Viviane Greene
By Marv Goldberg
© 2026 by Marv Goldberg
Viviane Greene wrote and recorded a song most of you know: "Honey, Honey, Honey", which engendered cover versions by Hadda Brooks (Modern; 48), Marion Abernathy (King; 48), Martha Davis (Decca; 48), Shirley Moore with the Cats & The Fiddle (Manor; 48), the Ah-Moors (Rainbow; 48), and Ray Charles (Down Beat; 49). However, in spite of how popular it was with singers, no version ever made the charts.
NOTE: "Viviane Greene" can be spelled in many creative ways. I'll just go with whatever was printed without making a fuss over it.
Viviane Greene was born Willie Viviane Hoyt, on June 18, 1918, in Nacogdoches, Texas. The oldest of three children, her parents were William Matthew Hoyt and Lou (or Lue) Evie Green [a coincidental surname], both of whom were teachers. [Strangely, in the 1950 census, William (as "W.M.") with a college degree, was a paper hanger in Houston.] Viviane's siblings were Vernon Osborne Hoyt and Evie Lois Hoyt (who was always just known as "Lois", except in the 1940 census, when it was mangled to "Effie").
I can't find the family in either the 1920 or 1930 censuses.
When she was very young, her parents started her on piano lessons (she later said she was five at the time).
On August 2, 1937, when she was only 19, Willie received a B.A. degree (in music) from Prairie View Agricultural And Mechanical College (Prairie View, Texas; near Houston).
The first time we read about her is in the April 1, 1938 Kansas City Call. The Governor of Texas was treated to a concert by the Kealing Junior High School male sextet, who were trained, said the article, by Miss Willie Vivian Hoyt.
She was also mentioned in the March 8, 1940 Kansas City Call as being a musician in Houston, part of the Texas Association Of Negro Musicians.
In the 1940 census, the family was still in Nacogdoches. Willie was a public school music teacher. Both parents were also teachers, but I can't make out what kind.
A blessed event: on December 22, 1940, her son, Allen Leo Greene, Jr., was born in Nacogdoches. [What do you mean "junior"? Where's "senior"? When did she get married? Well...]
All right, go boil the rice. On December 31, 1940, Willie Hoyt married Leo Green [sic; misspelled on all the documents] in Houston. Allen Leo Greene, born August 18, 1921, was the son of Harry Greene and Mary Ann Harris. It's important for you to remember his father's name (although by the time you'll need to know it, I know you'll have forgotten it).
When Allen Leo Greene registered for the draft in February 1942, he was working in a dining car belonging to the Southern Pacific Railroad and gave his mother, Mary, not Willie, as the "person who will always know your address".
Their daughter, Barbara Ann Greene, was born in April 1942, but died only a month later. As far as I can tell, she never even left the hospital and died from an inability to process food.
By May 1943, the Greenes were in Los Angeles. The May 27 California Eagle reported on an affair held by the Gay Matrons Club. The relevant part: "... a piano number by Mrs. Vivian Hoyt-Greene, who also sang a number". Allen, too, was registered to vote there.
In May 1944, Viviane's mother, Lue Evie Hoyt, died in Nacogdoches. Later that year, in October, Viviane gave birth to another child, Viviane Jade Greene.
The February 15, 1947 Billboard reviewed the January 27 show at the Hob And Nob, in Sherman Oaks, California (a section of Los Angeles). They said:
Negro pianist Vivian Greene sells easily. Gal plays a la Hadda Brooks, with an easy-to-take singing style. Spotted as the opening act, Miss Greene warmed things up nicely.
Strangely, the April 12, 1947 Los Angeles Times said that she, along with Jimmy Grissom and King Kolax, was a Miltone artist. However, there was never anything released by her on the label. It's possible they confused her with Vivian Garry.
On June 4, 1947, "Vivian Green" opened at Jack London's Inn (Venice, California). She was called "Inimitable Song Stylist - Queen Of The Piano".
On June 10, Viviane Greene (spelled correctly for a change) was part of the all-star show (also with Eddie Green and Benny Carter) honoring the King Cole Trio at the Club Alabam in L.A.
There was a big article about her in the June 20, 1947 Kansas City Call, which termed her "A New Find":
HOLLYWOOD. For a young lady who literally stumbled into the entertainment world two years: ago, dynamic Viviane Greene, richly talented pianist who vocally interprets her music, is doing all right for herself. She came to California in 1941 from Prairie View College, on a music scholarship to the University of Southern California. She studied for a spell and later taught music in the Los Angeles City School system. She also served as organist at the East. 28th Street Christian church. [If the 1941 date is correct, it could account for why she wasn't named on her husband's February 1942 draft registration, since he was still in Houston. However, we know she was in Houston in April 1942, when she gave birth to her daughter, Barbara Ann.]
Friends who heard her play and sing at home marveled at her talents. Finally Syl Scott, veteran drummer-man suggested that she should entertain professionally.
She modestly gave his proposal scant heed until one night at the Hollywood Canteen where she acted as accompanist for a singing group. The servicemen's audience asked her to do several numbers by herself and she stole the show.
An agent heard of the incident and persuaded her to accept a professional engagement at a small night spot in Hollywood. She was an instant hit and from then her climb up the ladder to success has been phenomenal.
Featuring her own style of swinging the classics and modern tunes, she runs the gamut from Bach to Boogie.
Presently featured at the swank Hob and Nob in the much talked of San Fernando Valley, Miss Greene has appeared in the past at Slapsie Maxie's, Florentine Gardens, Swanee Inn (Palm Springs), Colony Club, Slim Jenkins, and Cafe Gala.
Her favorite number is "Grieg's Concerto". She is a follower of Gershwin and is signed to record under the Miltone banner.
Mother of a charming two and half year old daughter, Jade, Miss Greene is happily married! She plans to return to school to obtain her master's degree. A piano major, she lacks twelve units to graduate.
Her burning ambition in life is to become a concert artist.
She is looking forward to her first tour east in July. Engagements in Denver and Salt Lake are on her schedule, with the piece de resistance being the famed Chez Paree in Chicago.
The July 12 Chicago Defender reiterated that she'd be coming to the Chez Paree, although I can't find any mention of her being there. On July 26, she opened a month's engagement at the Colony Club in Oakland. According to the blurb, she had spent five months there the prior year, although there was no mention of it at the time. Supposedly she was off on an eastern tour; but before that, she was due to be in the movie "Wabash Blues", starring Al Jolson, but it looks like it was never made.
Finally, we get to some recording. Around early October, 1947, Trilon Records released "Honey, Honey, Honey", backed with the instrumental "The Unfinished Boogie". That was supposedly based on Franz Schubert's "Unfinished Symphony"; fortunately, I know someone who plays with a symphony orchestra and she confirms that it was.
Trilon was an Oakland company, owned by Renny LaMarre. Viviane recorded for them with "her Trio": Commodore Lark (bass), Chuck Walker (drums), and Nick Esposito (guitar). They were probably brought in for the Trilon sessions. Esposito was a bandleader whose "Hot Quintet" was advertised in the San Francisco area during this period; there were never any advertisements at this time for a Viviane Greene Trio.
By the time she appeared at Harold Blackshear's Supper Club in San Francisco (opening on November 6, along with Joe Liggins & the Honey Drippers), the ad called her the "'Honey Honey Honey' Gal".
Remember, James C. Petrillo, head of the Musicians Union, had announced that there was to be a strike, beginning January 1, 1948, during which no union musicians could record. Therefore, companies recorded as much as possible, right up until December 31, in order to have enough product to sell until the strike ended at some unknown future date. So, Viviane and "her Trio" got down to work. Regardless of subsequent blurbs giving the number of songs recorded, I can account for 24 titles, but no recording dates:
"The Unfinished Boogie" (instrumental), "Honey, Honey, Honey", "He’s The Man", "I’m Wise", "Since I Fell For You" (backing husband Allen Greene), "I'll Never Let You Go Again" (backing husband Allen Greene), "Two Loves Have I", "(Lil's Lament) I Guess My Man Don't Love Me", "Love Me, Love Me, Love Me Or Leave Me Alone", "Jades Of Green" (instrumental), "Clair de Lune" (instrumental), "Honey, Can't We Steal Away Together", "Bowlegged Boogie", "Prelude Boogie", "Red Light", "Can't Get Used To The Thrill", "Dreamed One Day", "Grieg's Concerto" (instrumental; presumably a boogie version of "Grieg's Piano Concerto In A Minor"), "Hoy, Hoy", "Kiss Me, Kiss Me, Kiss Me", "Maybe I'm A Fool," "Soliloquy", "The Things You Do To Me", and "He May Be Your Man". (Note that a demo disk of "He May Be Your Man" exists, having two different takes.)
On November 14, 1947, "Vivienne Greene" ("The Honey - Honey - Honey Girl") opened at Cliff Gamble's Theater Club in Oakland, advertised along with the Page Cavanaugh Trio. Said the December 3 Down Beat:
San Francisco - You can hardly turn on the radio these days in this area without hearing a bouncing little ex-Los Angeles schoolmarm with a husky voice singing Honey, Honey, Honey or beating the blazes out of the piano playing Unfinished Boogie. The ex-schoolmarm is Viviane Greene who looks like she might blossom into a national best-seller with her first record. Her record really jumps.
Viviane, who came up here from Los Angeles in July, has only been a professional musician three years, but what she's putting down on her Trilon records indicates she's going to be a professional musician for a long, long time. Astute Sy Heller, in town for Frankie Laine's Paramount stint, lost no time signing Viviane to a personal management contract. She opened at Cliff Gamble's Theater Club Nov. 14 The Page Cavanaugh Trio. injured in an auto accident, had to postpone their opening till Nov 19.
By late December, she was appearing at Tom Brenerman's in Los Angeles. Also, by the end of the year, Trilon had issued "He's The Man" (a dreamy ballad), backed with the bouncy "I'm Wise".
In January 1948, Trilon released the two sides with the Trio backing Allen Greene: "I'll Never Let You Go Again" and "Since I Fell For You". He's got a very pleasing baritone voice. That same month, they issued "Two Loves Have I", coupled with "(Lil's Lament) I Guess My Man Don't Love Me" and "Love Me, Love Me, Love Me Or Leave Me Alone", backed by "Jades Of Green". (Remember, her daughter was Jade Greene.)
By mid-January , Viviane was appearing at L.A.'s Chi-Chi Club.
It took around four months, but "Honey, Honey, Honey" and the "Unfinished Boogie" were finally reviewed in the January 24, 1948 Billboard and the January 31 Cash Box. Neither one gave ratings.
Billboard: Pop boogie piano on Schubert's uncompleted work. Shuffle worked in okay. Gal has promise, so does ditty ["Honey"]. But recording balance heavy for chirp.
Cash Box: Pair of flavorful and colorful sides for race locations are these offered in subtle tones by the capable Viviane Greene. Weaving in slow setting to the magic wordage of "Honey, Honey, Honey", the thrush picks up the lead to come thru with some soft stuff that shines. The beat here plus the gal's tricks worm their way into you and make you wanna come back for more. The flip shows Viviane at the ivories with "The Unfinished Boogie" spilling out. Where they go for this brand of stuff, and that covers lots of territory, they'll hold still for this.
This was in the Richmond (Virginia) Times-Dispatch of January 25, 1948 [Rowe penned the "Listen With Rowe" column; I have no idea who Jackson was]:
On the West Coast there's a blues and boogie girl the trade papers are raving about: they say there's hardly a disk jockey show that goes on the air without the sultry-voiced ex-school teacher singing her own "Honey, Honey, Honey" or beating the blazes out of the piano playing "Unfinished Boogie", a solid bit of rhythm based on Schubert's Unfinished Symphony.
About Viviane Greene and her Trilon recording of these two tunes, the West Coast hucksters are saying she has "the greatest left hand in boogie."
If Viviane Greene's music is that hot on the West Coast. Rowe reasons, it could be shipped through the Midwest snow storms and still get a fairly warm reception in Virginia.
So Rowe digs Jackson for a Viviane Greene Trilon platter. Jackson says, "Sorry, Trilon is a new West Coast recording outfit... they haven't established a complete distribution system for the East yet." Jackson, however, said he would try to do something about it. He did.
The Trilons arrived in town last week. The eager-beaver disk jockeys hopped on the bandwagon like kids latching onto the merry-go-round. These loquacious knights of the turntable can spot a good rhythm tune with one listening - and at the same time visualize its possibilities as post card bait. [Listeners writing in commenting on the song.]
So, if the "Honey, Honey, Honey" girl gets next to you with her "Unfinished Boogie", you can thank or blame the team of Jackson and Rowe. They had a hand in this deal.
The January 28, 1948 Down Beat said that:
The record business continued good, with Trilon's Honey Honey [sic] reaching the 100,000 mark, and Viviane Greene, artist of the tune, making a Los Angeles date with Red Callender (bass), Christopher Columbus (drums), and Trefoni Rizzi (guitar). Viviane started a nation-wide tour following her stint at Tom Breneman's L.A. spot.
As I said in the opening, it was covered by several other singers, although no version ever charted. It's a very nice song, but, sadly, of all the versions I've named, I like Viviane's the least.
That issue of Down Beat also said (talking about Trilon accumulating masters to beat the recording ban):
Backbone of the Trilon catalogue, The Vagabonds (whose I Wonder, I Wonder was the company's first hit), have 24 unissued sides on the shelf. Along with the 24 masters of the Vagabonds, Trilon has 14 sides by Viviane Greene (the Honey Honey Honey gal).
As I said before, I can account for 24 masters by her.
Rowe's column in the February 1, 1948 Richmond Times-Dispatch presented both sides of the coin. [Note: the letters in caps, preceded by an apostrophe, are the names of radio stations.]
Unfinished business of last week concerns Viviane Greene's Trilon recording of "Unfinished Boogie", a West Coast hot platter that Jackson and Rowe had a hand in expediting to this East Coast area.
Reaction hereabouts ranges from hot to cool.
Ken Allyn, the platter spinner for 'RNL's Mailbag show, had this to say:
"'Unfinished Boogie' is definitely unfinished. That tricky platter... is due for plenty of plays, not only on the request shows, but the juke boxes as well ... the terrific left hand of Vivian Greene leads the way for some of the finest boogie I've heard in a long time ... and apparently, the folks who make with the pen and postcards think so too ... cards and letters have been rolling in asking for 'Unfinished Boogie'."
But Don Meyer, of 'RVA's Jughead Juke Box, said:
"I think it's a good tune, but sometimes it takes a long time for even a good tune to make good and Viviane Greene's 'Unfinished Boogie' hasn't done too good - but not so bad - on Jughead's Juke Box ... I think the Greene gal does a good job on the piano ... but not so good as Hadda Brooks."
Uncle Lud, of 'LEE's Request Club, came out with the answer: "... it's got a good, solid boogie beat ... and as postcard bait ... it's terrific ... that tricky ending of the 'Unfinish' is a knockout ... I'm getting out on a limb, but I'm going to say it's the best classical theme (Schubert's Unfinished Symphony) ever converted to the boogie beat."
Bob Dalton, of 'RNL's late evening Requestfully Yours program, made this report:
"Audience-wise. Viviane Greene's 'Unfinished Boogie' is just fair ... as a postcard attraction, it just won't compare with Bull Moose Jackson's 'I Love You, Yes, I Do" ... however, I admit, Viviane's technical ability is very good."
Harvey Hudson, another WLEE platter patter boy, is not too much impressed with the Viviane Greene disk. "It's kind of clever," he allows, "but the music is not particularly good ... all boogie has a good beat, and that which goes into Viviane Greene's 'Unfinished Boogie' has nothing to offer over and above the rest."
Jackson, play that platter again just for Rowe.
Also in February, Trilon released Viviane's "Clair de Lune", coupled with "Honey, Can't We Steal Away Together".
The February 25 Down Beat told us:
Pianist-vocalist Viviane Greene, whose stay at the Circus Room of the Ambassador, Santa Monica, two weeks ago was extended from four weeks to three months, is now airing nightly over KFWB. [This presumably means she was broadcasting from the club.]
The February 26 California Eagle told us how well her record was doing:
Viviane Greene, the "Honey, Honey, Honey Girl" and possessor of "the greatest left hand in boogie", has hit the musical jackpot on her very first Trilon recording.
It is being described by the highly-cherished title of "A Collector's Item" by many of the most prominent dish [sic] jockeys on radio stations thruout the country because of her unique vocal of "Honey, Honey, Honey", and her superb piano rendition of "The Unfinished Boogie", based on Schubert's Unfinished Symphony.
Remember, gang, since the phrase "many of the most prominent dish jockeys on radio stations thruout the country" doesn't name any of them, it has no meaning whatever. (And, I have to wonder if there really are any dish jockeys.)
Some of her recent Trilon releases were reviewed in the trades:
Billboard (March 13, 1948):
Love Me, Love Me, Love Me Or Leave Me Alone (57): Racy blues ballad; Viviane gets enough sex into the vocal to bid for some juke coin.
Jades Of Green (54): Clean boogie instrumental which may get an occasional juke nickel.
Cash Box (March 20, 1948):
Slow teasing piece of haunting music by thrush Viviane Greene, coupled with some mighty tender rhythmic tones, set the pace for "Honey Can't We Steal Away Together". Viviane's soft dulcet tones sprinkle around the wax with some brilliant piano fashions thrown in. Mood of the ditty is way down low in the blue theme and should come in for some fair play in the race spots. Flip is the Debussy "Clair de Lune", with Viviane shining brightly at the ivory's [sic] all thru. The gal sends the enchanting melody out in straight style, filling the air with loads of pleasant musical rapture. Side sets well for the quiet dinner stops - it's that good. Lend an ear to this duo - by all means.
Down Beat (March 24, 1948) - reviewed all four of those tunes:
Miss Greene is a very capable entertainer and these sides are well performed and especially well recorded. Love Me [2 stars] is about half and half piano and vocal and the vocal suffers a little by comparison. Jades [3 stars] is a boogie and spots the gal's good left hand. Clair [3 stars] is cut well if a trifle exaggerated style-wise, and Honey [2 stars] is another vocal. The rhythm is principally by Nick Esposito on guitar and divers drummers and bass men. [As is usual for Down Beat (at least, in my experience), instrumentals are more highly-rated than vocals.]
The March 27 Afro-American reported something not seen elsewhere:
Miss Greene, recently recovered from serious injuries sustained when her new Oldsmobile sedan was demolished in an accident in Hollywood, moved into the Brass Rail here [Glendale, California] this week for a four-week engagement where she will share the spotlight with Pete Johnson. [With Johnson being one of the greatest boogie-woogie pianists ever, that must have been a real thrill for piano lovers.]
The April 3, 1948 Pittsburgh Courier said that Viviane had "signed to appear in a series of Jazz concerts, opening at the Savoy Ballroom in Chicago Saturday, April 10, under the sponsorship of disk jockey Al Benson". It concluded with: "... will easily show the jazz lovers of Chicago why she has earned the distinction of having 'The Greatest Left Hand In Boogie'."
On April 18, following that Savoy concert, she opened at the Tia Juana in Cleveland. She was supposed to be there for a week, but she supposedly made such a hit that, after only 15 minutes, a two-week option was picked up. John Fuster, in his "About The Stars" column in the April 24 Cleveland Call And Post said: "Vivian Green plays a boogie which makes us regret that it is 'Unfinished'."
Long, long after her first record was released, it was reviewed in the "Late Rates" column of the May 1, 1948 Cleveland Call And Post's "Record Parade". They explained: "... sometimes we're way off in our selection of hits, and when we find a tune that's gaining in momentum, we give it a couple of listens and list it in our 'Late Rates'." They said:
THE UNFINISHED BOOGIE (Trilon) Viviane Greene: A good boogie cut well, if a trifle exaggerated, by a capable performer. Very well recorded. In comparison to the unfinished symphony, this chick really has a ball. You better dig this disc. HONEY HONEY HONEY. A fine vocal. The rhythm principally beat out by Nick Esposito on the guitar and "Chuck" Walker on the drums. The third "Honey" is from deep down inside, and still she sings on.
Viviane was supposed to open at the Cotton Club in San Francisco on June 23, but didn't. The June 28, 1948 San Francisco Examiner explained:
The Cotton Club opened inauspiciously without its star, Viviane Greene. The proprietors claim that Miss Green [sic] preferred to utilize her time preparing for motherhood. Rumor has it that Miss Greene just decided not to play the place. On general principles.
She was about six months pregnant at this time, but who knows? The July 14 Down Beat said:
Opening of the new Blanco's Cotton Club (formerly Music Box) under Negro management last month, starring Viviane Greene, was clouded until curtain-time by racial-union beefs. But the lights went on per schedule with sepia help.
To top the troubles, Viviane Greene was taken seriously ill en route from Chicago to fill the engagement and had to be taken off the train at Houston, Texas, and placed under doctor's care for several days.
Do trains from Chicago to San Francisco routinely stop at Houston? Possibly she went to Houston for a while, since that's where her daughter, Susaye, was born in mid-September (although the 1950 census would say Illinois).
More interestingly, the July 17 Cash Box noted "Viviane Greene, former Trilon recording star, has just been signed to an exclusive contract with Mercury. This is in line with Mercury's enlargement of their race catalog." That is, Trilon had gone out of business and Mercury had bought all their masters, including Viviane's.
Mercury released two Trilon masters, "Bowlegged Boogie" and "He's The Man", in August 1948. They were reviewed in the August 28 Billboard and the September 22 Down Beat:
Bowlegged Boogie (BB; 81): Fresh approach here as Vivian balls her way thru a jivey double entendre novelty lyric with more good trio support. Jukes should be picking up on this one.
He's The Man (BB; 76): Vivian sings and plays an easy-riding blues with smart trio backing.
Down Beat: Miss Greene, who is a sort of female Louis Jordan, specializes in just that type of novelty with a rhythm section, an excessive vibrato, and a deft right hand, which she uses only occasionally. Both these are originals in the blues pattern. [That sounds like a decent review, but they gave "Bowlegged Boogie" 2 stars and "He's The Man" only 1.]
The October 10 Down Beat had an article titled "19 Viviane Greene Discs To Mercury":
Nineteen masters, cut before the ban for Trilon records by Viviane Greene, who recently took time out from a cross-country trek to have a baby, were sold to Mercury recently, and the first platter has been released.
Deal was closed by Gabbe, Lutz, and Heller, Miss Greene's managers, between Trilon's Rene LaMarre and Mercury's Irving Green. Sides released are Bowlegged Boogie and He's The Man.
Viviane expects to resume work some time this month either in San Francisco or New York, the latter offers made possible through the release of her first disc.
As I said before, I can account for 24 titles.
I don't really know what this blurb in the October 23, 1948 Oakland Post Enquirer means:
The Four Knights Of Rhythm, featured last week at the "Say When Club" in San Francisco, and Lark and Walker, plus ace guitarist, Nick Esposito, supplied the background music on the Viviane Greene recordings now being released by Mercury Records.
We know that Lark, Walker, and Esposito were on the Trilon recordings (mostly because the labels say so), but how do the Four Knights Of Rhythm fit in? It seems to say that they were on the recordings also. However, in some ads, they were the 5 Knights Of Rhythm; in 1947, in Oakland, they (just the Knights Of Rhythm) were called a 5-piece band; in May 48 (Sacramento) they were the 4 Knights Of Rhythm.
On October 20, Viviane opened at the Say When (San Francisco) for four weeks. At the same time, Bill Johnson & the Musical Notes were at Ciro's, which was under the same ownership. By November 5, she'd been switched over to Ciro's, where the 5 Knights Of Rhythm were also appearing.
The Oakland Post Enquirer of November 20, 1948 told us:
Viviane Greene, "the Honey, Honey Girl", played a return engagement at John Harvey's Colony Club in Oakland Wednesday night at the highest price ever paid an artist at this spot. It was at Colony Club that Miss Greene's vocal and piano playing-talents were discovered. Since then, Viviane has blazed a trail across the country, playing in jazz concerts, night clubs, a recording artist, and on radio programs. Her stay is limited, as she is slated for the East Coast in December.
All well and good, but she was appearing in Los Angeles long before the Bay Area, and she made no appearances in December that I can find, East Coast or not.
In December, Mercury issued a re-release of Trilon 203, with a slightly different title: "Love Me! Love Me! Love Me! Or Leave Me" ("originally Love Me, Love Me, Love Me Or Leave Me Alone") and "Jades Of Green". They were reviewed in the January 8, 1949 Billboard:
Love Me! Love Me! Love Me! Or Leave Me (72): Miss Greene is not much of a singer, but she's convincing nevertheless on this ballad.
Jades Of Green (77): Same gal tickles a mean keyboard as she kicks up a better than average b.w. [boogie woogie] with solid rhythmic support from her trio.
In the 1949 City Directory, Allen and "Vivian" Greene were living in Compton, south of downtown Los Angeles.
Later in January, she appeared at the Saddle & Sirloin in Bakersfield, California, north of L.A. In early May, she was at Slapsie Maxie's in L.A. From there, it was Halagan's Tropics in Fresno, even further north than Bakersfield. The ad said she "Rose To Stardom Via The Mercury Recording Field" and that her "Last Appearance Was At Sardi's In Hollywood".
The October 29 Billboard reviewed the show at Charley Foy's Supper Club (Sherman Oaks) on October 18:
Music is provided by Abbey Browne's combo, with 88-er Vivian Greene handling intermission stints. Gal is a terrific jazz pianist, sings well, and is definite asset to the show.
Note that Charley Foy was the son of Vaudevillian Eddie Foy, Sr. and was one of the famous "Seven Little Foys".
Around November 1949, Modern Records released a couple of songs by her: "Tonight You're Mine", and the instrumental "Early Mornin' Stroll". I have no idea when they were recorded, but, since the master numbers are non-consecutive, there must have been a couple of other tunes done at the same time. It was her only Modern release.
On December 6, 1949, Viviane appeared on the Don Otis TV show on KLAC. Otis was an L.A. DJ, but I've been unable to find out what the format of his TV show was.
In March 1950, two of Viviane's Trilon masters, "Bowlegged Boogie" and "Prelude Boogie", appeared on Ralph A. Nelson's 4 Star Records. Interestingly, the 4 Aces started on Trilon and ended up on 4 Star also.
And then, a new life. The Los Angeles Tribune of April 8, 1950 reported: "Vivian Green at the Roseanna." Since they couldn't get her name right, it stands to reason that they couldn't get the venue correct either; it was actually the Rossonian Lounge, in Denver.
In the 1950 census we find Viviane ("pianist"), with children Jade and Susaye, living in Denver. Something else for you to remember. At the same time, husband Allen Greene ("night club singer") was living with Eddie Beal ("music composer") in L.A.
In June, Viviane rushed back to L.A. for a June 24 Decca session. She recorded a new version of "Honey, Honey, Honey", as well as A Picture Of You" (one of her best), "Hurry Home And Hold Me", and "Get To Gettin'". In July, Decca issued "Honey, Honey, Honey", backed with "Get To Gettin'". They were reviewed in the August 26 Cash Box:
Chirp Viviane Greene on deck with a pair of fresh ones in "Get To Gettin'" and "Honey, Honey, Honey". Both ends of the platter make for better than average listening, and show the thrush's vocal antics off to good advantage. Side to ride with is the top deck [Gettin'] - its echo shows as top notch juke box fare. [The "echo" they mention is the occasional band vocal.]
By that time, Viviane was back at the Rossonian Lounge, in her seventh month there, and being held over for another five weeks. The Kansas City Call (October 6) not only mentioned that, but opined that her "Honey, Honey, Honey" re-make "will be a much greater hit than before".
By late January 1951, Viviane was appearing at Paulo's Flame Room in Tucson, Arizona. Ads ran through February 24.
The April 14, 1951 Los Angeles Times said:
Vivian Greene set something of a record by going to the Rossonian Lounge in Denver for two weeks and staying 52 weeks. [She] has an invitation to return to the club for at least three months of the year for the next 10 years, her press agent announced today.
Ah, to be a press agent. The only time I know she was ever there again was in late 1952.
Also in April, Allen Greene appeared, along with Ruth Brown, at Los Angeles' Club Oasis. But all was not sweetness and light for him. This was in the "Off The Records" column of the May 26, 1951 Los Angeles Mirror:
WEEK'S WORST - "The Miracle" - Allen Greene (Mercury) - How do these no-talent people get to sing on records?
It took Billboard until July 21 to realize that:
....Mercury has inked Allen Greene, Negro baritone, who, incidentally, is hubby of Vivienne [sic], the pianist-vocalist who cut "Honey, Honey, Honey" for the old Trilon label and later went to Mercury....
In 1950-51, Allen Greene had releases on Zodiac and Mercury, but I can't find a single photo of him.
Later that year, there was an October 8 ad for Viviane at the Spur Lounge (Park Hotel) in Missoula, Montana.
Viviane was recognized as a success by her alma mater, said the October 26, Kansas City Call:
Mrs. Viviane Greene, a graduate of Prairie View Agricultural And Mechanical College will return to her alma mater October 29 for a piano recital in the college auditorium. Popularly called "The Honey Girl" by her associates, Mrs. Greene's outstanding original recordings are "Honey, Honey, Honey" and "Love Me, Love Me, Love Me", Decca recordings. [Well, one of them, anyway.] Mrs. Greene received her B.A. degree in music from Prairie View in August, 1937.
The October 30, 1951 Austin American talked about that recital:
Viviane Greene, versatile pianist-vocalist, will appear in recital Tuesday at 8:30 p.m. at Doris Miller Auditorium [in Austin] under the sponsorship of the Fiskville School.
Miss Greene, now a resident of Los Angeles, Calif., formerly taught music in Austin Public Schools after studying in New York and Paris. She is now a Decca recording artist, being billed as one of Decca's outstanding performers on its sepia series, whose recent records include "Love Me" and "Honey Honey."
With a recital technique similar to Hazel Scott's, Miss Greene's programs offer a wide variety of music, ranging from classics and pop tunes to spirituals and jazz melodies, according to Mrs. Della Phillips, Fiskville principal. The pianist is now on a 16-week tour of the country which ends in Denver, Colo.
Tickets for the recital will be sold at the auditorium. Proceeds go to the school funds for equipment and welfare work
Note that there's no record of her being in New York up to this point and no record of her ever having left the country.
On May 22, 1952, in Los Angeles, Viviane recorded four songs for Decca: "She's Funny That Way", "Solitude", "Come On, Let's Face It", and "Lover Boy".
On May 24, Viviane was one of the many, many guests on the KECA-TV United Cerebral Palsy Telethon. She was in the ranks of Bob Hope, Roy Rogers, Jack Webb, Peggy Lee, Liberace, Nat King Cole, Eddie Cantor, Harpo Marx, Billy Eckstine, Tennessee Ernie Ford, Ann Sheridan, Tommy Dorsey, Tex Ritter, John Ireland, Fran Warren, Les Brown, Eddie Albert, Red Nichols, Stan Freberg, Zsa Zsa Gabor, Betty White, and, let's not forget Blinko The Clown. There were dozens more.
In August 1952, Decca released "(He's) She's Funny That Way", backed with "Lover Boy". Note that the old standard was called "She's Funny That Way", but they had to play with the title on her release: "(He's) She's Funny That Way".
The following month, two of her old Trilon masters were issued on Gilt-Edge (another company owned by 4 Star's Ralph A. Nelson): "He Rocks Me (With A Steady Roll)" and "Bowlegged Boogie". Note that "Rocks" is the same song as "He's The Man", although a different Trilon take.
Larry Douglas' "Theatrically Yours" column, from the October 10, 1952 Arizona Sun, reported that Viviane was back at the Rossonian Lounge in Denver. She'd soon, it said, be starting a personal appearance tour, in order to promote "Lover Boy".
But I guess no one was buying it, since Decca released the old standard, "Solitude", coupled with "Come On Let's Face It", in November. These pop sounds were reviewed in the November 22, 1952 Cash Box:
Solitude (B): Viviane Greene sings the slow beat oldie in sultry manner and the orking of the rhythm bounce is solid. Viviane has a good dish here.
Come On Let's Face It (C+): The thrush dishes up a similar piece of material for the lower lid.
Since she was back performing in Denver, she might as well make her home there, which she did for the next couple of years. The May 16, 1953 Billboard reported that "Vivian Greene goes in to Denver's Cherrelyn Inn next week." It's in Englewood, a part of the Denver Metropolitan Area.
This was corroborated by the May 21 Los Angeles Sentinel: "Had a chat with Norman Alexander, when he dropped by Local 47 last week - his brother, vocalist Joe Alexander, is working with Viviane Greene, at Sherry's Inn, in Denver." So close.
There was this confusing sentence in the June 6 Billboard: "Vivian Greene, former Apollo Theater organist, has opened for a limited time at suburban Denver's Cherrlyn Inn." OK, so they misspelled "Cherrelyn" (it's pretty easy to do), but, as I said before, there's no trace of Viviane in New York up to this point, let alone as organist in the Apollo.
The June 17, 1953 Down Beat had this: "Viviane Greene, Decca recording piano-songstress, and her trio, featuring Joe Alexander, opened up the swank Cherrelyn Inn." At least they spelled the name correctly, but now she has a trio that no one's told us about before.
And now, a whole new facet to her career. On October 5, 1954, she was advertised as having a half-hour show, from 10:00 to 10:30 PM, on Denver's KFEL-TV. I'm not sure what the format was, but it was probably her singing and playing.
The November 11 California Eagle reported: "Vivian Green flew into town for a few days from Denver, but due to the sudden illness of her daughter, had to cut short her stay." This was, presumably, daughter Jade, who would die from lupus, an autoimmune disease, in which your body attacks itself. I can't find a date of death, but it was probably in 1956.
On February 8, 1955, Viviane ("KFEL-TV Personality" and "Delightful song stylist of Denver's Piano Bar") was part of a benefit show for polio in Greeley, Colorado. Note that she was almost always advertised in Denver as "Vivian Greene" or "Vivian Green".
The April 23, 1955 Billboard said: "Viviane Greene, pianist, who has recorded for Decca, Trilon, and Mercury, is deejay in charge of 'Allen's Alley', a two-hour r.&b. seg[ment] over [radio station] KFSC, Denver."
An August 12, 1955 ad said that she'd soon be coming to KIMN, a Denver radio station, at 5:00 PM daily. She'd be in radio listings there through April 28, 1956. The December 3, 1955 Billboard called her "the only female r.&b. deejay in the Rocky Mountain area." It also said that she'd recently recorded for Imperial. The master numbers immediately before hers, by the Barons, were recorded on June 14, 1955, so it was either that day or soon after.
However, it took Imperial until March 1956 to release two sides: "Saugaboy (Lover Boy)" and "Thanks For Nothing". In spite of the title, "Saugaboy (Lover Boy)" isn't the same as her "Lover Boy" on Decca, but it's a cute Calypso sound and I like it.
Saugaboy (Lover Boy) (B): Viviane Greene sings a middle beat Calypso story of "the greatest mon in every maiden's dream". A cutie with a lively treatment.
Thanks For Nothing (B): Miss Greene turns on the sex as she sensuously sings a slow-paced blues. Soft light and an intimate setting.
[Note that the term "Saga Boy" was an old term referring to a Trinidadian who favored zoot suits.]
She stopped being advertised on KIMN on April 28, 1956. Then, it was on to the Jungle Room of the Sands Hotel (Phoenix, Arizona) and the Red Rooster (Butte, Montana), later that month.
But then, she isn't heard from again until February 27, 1957, when she opened in the piano bar of the Panda Steak House in Tucson, Arizona. Could daughter Jade have died in the interim? Jade was 12 at the time of her death, which could mean late 1956.
Finally making her way to New York, she opened at the Beau Brummel, in Manhattan, on December 13, 1957.
By May, 1958, Viviane had begun a long-term appearance at Gatsby's, in Manhattan.
The New York Daily News of July 17, 1958 had this:
Viviane Greene, pianist at Gatsby's, will write a title song and incidental music for "All About Love", Bruce Brighton comedy scheduled for fall.
That play, starring Dennis Morgan and Wendy Barrie, appeared at the Binghamton (New York) Southern Tier Playhouse from August 3-9 and the Long Beach Playhouse (Long Beach, New York) from August 12-17. However, that was it. The play was never heard from again; it never made it to Broadway.
On January 31, 1959, Viviane, still at Gatsby's, entertained at the annual meeting of the Associated Amusement Machine Operators Of New York, held at the Essex House. This was for coin machine owners, including juke boxes.
In March, she signed for another year at Gatsby's. The New York Daily News of June 14, 1959 had this: "Pianist Vivian Greene, at Gatsby's for the past two years [one year, two years, what's the difference?], and owner Bill Rosen have formed a recording outfit they call Calden." I can't find any other proof that it ever existed or that it actually released anything.
This was from the April 9, 1960 New York Amsterdam News:
When Viviane Greene, jazz pianist at Gadsby [sic], fabulous East Side supper club, celebrated a two-year anniversary, the management and some of the guests made their appreciation known. Viviane was presented by the club's management with a diamond wish bone pin with 21 sparkling stones. An exclusive Fifth Avenue shop gave her a wardrobe of evening cocktail and evening dresses, and well known furrier Leo Varriale completed the Cinderella evening with a mink stole.
The August 20, 1960 New York Amsterdam News:
Now, if you were a piano stylist and were as nice a person as Viviane Greene, these lovely things might be happening to you, too. Viviane, who has just finished a very successful two-year engagement at Gadsby [sic], is entertaining for a week at Club Virginia in Cleveland; flying to Los Angeles to visit her ailing pop, Wilbert [sic] Hoyt, and sister, Lois Stevens; going to Club Mars in Paris for two weeks; and finally to Rome for a vacation and the Olympics. [Viviane's father was William, not Wilbert, and her sister was Mrs. Devers, not Stevens. Other than that, and having no idea how to spell Gatsby's, how long can she celebrate two years at the place?]
The October 29, 1960 New York Amsterdam News:
Jazz piano stylist Viviane Greene is now recording with Capitol Records [if so, they never released anything] and, at present, is playing in some of the most exclusive clubs on the West Coast. Viviane is on her way to Seattle and Reno.
An extensive European tour which Viviane had planned was canceled so that she might remain around the West Coast to be near her father who is very ill. [He'd die in June 1961.]
But, strangely, in May 1961, with her father on the brink of death, she was back in New York, appearing at the Crystal Room. After that, it was the Casa Bari Room, in Riverdale (a section of the Bronx).
In December 1961, there was another Viviane Greene record, this time on Morris Bernstein & Frank Kavelin's Finer Arts label from Denver. The tunes were: "Thanks For Nothing" and "You're Nobody Till Somebody Loves You". They were reviewed in the January 13, 1962 Billboard and the February 3 Cash Box:
Billboard gave "Thanks For Nothing" 3 stars and "You're Nobody Till Somebody Loves You" 2 stars, but there was no review.
Thanks For Nothing (CB; B): Thrush is bluesy on the plaintive. Full ork has a good moody approach. Can come up with some airplay.
You're Nobody Till Somebody Loves You (CB; B): Legit light-swingin' look at the sturdy.
Do you get the feeling that the Cash Box reviewer was too lazy to finish his sentences?
In March 1962, Viviane was back at the Casa Bari, in the Riverdale Motor Inn.
In early April 1963, Viviane was at Estelle's (Manhattan). By the end of the month, she'd started at the Villanova East (Manhattan), where she'd remain at least through October.
Here's an odd one from the Lebanon (Pennsylvania) Daily News of April 29: "Viviane Greene, the 88er at Villanova East, has a more profitable sideline. Peddles real estate."
And another, from the July 10 Marshall (Texas) News-Messenger: "Viviane Greene, who plays piano at Villanova East, is recording a jazz album based on Stravinsky motifs." Doesn't look like it ever happened.
Also in July, there was a Viviane Greene record on Dery, a Bronx label owned by pianist Sammy Benskin: "I Found A New Romance (With An Old Sweetheart)", coupled with "I've Got Your Number". "Number" is an odd sound, with Viviane playing the organ.
Sometime in the fall of 1963, there was a record on the KEN-GREN label from St. Albans, Queens, New York: "More (Theme From Mondo Cane)" and the instrumental "Pound Cake". KEN-GREN was the thinly-disguised Ernest KENdricks and Viviane GREeNe. As far as I can tell, this was her last release.
The October 11, 1963 Brooklyn Daily had this:
Show people are jamming the Villanova East because of the singing and piano playing of Viviane Greene. Musicians refer to her as the "coolest of the hot".
Nothing more for nearly a year, until the December 17, 1964 New York Daily News said: "Pianist Vivian Greene opens a month's engagement at Gatsby's tomorrow."
On March 1, 1965, the Viviane Green Trio started at the Gas Lamp Restaurant in Bethpage, Long Island, New York. You know how I get with the phrase "direct from", but when the ad said "Direct from Gatsby's in New York", for a change it was the truth.
An ominous ad in the January 18, 1966 Los Angeles Times:
Not resp. for any depts [sic; should be "debts"] but my own. Allen L. Greene, Sr.
It's been a lot of years since they were talked about together. They did divorce at some point and it's possible that this narrows the time frame.
This was in the November 24, 1966 Jet, when Viviane's daughter, Susaye Greene, opened at the Living Room (Manhattan). It said: "The vivacious 18-year-old was accompanied by her mother, pianist Vivian Greene." That's sort of ambiguous. Was Viviane there to cheer her on or as Susaye's actual accompanist?
By late December, 1966, Viviane had a Trio at the Tom Jones on 55th Street in Manhattan. I don't think any of her Trio members had ever been named, other than on the Trilon recordings (although those were studio musicians) and Joe Alexander in 1953.
Viviane worked as a vocal coach from the 1960s onwards, including coaching Michael Jackson and the Jackson Family. No idea of dates.
Nothing more about her until December 1970, when she was appearing in the Guadalajara Lounge of the Lobster Trap in Oxnard, California. The Ventura County Star of December 16 had an article about her:
Viviane Greene is the current attraction in the Guadalajara Lounge of the Lobster Trap, playing to larger crowds each week.
There is almost no song she doesn't know, and she encourages the audience to tell her what they would like to hear.
On one occasion, with the aid of five instrumentalists from Eddie Allen's Big Sound Band, on their way out from having played for one of the Lobster Trap's popular dance evenings, she staged a jam session. It was almost midnight when the session began, but the audience kept growing and when it was time to close the bar, the room was practically full.
She is a stylist, a singing personality, and she leads the crowd that encourages sing-alongs, if and when that's what people want. She'll be playing at the Trap throughout the holidays and actually through January. New Year's Eve she'll be featured in the Guadalajara Lounge of the Main Dining Room.
The only 1971 ad I could find was when she appeared at Peter's Gay 90s Restaurant in Longview, Washington in late September.
The Centralia, Washington Daily Chronicle of February 17, 1972 reported that Viviane Greene, of Oakland, was a guest speaker at a music teachers association luncheon. At the time, she was appearing at Centralia's Hallmark Inn. At the time, she announced plans to open a music conservatory in Oakland. With her at the luncheon was daughter Susaye, who was with Ray Charles' Raelettes at the time. [In 1976, Susaye would join the Supremes and was with them for their last year.]
In March, she was at the Hofbrau in Salt Lake City.
And then, she really did open the Viviane Greene School Of Music in Oakland. It was advertised in September 1972 and seems to have been owned by Sus-Al Entertainment (as in Susaye and Allen, her children).
Viviane was back at Peter's Gay 90s Restaurant (Longview, Washington) from May 28-July 3, 1976.
Another enterprise: a February 1990 ad said that Viviane Greene ("vocal coach of the stars") will teach you how to sing. [There's no doubt in my mind that, had I shown up, she would have slammed the door in my face and gone out of business immediately. Even my shower threatens to leave home.] Her credits, the ad said, included Janet Jackson, Jody Watley, and Susaye Greene.
Remember that daughter Jade had passed away, at age 12, from lupus. In 1993, Viviane launched the Jade Greene Lupus Foundation For The Performing Arts in Sacramento.
But that was all. Willie Viviane Hoyt Greene died, in Los Angeles, on February 10, 1994.
There was a very nice obituary in the March 10 Los Angeles Sentinel. However, as we'll see, it'll give us some problems. First, the obituary:
Stevie Wonder, Ray Charles, Dr. Mabel John Samuels, Sherri Payne, and many other celebrities from far and near all came to say goodbye to pianist/songwriter/recorder and voice coach Viviane Greene, who passed away recently.
Ray Charles remarked, "Some of my first recordings were written by Viviane." Stevie Wonder spoke of her as "The Queen" in the music industry. "She had a dazzling piano personality, her tiny feet playing an important part. She also had the smallest hands and fingers but they stroked the piano keys like a streak of lightning. The left hand was even greater. It was like a bolt of thunder. She could do anything with a piano." [So how, I have to wonder, did blind Stevie Wonder know what kind of feet she had?]
Her daughter, Susaye Greene Coton of London (a former Supreme/song writer), expounded on the "strength" her mother had taught her. Steve Coton stood stately as he spoke the kindest words about his mother-in-law, noting above all that she was a very spiritual woman.
Her ability to recognize and develop talent led her to an illustrious career and has brought us some of the brightest stars in show business. Viviane's coaching credits include some of today's biggest artists....
Willie Viviane was born to Professor and Mrs. L. C. Hoyt in Nacogdoches, Texas. She was graduated from Prairie View College at the age of seventeen [actually 19] and was awarded her masters degree in music from the University of Southern California. She also studied at the Julliard School of Music in New York and taught school for several years.. She was ... the first black woman to have her own television and radio shows in Denver and organized the Jade Greene Lupus Foundation in memory of her daughter, Jade Greene.
Viviane had many hit records. The first one occurred when her Romeo and Juliet marriage to Allen Green broke up ("Honey! Honey! Honey!").
She was truly a "Honey Bun." She had just finished a movie ("The Music."), which is being released soon, when she passed.
Her friends said: "Vivi! You left a mark on this earth that made us so proud. We'll miss you so much."
She leaves to cherish her memories: a daughter, Susaye Greene Coton of London; one son, Allen Greene III of Sherman Oaks; a sister, Lois H. Devers of Santa Clarita; a daughter-in-law, Sharon Greene of Sherman Oaks; a son-in-law, Steve Coton of London; three grandchildren, Allen Greene IV, Philip Greene and Dan Coton... and a host of other relatives and friends. Her brother, Vernon Hoyt, preceded her in death.
Along the way, I asked you to remember a few things. Since I know they've been long forgotten, here are the relevant items:
1. Her husband, Allen Leo Greene, was the son of Harry Greene.
2. On December 22, 1940, their son, Allen Leo Greene, Jr., was born.
3. In the 1950 census Viviane was living with her with her children, Jade and Susaye, in Denver. Husband Allen Leo Greene was living with Eddie Beal in L.A.
SO WHAT ARE THE PROBLEMS?
A minor one: "Viviane had many hit records. The first one occurred when her Romeo and Juliet marriage to Allen Green broke up ("Honey! Honey! Honey!")." However, that one came out in 1947, and their marriage didn't break up until much later. [Also, Viviane never had any hit records.]
Another minor one: "She had just finished a movie ('The Music.')" However, there's never been a movie by that name.
The major one: Viviane's obituary says her son is Allen Greene III, of Sherman Oaks, and she's got a grandson, Allen Greene IV. However, we know her husband wasn't Allen Leo Green, Jr., his father was Harry Greene. Viviane's son was Allen Leo Greene, Jr.
The only thing that makes any sense at all to me is this: Allen Leo Greene, Jr. (born 1940) died, sometime in the 1940s, and they later had another son whom they called Allen Leo Greene III. Lending credence to this is that, in 1950, there was no son living with either Viviane in Denver or Allen in L.A. Also, the June 20, 1947 article (quoted above) said she was the mother of a daughter (who would have been Jade), but didn't mention a son. Therefore, Allen Leo Greene, Jr. died between January 1941 and May 1947. There was an Allen Leo Greene III living in Denver, who graduated High School in 1971, meaning he was born around 1954.
Allen Leo Greene (the original) took up golf along the way and became a member of New York's Mid-Island Golf Club. When he died, they printed a very nice memorial for him. However, there's no date on it, so, because he was born in August 1921 and lived to be 96, he would have died in either 2017 or 2018.
Allen Leo Greene had a wonderful life, having been born in Houston, Texas in 1921, and raised in a nurturing household. Allen was given confidence, high self-esteem and became known for his charisma and charming personality.
After graduating Tuskegee University, Allen worked as a Pullman Porter. He moved to Denver, Colorado and became one of America's first black radio DJs.
Handsome and always sharply dressed, Al was an extremely talented singer and entertainer. He fronted Lionel Hampton's Big Band and recorded his own records on the Decca Label. The Greene family later moved to New York City where he worked for the Transit Authority until retirement.
Al was an excellent Championship-level golfer. Had he been born in a different time, he would have been a professional. Golf was his passion, as he traveled to, and won tournaments at some of the better golf courses in the country. Al was an active member of the Mid Island Golf Club where he served as President for two years. He was a life member of the MIGC, as well as the founder of the Mid Island Scholarship Fund. As a result of Al's foresight, we have awarded tens of thousands of dollars to deserving students.
Allen loved people and was blessed with good friends, great family and a zest for the good things in life. Two of his favorite quotes, "Better to remain silent and be thought a fool, than to speak and remove all doubt," and "You owe it to yourself to live your best life to its furthest extent."
Al lived to be 96 years old. His love and good will truly reflects the man.
It makes no mention of Viviane or any children, but most of it is accurate.
But, of course, there's a problem. It said: "He moved to Denver, Colorado and became one of America's first black radio DJs." I can't find any trace of him on the radio in Denver; did he claim Viviane's experience as his own? Oy, such problems!
Viviane Greene was one heck of a pianist, which most of her recordings will attest to. However, she'll never be one of my favorite singers. She slips into falsetto at odd intervals and, to me, that isn't very attractive. On top of that, her recordings are mostly in the "supper club" genre, which explains why she was so popular at those venues.
TRILON (Viviane Greene And Her Trio)
190 Honey, Honey, Honey / The Unfinished Boogie (I) - ca 10/47
191 He's The Man / I'm Wise - late 47
198 I'll Never Let You Go Again / Since I Fell For You - ca. 1/48
above: Allen Greene & The Viviane Greene Trio
202 Two Loves Have I / (Lil's Lament) I Guess My Man Don't Love Me - ca. 1/48
203 Love Me, Love Me, Love Me Or Leave Me Alone / Jades Of Green (I) - ca. 1/48
210 Clair de Lune (I) / Honey, Can't We Steal Away Together - ca. 2/48
RELEASED, BUT NOT ON TRILON
Bowlegged Boogie (on Mercury, 4 Star, and Gilt-Edge)
Prelude Boogie (on 4 Star)
Red Light (on Mercury CD 8-528292 The Mercury Blues 'n' Rhythm Story - 96)
TRILON UNRELEASED
Can't Get Used To The Thrill
Dreamed One Day
Grieg's Concerto
He May Be Your Man **
Hoy, Hoy
Kiss Me, Kiss Me, Kiss Me
Maybe I'm A Fool
Soliloquy
The Things You Do To Me
** a demo disk of this exists, having two different takes.
MERCURY (Viviane Greene And Her Trio; all Trilon masters)
8098 Bowlegged Boogie / He's The Man - 8/48
8113 Love Me! Love Me! Love Me! Or Leave Me / Jades Of Green (I) - ca. 12/48
Re-release of Trilon 203, with a slightly different title
MODERN (Viviane Greene)
20-723 Tonight You're Mine / Early Mornin' Stroll (I) - ca 11/49
4 STAR (Vivienne Greene; Trilon masters)
1450 Bowlegged Boogie / Prelude Boogie - ca 3/50
DECCA (Viviane Greene)
48168 Honey, Honey, Honey / Get To Gettin' - ca. 7/50
DECCA UNRELEASED
A Picture Of You (recorded 6/24/50)
Hurry Home And Hold Me (recorded 6/24/50)
GILT-EDGE (Viviane Greene; Trilon masters)
5070 Bowlegged Boogie / He Rocks Me (With A Steady Roll) - ca.9/52
"Rocks" is the same song as "He's The Man", although a different Trilon take.
DECCA (Viviane Greene)
28291 (He's) She's Funny That Way / Lover Boy - 8/52
28454 Solitude / Come On Let's Face It - 11/52
IMPERIAL (Viviane Greene)
5385 Thanks For Nothing / Saugaboy (Lover Boy) - ca. 3/56
FINER ARTS (Viviane Greene)
1005 Thanks For Nothing / You're Nobody Till Somebody Loves You - ca. 12/61
DERY (Viviane Greene)
10020 I Found A New Romance (With An Old Sweetheart) / I've Got Your Number - ca 7/63
KEN-GREN (Viviane Greene)
242 More (Theme From Mondo Cane) / Pound Cake (I) - probably fall 63
