spokane, but ads only ran that day and the next. December 7 found her at the Sahara Club in Eugene Oregon. The ad said "Formerly with Stan Kenton".
On January 26, 1960, she was back ("by popular demand") at Allen's Tin Pan Alley. She was in Vancouver, British Columbia on February 22, at the New Delhi. Then, back to Allen's on May 16, where she was held over for a second week. Later that year (September 5-17) it was Isy's in British Columbia. On October 16, she was at Allen's again, this time for around two months (last advertised on December 6).
In late January 1961, she was at the Ho-Ti, in Portland, Oregon, but there were no ads. In early March, she was back at Allen's Tin Pan Alley.
Right after that, she was off to appear at the Forbidden City in Honolulu, advertised on April 3. (Over 10 years later, she's still being advertised as "Mercury Recording Artist".) The April 9 Honolulu Star-Advertiser said "Myra Taylor, Forbidden City chirper, nabbed an eight-month contract for the Orient. Happy chop sticks." I've no idea where she played in the Orient. It may have even been longer, since she's not heard from again until December 16, 1963, when she was advertised as being on the New Year's Eve show at Vic's Theater-Restaurant, in Spokane.
When she appeared at the Frontier Room in Vancouver, British Columbia, the February 3, 1964 ad called her a "new star". She'd be there until February 15.
June 6 found her ("Mercury Recording Star") at the Elks Club in Wallace, Idaho. Two days later, she opened at the 3-D Club in Great Falls, Montana. From July 20 to August 1, it was back to Vic's in Spokane.
Trying her best to stay away from Kansas City and El Paso, she relocated to Frankfurt, Germany in 1965 and was reported singing in Berlin in June 1966.
Taking another break, she spent half of 1968 (from July to December) appearing with Dee Dee McNeil (as "The Soul Sisters") at various places in Honolulu and Hilo, Hawaii: the Clouds Hotel, the Tiki Torch, the Dunes (along with Screamin' Jay Hawkins), and the Nalei Hotel.
After that, it was back to Germany, but there was nothing more about her for a couple of years. In 1972, she bought a club in Frankfurt, calling it "Down By The Riverside".
A blurb in the June 3, 1976 Kansas City Star talked about sister Wyola in a somewhat jumbled fashion:
A 63-year-old great-grandmother who was graduated cum laude from Park College two weeks ago is taking a month off in Germany before deciding how to put her degree to work.
Mrs. Wyola M. Ford, grandmother of 16 and great-grandmother of one, received the trip as a gift from her children. She left Sunday to visit a sister in Germany she had not seen for eight years. She earned a B.A. degree in elementary education.
Myra gave up the night club in 1977, after a disagreement with her partner. Still avoiding Kansas City, she decided to move to Los Angeles in order to act in movies and TV.
Myra Jardine Raven Taylor copyrighted a song called "Being In Love" on November 6, 1978, although she'd never record it.
Myra had the lead role ("Ernestine") in the 1979 movie Scoring. In 1980, she played "Pearl" in three episodes of "The Jeffersons" TV show.
There were three other movies: Suspect - 1987 (she played "April"), Bloodbath In Psycho Town - 1989 (she played "Sylvia"), and Once Around - 1991 (she played "Trainer #1"). These were not Oscar-nominated films.
When sister Wyola died in February 1993, her obituary mentioned that Myra lived in Los Angeles.
But entertainment world work wasn't that easy to come by and the loss of her sister devastated her. At some point in 1994, Myra returned to her roots and relocated to Kansas City. She also returned to her other roots and, at 77, started singing again. While her voice had lowered over the years, it hadn't lost any of its beauty.
By 2000, she was appearing with "The Wild Women Of Kansas City" (Millie Edwards Nottingham, Geneva Price, and Mary Moore - later replaced by Lori Tucker). On June 29, 2001, she got her own KCM plaque.
Remember that, at the beginning of our story, I said that she had one of the longest recording careers. Her last recording session had been in late 1947. Now, in July 2001, over 50 years later, she had another. At age 84, Myra recorded at least 15 songs for Acoustic Sounds, Inc. at Blue Heaven Studios in Salina, Kansas. Many were new versions of tunes she'd done before: "Spider And The Fly", "Take It Easy Greasy", "Straighten Up And Fly Right", "Still Blue Water", "Lady Be Good", "Sunny Side Of The Street", "This Is My Night To Dream", "Hey There" (something Myra wrote, not the hit song from Pajama Game), "Since I Fell For You", "Just Give Me A Man", "(Mama) He Treats Your Daughter Mean", "I Don't Want to Set The World On Fire", "Trouble", "Day After Day", and "Black Angels". And, she wasn't some old lady pathetically croaking out tunes; her voice was marvelous.
They were released in September 2001, on the APO label (Analog Productions Originals), in three bewildering formats: a CD, a 45RPM set of two records, and a 2-audio-tape set. The reason it's bewildering is that some of the songs were on one format and not on one or two of the others (see discography). It's also hard to imagine who'd purchase an audio tape in 2001.
A big article in the July 28, 2002 Lawrence, Kansas Journal-World was titled "Living Jazz Legend Finds Success On Comeback Trail". It mentioned two recent awards from Living Blues magazine. She'd been named, in their annual critic's poll, as Best Female Blues Artist, beating out Etta James and Koko Taylor.
A big honor: at the June 27-28, 2008 Kansas City Street Blues Festival, Myra was presented with the "key to the city".
In February 2011, she celebrated her 94th birthday with a concert at Knuckleheads Saloon, along with Samantha Fish and Mike Zito.
On July 24, 2011, she appeared, with the Wild Women of Kansas City, at Jardine's nightclub in Kansas City; it was to be her last appearance. With declining health, she was moved into Kansas City's Swope Ridge Geriatric Center, where she spent the last three months of her life.
She died on December 9, 2011, as Myra Raven Taylor. She's buried in Bonner Springs, site of her birth.
As I said at the beginning, Myra Taylor had a beautiful voice. Listen to "Still Blue Water" and "I'm In My Sins This Morning" from her early days, or "This Is My Night To Dream and "Since I Fell For You" from her 2001 recording session and see if you don't agree.
BLUEBIRD (Harlan Leonard And His Rockets - vocal by Myra Taylor)
10823 My Pop Gave Me A Nickel / [400 Swing - Harlan Leonard] - ca. 8/40
10919 I Don't Want To Set The World On Fire / [Skee - Harlan Leonard] - ca. 10/40
11302 Dig It / [Keep Rockin' - Harlan Leonard] - ca. 9/41
MERCURY
8025 The Spider And The Fly / Still Blue Water - 11/46
8027 Take It Easy Greasy / Tell Your Best Friend Nothin' - 12/46
Above two by Myra Taylor And Jimmy Keith's Orchestra
8068 Move Out / Quit Barking In My Rhubarb - ca 12/47
8081 Clinging Vine / It's A Sin To Tell A Lie - ca 4/48
Above two by Myra Taylor And The Reiser-Meyers Trio
8117 Booted / I'm In My Sins This Morning - ca 1/49
Above by Myra Taylor With Trio Accompaniment
ACTING CAREER
Scoring - 1979 (Ernestine - the lead role)
Suspect - 1987 (April)
Bloodbath In Psycho Town - 1989 (Sylvia)
Once Around - 1991 (Trainer #1)
In 1980, she played "Pearl" in three episodes of "The Jeffersons" TV show.
ACOUSTIC SOUNDS
APO 2017 My Night To Dream - CD - 9/2001
1. Spider And The Fly
2. Take It Easy Greasy
3. Straighten Up And Fly Right
4. Still Blue Water
5. Lady Be Good
6. Sunny Side Of The Street
7. This Is My Night To Dream
8. Hey There
9. Since I Fell For You
10. Just Give Me A Man [not on either of the other two formats]
11. Mama (He Treats Your Daughter Mean)
12. I Don't Want to Set The World On Fire [not on the 45 set]
APO 2017-45 My Night To Dream - two 45RPM discs - 9/2001
Disc 1
1. Spider And The Fly
2. Take It Easy Greasy
3. Straighten Up And Fly Right
4. Still Blue Water
5. Lady Be Good
Disc 2
6. Sunny Side Of The Street
7. This Is My Night To Dream
8. Hey There
9. Since I Fell For You
10. Mama (He Treats Your Daughter Mean)
RRAP 0036 My Night To Dream - two tape set - 9/2001
Reel 1
1. Spider And The Fly
2. Take It Easy Greasy
3. Straighten Up And Fly Right
4. Still Blue Water
5. Lady Be Good
6. Sunny Side Of The Street
7. This Is My Night To Dream
Reel 2
1. Hey There
2. Since I Fell For You
3. Mama (He Treats Your Daughter Mean)
4. I Don't Want To Set The World On Fire
5. Trouble [not on either of the other two formats]
6. Day After Day [not on either of the other two formats]
7. Black Angels [not on either of the other two formats]