Al Hibbler Biography by John Bush
Not just a distinctive singer but a true vocal wonder, Al Hibbler featured withDuke Ellington's Orchestra throughout the 1940s and recorded a few hits ("Unchained Melody," "After the Lights Go Down Low," "He") on his own for Decca and Atlantic during the '50s and '60s. His frequent use of a Cockney accent and non-subtle growling techniques kept listeners on their toes though, far from a novelty act, Hibbler's voice was strong, emotive, and masculine, with a steady vibrato that carried every record he made.
Born blind in Mississippi, he began singing early on and sang soprano in the choir of a school for the blind after moving to Little Rock at the age of 12. Inspired by lush ballad singers like Bing Crosby and Russ Columbo, Hibbler's voice soon deepened and he began singing the blues at area roadhouses. After winning a talent contest in Memphis, he joined Jay McShann and His Orchestra in 1942 and debuted with Duke Ellington's Orchestra just one year later, replacing Herb Jeffries. One of the most important singers Ellington ever showcased, Hibbler appeared on a range of Ellington standards including "Do Nothin' 'Til You Hear from Me," "Ain't Got Nothin' But the Blues," "Don't Be so Mean to My Baby," and "I'm Just a Lucky So-and-So." He spent a total of eight years with Ellington's band, finally leaving in 1951 after Ellington refused to raise his salary by $50.
After quickly signing to Verve, Hibbler continued to record with excellent musicians (Harry Carney, Count Basie, Gerald Wilson) for his initial solo work, and in 1954 released an LP of old favorites entitled Al Hibbler Sings Duke Ellington. One year later, he signed a big contract with Decca and hit the pop charts in a big way with two million-selling singles, "Unchained Melody" and "He," spotlighting his idiosyncratic (to say the least) delivery, which veered from growling vocals to a carefully studied, almost Cockney accent only occasionally enforced. In 1956, Hibbler hit the Top Ten again with "After the Lights Go Down Low," but it proved to be his last hit.
A Meeting of the Times
By the late '50s, Hibbler had begun taking an interest in the civil-rights movement. While other major artists gave generously to the cause, Hibbler actually marched with protesters and was arrested twice, once in New Jersey in 1959 and again in Alabama in 1963 (after he led an anti-segregation protest). Though the major labels backed away from the potential controversy of owning his contract, Hibbler did gain support from an important source -- Frank Sinatra signed him to Reprise and released an LP, Monday Every Day, in 1961. Hibbler recorded very sparingly after that. He collaborated with Rahsaan Roland Kirk on a 1972 LP for Atlantic (A Meeting of the Times), but resurfaced only occasionally during the '80s and '90s for recordings or special performances.
Al Hibbler – Here's Hibbler
Label:
Decca – DL 8420
Format:
Vinyl, LP
Country:
US
Released:
Genre:
Jazz, Pop
Style:
Vocal
A1 Trees
Songwriter – Joyce Kilmer, Oscar Rasbach
A2 Sweet Slumber
Songwriter – Al Neiburg, Henri Woode
A3 Do Nothin' Till You Hear From Me
Songwriter – Bob Russell, Duke Ellington
A4 The Very Thought Of You
Songwriter – Ray Noble
A5 On A Slow Boat To China
Songwriter – Frank Loesser
A6 Because Of You
Songwriter – Arthur Hammerstein, Dudley Wilkinson
B1 What Would People Say
Songwriter – Eliot Daniel, Jack Lawrence (2)
B2 Just A Kid Named Joe
Songwriter – Jerry Livingston, Mack David
B3 I Hadn't Anyone Till You
Songwriter – Ray Noble
B4 I'll Get Along Somehow
Songwriter – Buddy Fields, Gerald Marks
B5 It's Been A Long, Long Time
Songwriter – Jule Styne, Sammy Cahn
B6 The Town Crier
Songwriter – Milton Drake, Moose Charlap
Manufactured By – Decca Records, Inc.
GOLDMINE GRADING
MINT ---- It should appear to be perfect. No scuffs or scratches, blotches or stains, labels or writing, tears or splits. Mint means perfect.
NEAR MINT ---- Otherwise mint but has one or two tiny inconsequential flaws that do not affect play. Covers should be close to perfect with minor signs of wear or age just becoming evident: slight ring-wear, minor denting to a corner, or writing on the cover should all be noted properly.
VERY GOOD PLUS ---- The record has been handled and played infrequently or very carefully. Not too far from perfect. On a disc, there may be light paper scuffs from sliding in and out of a sleeve or the vinyl or some of the original luster may be lost. A slight scratch that did not affect play would be acceptably VG+ for most collectors.
VERY GOOD ---- Record displays visible signs of handling and playing, such as loss of vinyl luster, light surface scratches, groove wear and spindle trails. Some audible surface noise, but should not overwhelm the musical experience. Usually a cover is VG when one or two of these problems are evident: ring wear, seam splits, bent corners, loss of gloss, stains, etc.
GOOD ---- Well played with little luster and significant surface noise. Despite defects, record should still play all the way through without skipping. Several cover flaws will be apparent, but should not obliterate the artwork.
POOR ---- Any record or cover that does not qualify for the above "Good" grading should be seen as Poor. Several cover flaws.