Constance Foore "Connee" Boswe… Read Full Bio ↴From Wikipedia, the free encyclopedia
Constance Foore "Connee" Boswell (December 3, 1907 - October 11, 1976) was an American female vocalist born in Kansas City, Missouri but raised in New Orleans, Louisiana. With her sisters, Martha and Helvetia "Vet" Boswell, she performed in the 1930s as The Boswell Sisters and became a highly influential singing group during this period via recordings and radio. Connee herself is widely considered one of the greatest jazz female vocalists and was a major influence on Ella Fitzgerald who said, "My mother brought home one of her records, and I fell in love with it....I tried so hard to sound just like her."[1]
In 1936, Connee's sisters retired and Connee continued on as a solo artist (having also recorded solos during her years with the group).
The Boswells came to be well known locally while still in their early teens, making appearances in New Orleans theaters and radio. They made their first recordings for Victor Records in 1925, which included "Cryin' Blues" where Connee is featured singing in the style of her early influence, the African American singer Mamie Smith. The Boswell Sisters became stage professionals that year when they were tapped to fill in for an act at New Orleans' Orpheum Theatre. They received an invitation to come to Chicago and perform in 1928 and honed their act on the Western Vaudeville Circuit. When their tour ended they traveled to San Francisco. The hotel that had been recommended had a less than savory reputation, and the man at the desk suggested that these three young ladies might be better off in another hotel. That man, Harry Leedy, would later become their manager on a handshake and become a permanent part of Connee's life.
The Boswell Sisters travelled to Los Angeles where they performed on local radio and "side-miked" for the soundies, including the 1930 production "Under Montana Skies." did not attain national attention, however, until they moved to New York City in 1930 and started making national radio broadcasts. After a few recordings with Okeh Records, they made numerous recordings for Brunswick Records from 1931-1935. In 1935, the sisters had a #1 hit with "The Object of My Affection", the biggest of twenty top 20 records they would enjoy.
In 1936, the group signed to Decca Records and after just three releases called it quits (the last recording was February 12, 1936). Connee Boswell continued to have a successful solo career as a singer for Decca.
All through her career with The Boswell Sisters, and well into the 1940s, her name was spelt "Connie". She later changed the spelling to Connee, reputedly because it made it easier to sign autographs.
Connee Boswell was also an arranger (the legendary Boswell Sisters harmony arrangements are hers) and a composer.
Connee sang from a wheelchair - or seated position - during her entire career, due to either a childhood bout with polio or a childhood accident (sources differ). The general public was not aware of her condition although Boswell herself did not keep this secret. During World War II, she tried to get involved with the U.S.O. tours but was not given permission to travel overseas. The "powers that be" apparently thought it might not be a morale-booster to have a "cripple" perform for the troops.
Connee Boswell was a favorite duet partner of Bing Crosby and they frequently sang together on radio as well as recording several hit records as a duo in the 1930s and 1940's. Boswell, Crosby, and Eddie Cantor recorded a version of Alexander's Ragtime Band that was a #1 hit in 1938.In 1939, Crosby and Boswell had three hit duet records that each climbed into the top 12 on Billboard; "An Apple For The Teacher" climbed all the way to #2.
Connee Boswell also had several dozen solo hits, including "Moonlight Moon" in 1942. Boswell's career slackened in the 1950s but she still recorded occasionally and would be featured on a number of television broadcasts including a regular stint on the 1959 series "Pete Kelly's Blues".
Connee Boswell died at age 68 in 1976. A number of her recordings are now available on CD, both as a soloist and part of the Boswell Sisters.
Basin Street Blues
Connee Boswell Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
To the Mississippi
We'll take the boat to the land of dreams
Steam down the river down to New Orleans
The band's there to meet us
And old friends to greet us
Where all the people always meet
Basin Street is the street
Where the elite always meet
In New Orleans the land of dreams
You'll never know how nice it seems
Or just how much it really means
Glad to be oh yessiree
Where welcome's free are dear to me
Where I can lose
My Basin Street blues
Glad to be oh yessiree
Where welcome's free are dear to me
Where I can lose
My Basin Street blues
Ain't you glad you came with me
Way down to the Mississippi
We took the boat to the land of dreams
Steam down the river to New Orleans
The lyrics of Connee Boswell's song "Basin Street Blues" describe the singer's journey to New Orleans along the Mississippi River, to join an old group of friends and attend a party on Basin Street. This street is described as a place where the elite always meet and where heaven on earth can be found. The chorus of the song repeats that the singer is glad to be there, where welcome is free and they can lose their "Basin Street Blues."
The song has a nostalgic, longing quality to it. The singer is clearly happy to be back among familiar faces on Basin Street, but there is a hint of sadness in their voice when they sing about losing their blues. The song captures the spirit of New Orleans, with its mixture of joy and melancholy, and the sense that anything can happen on this magical, historic street.
Line by Line Meaning
Won't you come along with me
Asking the listener to accompany the singer
To the Mississippi
Reference to the famous North American river
We'll take the boat to the land of dreams
Travelling to a dreamlike destination by boat
Steam down the river down to New Orleans
Describing travelling down the river to the city of New Orleans
The band's there to meet us
Expecting to be greeted by a band of musicians
And old friends to greet us
Hoping to be reunited with previous acquaintances
Where all the people always meet
Referring to a gathering place where everyone congregates
Heaven on earth they call it Basin Street
Describing the location as a utopian heaven on earth
Basin Street is the street
Identifying the street being referred to as Basin Street
Where the elite always meet
Implying that the wealthiest or most powerful people meet here
In New Orleans the land of dreams
Further emphasizing the location's dreamlike quality
You'll never know how nice it seems
Stressing the importance of experiencing the location firsthand
Or just how much it really means
Implying that the location holds a special significance
Glad to be oh yessiree
Expressing delight in the present moment
Where welcome's free are dear to me
Enjoying the welcoming atmosphere of the location
Where I can lose
Finding a sense of liberation
My Basin Street blues
Shedding any negativity or sadness in the location
Ain't you glad you came with me
Asking the listener if they are happy to have come along
Way down to the Mississippi
Further referencing the Mississippi river location
We took the boat to the land of dreams
Reiterating the dreamlike quality of the location
Steam down the river to New Orleans
Recalling the method of transportation to the city
Lyrics © O/B/O APRA/AMCOS
Lyrics Licensed & Provided by LyricFind
@gyeongjeong9682
Won't you come along with me
well down that Mississippi
We'll take the boat to the land of dreams
Steam right down that river down to New Orleans
The band's gonna meet us
And old friends to greet us
Where all the light and dark folks meet
Heaven on earth they call it Basin Street
oh, Basin Street is the street
Where all the light and dark folks meet
down In New Orleans the land of dreams
You'll never know how nice it seems
just how much it really means
Glad to be yessiree
Where welcome's free and dear to me
Where I can lose
My Basin Street blues
@sammyrnaj
This lady really sings with her soul & her voice seals it!
@michaeljayklein500
Nobody did duets better than Bing--he was a master of the form. He was often thoughtful enough to often let his singing partner do most of the shining, like he does here with Connie, one of the greatest. Incidentally, Connie changed the spelling of her name to "Connee" during WWII because it was easier not having to dot the "i"'s on the thousands of autographs she signed for fans in the armed forces and civilians as well. A superb recording--thanks so very much!
@skittles1947
Ah, thanks for confirming that. My parents had that record and I remember them mentioning Mr. John Scott Trotter in the song. I was about 6 years old and the memory of it is as fresh as yesterday. I only wish I knew where I left my car keys.
@uslines
So did my parents.
@MrDEMcT
Connee was THE WOMAN to sing about New Orleans. Bing could fake anything.
@hoopjnky
Heaven on earth, that's Connie and Bing! Thanks for posting
@ApoloExpress
i love how music back then had savvy and fun 'conversations' within the song ... it makes me smile no matter what! =]
@120519691
Amazing duet!
@AadJuijn
Super performance! Two really unforgetable greatnesses...prima post.
@miltsar
wow ! such beauty ! their voices harmonise and blend so beautifully....I love their panache and the way they make it sound so easy...thank you for letting me hear this !