Satin Doll

Third Ward singer Jewel Brown once worked for both Louis Armstrong and Jack Ruby.

Houston jazz and blues diva Jewel Brown may be the only woman on the planet to have worked in Jack Ruby's nightclub and done a special command performance for Russian political jefe Vladimir Putin.

A Yates High School graduate whose life story makes Alice in Wonderland look believable, Brown has returned to performing more lately, appearing at this year's New Orleans Jazz & Heritage Festival and as one of the featured acts along with Milton Hopkins at this week's Chicago Blues Festival. Her first recording in years, as vocalist on local bluesman Milton Hopkins's album, dropped last week as Milton Hopkins & Jewel Brown on Austin's Dialtone Records.

A natural talent, Brown hails from a very poor Third Ward family, and began singing at her church when she was five. By age nine, she was winning the weekly talent contests at Fifth Ward's posh Club Matinee, located in the middle of what was in those days called the Bloody Fifth. Brown was always accompanied by her mother.

Jewel Brown and Milton Hopkins (right) released their eponymous new Dialtone CD with a Continental Club matinee Memorial Day weeked.
Courtesy of Gary Sapone
Jewel Brown and Milton Hopkins (right) released their eponymous new Dialtone CD with a Continental Club matinee Memorial Day weeked.

"We were so scared we wouldn't stop anywhere, just drive straight to the club and straight home," she recalls.

One night Nat King Cole watched her win the contest, then sat with Brown and discussed the music business.

"He tried to discourage me from pursuing singing," she says. "He was very sincere, and he knew how rough it was. He had a daughter about my age, and he didn't want her singing in clubs, growing up in that life. Well, I told him that I went everywhere with my mother, and she wasn't afraid of nothin'."

Brown turned pro when she was 12, performing regularly at the Manhattan Club in Galveston. Having lied about her age to enroll in school early, Brown was receiving offers to tour before she graduated.

"Lionel Hampton and his wife, Gladys, wanted me to go to Europe," says Brown. "I said, 'How much does it pay?' And Gladys told me $75 a week, and I said, 'No thank you, ma'am.' But I did perform with Lionel that year at the Houston Coliseum."

Brown notes her father, who worked for Brown & Root on Harrisburg, was illiterate, so he was insistent that his children finish their educations.

"I worked to help my family," Brown says. "But there was never any question of quitting school to take a singing job. Daddy wouldn't stand for that."

So she performed in her brother's band — "We worked all the joints: Bar B Ranch, Whispering Pines, Shady's Playpen" — and by the time she graduated at age 15, Brown had assisted her parents in buying a home on Eagle Street in Third Ward, her residence now for 58 years.

During a trip to Los Angeles in 1957, she sat in with Earl Grant's band and was signed right away. She stayed at Club Pigalle in Los Angeles for a year and returned to Houston in a 1957 Ford convertible.

She then took a job in Dallas for nightclub owner Jack Ruby, who had not yet shot and killed Lee Harvey Oswald. She worked for Ruby for more than a year — "I filled that place seven nights a week, he never gave me a day off" — but that all ended the night Ruby called her a "money-hungry bitch."

Brown returned to Houston, but before long her phone rang and her agent had a strange question to ask: "If you had to choose, would you rather work with Duke Ellington or Louis Armstrong?"

Armstrong's singer, Velma Middleton, had died, and both jazz bandleaders were inquiring about vocalists through all the major agencies. Brown chose Armstrong.

"I was young, but I'd been hipped by a lot of people," says Brown. "Duke had 17 players to feed, and he traveled everywhere by bus or boat. Louis only had seven counting him and the singer, and he always flew. Guys like Bill Doggett, they had educated me about this kind of stuff.

"I wasn't a Dixieland singer, but I figured I could do the gig with Louie," Brown explains. "Mama always told us to be like a rat and have more than one hole to crawl into."

Brown completed a two-week Texas tour filling in with Armstrong, then went back to working whatever shows she could get. One morning after a show in Dallas, her phone rang again.

"This very serious voice says, 'This is Joe Glaser. I'm working with Louis Armstrong. I need you to catch a plane in Houston this afternoon at 3 p.m.,'" she says. "'You'll fly to New York and meet the band, then fly on to Boston to begin the tour.'

"Well, he didn't know I was in Dallas," Brown laughs. "I grabbed my stuff and headed down Highway 75 driving 110, 115 miles an hour. I got stopped about halfway and I started bawling to the officer. He felt sorry for me and just told me to slow it down and be careful. As soon as I couldn't see him anymore, I was right back at 115."

Arriving at her home, she told her sister to help her pack, and they drove to Hobby Airport.

"I got out and told her, 'This convertible is yours now; a 707 is gonna be my new car,'" Brown says.

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"Just like that party, music has taken me a lot of places," Brown reminisces. "But the sad thing about Houston is, if you're going to make a living in music, you've got to go somewhere else. All the greats —Arnett Cobb, Illinois Jacquet, Milt Larkin, hundreds of people — they had to leave Houston to make a living playing music. It's sad, but it's a fact."

This is indeed a sad fact, but one that can change, if as Houstonians, we endeavor to do so. We need a place that not only showcases our rich music history and its pioneers such as Jewel Brown and the Greats she mentions, but that also fosters a culture that awakens, cultivates, and continues to expand this city's deep musical roots. We NEED to make Houston that "somewhere else" to which the music greats of the rest of the world come!

Diedra Lizcano, Houston Museum of Culture Founding Member

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