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Marjorie Hyams
Born (1920-08-09)August 9, 1920
Died June 14, 2012(2012-06-14) (aged 91)
Genres Jazz, modal jazz, third stream, cool jazz, post-bop
Occupation(s) Musician, arranger
Instruments Vibraphone, piano
Years active 1940–1970
Associated acts Woody Herman, Flip Phillips, Mary Lou Williams, Charlie Ventura, George Shearing

Marjorie Hyams (August 9, 1920 – June 14, 2012) was an American jazz vibraphonist, pianist, and arranger. She began her career as a vibraphonist in the 1940s, playing with Woody Herman (from 1944 to 1945), the Hip Chicks (1945), Mary Lou Williams (1946), Charlie Ventura (1946), George Shearing (from 1949 to 1950), and led her own groups, including a trio, which stayed together from 1945 to 1948, performing on 52nd Street in Manhattan. The media, marquees, and promos often spelled her first name "Margie", but she insisted that it was spelled with a "j".

Career

52nd Street, New York City, NY 0001 original
South side of 52nd Street, New York, between 5th & 6th Avenues — looking east (ca. 1948). Notice the Margie Hyams Trio on the marquee at the 3 Deuces
Photo: William P. Gottlieb, United States Library of Congress's Music Division

Hyams had her own trio and quartet (1940–1944) and played with Woody Herman (1944–1945) and Flip Phillips in the mid-1940s. She formed another trio with guitarists such as Tal Farlow, Mundell Lowe, and Billy Bauer from 1945 to 1948. She also arranged and sang with Charlie Ventura, and recorded with Mary Lou Williams. Hyams joined George Shearing from 1949 to 1950.

Woody Herman

Jack Siefert (born 1918), a lifelong friend of Woody Herman, introduced Hyams to Herman, who had already broken convention by hiring a female instrumentalist in 1941, Billie Rogers (born 1919). Rogers played trumpet with Herman until 1943. Hyams is one of Woody's exceptional alumni vibraphonists that included Terry Gibbs, Red Norvo, and Milt Jackson, all of whom, according to jazz author Doug Ramsey, were part of a Who's Who quality of an imaginary line-up that was staggering.

In a sense, you weren't really looked upon as a musician, especially in clubs. There was more interest in what you were going to wear or how your hair was fixed — they just wanted you to look attractive, ultra feminine, largely because you were doing something they didn't consider feminine. Most of the time I fought it and didn't listen to them. [One of the ways you fought it was insisting on wearing a band uniform instead of a dress.] Only in retrospect, when you start looking back and analyzing, you can see the obstacles that were put in front of you. I just thought at the time that I was too young to handle it, but now I see that it was really rampant chauvinism.

George Shearing

Hyams was a founder member of Shearing's world-famous quintet (1949-50) which achieved huge popularity and introduced an entirely new and much imitated ensemble sound in small group modern jazz. Shearing in his autobiography called Hyams 'a very fine musician... a thoroughly schooled classical pianist, well-versed in fugues and so on, but she'd taken up vibes in the early 1940s... We liked one another and got on very well. She also wrote some originals for the Quintet including November Seascape... [but she] left after about a year and a half... I think she just got tired of working for someone else and traveling so much, even though she was drawing a good salary.'

Family

On June 6, 1950, Marjie Hyams married William G. Ericsson (1927–1978) in Chicago, and, from 1951 to 1970, played, taught, and arranged in Chicago. Marjie and Bill had three children: Lisa, Kristin (deceased) and Tod. Marjie's husband Bill had the distinction of becoming the youngest CEO of a major bank at the age of 42.

Her brother, Mark Hyams (1914–2007), was a jazz pianist who played with big bands, including those of Will Hudson (mid-1930s) and Spud Murphy (late 1930s). Mark married L'Ana Webster (née Alleman; 1912–1997), a saxophonist and bandleader who was once married to jazz guitarist Jimmie Webster (1908–1978).

Selected discography

Releases
Woody Herman
CBS’s Old Gold Show Rehearsal, New York, September 27, 1944
  • 1-2-3-4 jump (Woodchoppers)
Hindsight 134, Jazz Unlimited (Denmark) 201-2085 CD
  • Is You Is or Is You Ain't My Baby
Hindsight 134, Jazz Unlimited (Denmark) 201-2085 CD
  • Noah
Flip Phillips Fliptet
New York, October 2, 1944
Neal Hefti (trumpet), Bill Harris (trombone), Aaron Sachs (clarinet), Flip Phillips (tenor sax), Marjorie Hyams (vibraphone), Ralph Burns (piano), Billy Bauer (guitar), Chubby Jackson (bass), Dave Tough (drums)
S1: Skyscraper (Hyams not on this cut) Signature 28106, Bob Thiele BBM1-1032, RCA (F) FXM3-7324
S2: Pappilloma Signature 28106, Bob Thiele BBM1-1032
S3: A melody from the sky Signature 28119, Br 80175, Bob Thiele BBM1-1032, RCA (F) FXM3-7324
S4: 1-2-3-4 jump (Woodchoppers) Shelton 1201, Bob Thiele BBM1-1032
Notes: Bob Thiele BBM1-1032 titled "A melody from the sky." All above titles also on Doctor Jazz FW39419 titled "A melody from the sky" and Sony Music AK39419 CD titled "A melody from the sky"; see following sessions to late November 1945 for rest of CD.
Woody Herman
CBS’s Old Gold Show Rehearsal, New York, October 4, 1944
  • Apple Honey
Hindsight 134
Woody Herman
AFRS Downbeat 141; possibly from CBS’s Old Gold Shows, New York, August – September 1944
  • Perdido
Jazum 55, First Heard (United Kingdom) FH36
  • Apply honey (arr. by Ralph Burns)
"
  • Always (Frances Wayne, vocal)
"
"
  • Half past jumpin' time (arranged by Neal Hefti)
    (aka Jones Beachhead)
"
  • Two again (Frances Wayne, vocal)
Jazum 56, First Heard (United Kingdom) FH36
  • Golden wedding
"
  • Four or five times (Woody Herman Band, vocals)
"
Notes: All titles on Solid Sender (Germany) SOL506<
Woody Herman
AFRS One Night Stand 396 Broadcast, Hollywood Palladium, Hollywood, California, October 17, 1944
  • Who dat up dere?
Jass JCD621 CD
  • Let me love you tonight (Frances Wayne, vocal)
"
"
  • Time waits for no one (Frances Wayne, vocal; es arr)
"
  • I've got you under my skin (arranged by Ralph Burns)
"
"
  • Come out, come out, wherever you are, (Frances Wayne, vocal)
"
  • Woodchopper's ball
"
  • Theme
"
Notes: Opening night, during the band's stay in Hollywood they filmed Earl Carroll's Vanities for Republic Pictures in which they played Apple Honey (only the first half of the number is audible in the final print)
Source: Tom Lord Discography (2012)
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