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: LESLIE UGGAMS orchestra conducted by Glenn Osser

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, • THE EYES OF GOD ♦ TE ♦ YOU'RE NOT LIVING IN VAIN1* I BEE GOD ♦ YOU'LL NEVER W ft the DOOR IS OPEN ♦ HIS SERVANT ♦ LEARN TO PRAY EVJRY DAY ♦, IT IS NO SECRE1

► SOIfONI VE ♦ m ill

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CL 1376 CL 1376

THE EYES OF GOD The Eyes of God

I Believe

One Little Candle

Learn to Pray Ev’ry Day

The Door Is Open

His Servant

Someone Is Watching

It Is No Secret

You’re Not Living in Vain

You’ll Never Walk Alone

I See God

He

LESLIE UGGAMS Orchestra conducted by Glenn Osser

Arrangements by Glenn Osser

Leslie Uggams is a teenager.

She was 16 years old on May 25, 1959. (She spent part of her 16th birthday in a record¬ ing studio making this album and partook of a birthday cake presented to her by the admiring members of Glenn Osser’s orches¬ tra, who accompany her in this presentation.)

It is necessary to stress her age because, unless you have seen her on television or at a stage appearance, you will find it hard to believe that so big a voice can come from so young a girl.

Yes, Leslie Uggams is a teenager who sings. Now, there are many teenagers who claim that distinction today, but in Leslie’s case, the difference is a little thing called talent. She is not a fluke who hit upon a gimmick (or had one manufactured for her) and found herself making records for her fellow-teenagers.

She has a genuine gift for song that has stirred many adults and led to predictions of world-fame for her. While this modest young lady would never think it, the thought occurs that the title song in this album befits her role in life: “The eyes of God are shining in the sky tonight. The eyes of God are smil¬ ing down at me.”

Leslie Uggams will bring a smile to your eyes, too, when you hear her magnificent sweet, clear voice caress the inspirational songs of faith in this album. If not a smile, perhaps a tear.

Apart from her obvious talent, there is another quality that Leslie brings to this album. It is a character that shines with a wholesome approach to life, a vitality that seeks out greater knowledge and fosters a deep desire for self-improvement as a human being and as a performer. This, in a teen¬ ager, is an achievement to be cherished, not only by her parents and her close friends, but by all mankind.

Leslie’s emergence as a superb performer takes on additional significance when you re¬ alize that, down through the ages, adults

. have gathered to bemoan the tasteless direc¬ tions taken by teenagers (formerly known as adolescents).

Leslie Uggams is a teenager with soft, dark eyes, a tender expression and a warm¬ ing smile. There is no reason to despair when we know that our social fabric and our schools can still produce teenagers like Leslie. We’ve plenty of mileage left in us.

This album consists of a dozen songs that serve as gentle reminders of those intangible powers that make life easier for civilized man. The songs of faith serve as a refresh¬ ing interlude when you feel the world too much with you. Even the briefest exposure to the faith, sincerity and love that pours forth from these songs will brighten the most jaded spirit and remind you of the everlast¬ ing truth about the hope and promise in the guiding light from above.

You will hear young Miss Uggams’ mag¬ nificent voice, her warm, powerful and sin¬ cere shadings of expression, her heartfelt vibrato, all complemented by stirring, sym¬ pathetic arrangements by Glenn Osser. The net effect is simultaneously overpowering and soothing.

Born in New York City, Leslie was raised in a home that offered her and an older sister a luxury known as wall-to-wall harmony. (Guaranteed to outlast wall-to-wall carpet¬ ing.) Her father was a member of the famed Hall Johnson Choir; her mother a lovely chorine in the Cotton Club line that gave us Lena Horne. Both of Leslie’s grandfathers were clergymen and her grandmothers were teachers. The paternal grandmother taught deaf, dumb and blind children in Charleston, N.C., while Mrs. Uggams’ mother taught school in Winter Park, Fla.

Always interested in singing, Leslie began her public performances in the children’s glee club of the St. James Presbyterian Church in New York. At kindergarten age, Leslie attended a well-known talent studio on Broadway where Sandra Berle, “Uncle” Miltie’s mom, happened to see her perform. The legendary Sandra told her legendary son to put this little girl on his legendary TV show, saying, “She’s going to be a great star some day.” Milton put Leslie on. That was her first “break,” at thd^fge of seven.

(In 1949, you may remember, Berle’s Texaco show happened to be the most-watched and

most-talked about show on TV.)

Leslie also appeared on a young talent TV show to sing a duet with special guest Johnny Desmond. This led to a series of appearances on Paul Whiteman’s TV show and a stage debut at the Earle Theatre in Philadelphia. A booking at New York’s famed Apollo Theater followed. (Ella Fitzgerald headlined the show.) Leslie went on to win an Arthur Godfrey “Talent Scout” contest on TV and, at 10, was signed by the Columbia Broad¬ casting System.

Peter Lind Hayes added her to the cast of his CBS Radio Show and this was followed by a succession of TV appearances with such stars as Sid Caesar, Dennis James, Bob Crosby, Patti Page and Jimmy Dean.

At 14, Leslie was chosen to appear on Harry Salter’s “Name That Tune” and with her partner, went on to name enough tunes to share in the top prize of $25,000. In the Spring of 1959, Leslie returned to Salter’s popular CBS-TV show, this time as a stand-

in for two nuns.

Mother Patricia and Sister Mary of the Incarnate Word Academy at Corpus Christi, Texas, had written Salter of their desire to add a new gymnasium to the school. Unable to appear on the show themselves, the nuns agreed to let Leslie and another youngster represent them.

As always, Leslie came through and $25,000 went to the Corpus Christi parochial

school.

Her career has not overwhelmed her de¬ sire to learn. A graduate of P.S. 169, Leslie will graduate from Professional Children’s School in 1960. After that, she hopes to en¬ ter New York University and continue study¬ ing music and the dramatic arts. “My goal is to finish my education, come what may,”

Leslie says.

For many months, Leslie has studied at the Actor’s Center in New York. When her chance comes to appear in a Broadway musical, Leslie will be ready. During a recent showcase production. at the Center, Leslie performed in the Tennessee Williams one-act play “This Property is Condemned,” and earned high praise from Audrey Wood and Bill Liebling, the playwright’s representa¬ tives in the audience.

Her many TV appearances brought offers from various record companies. She quickly and firmly rejected those offers that came from men who saw her as a potentially great rock ’n roll idol and signed with Columbia, where her professional image is seen as a combination of Lena Horne, Doris Day, Rose¬ mary Clooney and Marian Anderson. Quite a combination, to be sure, but in truth, it will fit Leslie more and more as her career, matures.

Leslie, an inspired reader of inspirational songs, also has pop songs, rhythm numbers, ballads and folk songs in her repertoire. Al¬ though she admires LaVern Baker, she doesn’t sing rock ’n roll herself. Her personal record collection includes samples of the work of Dinah Washington, Nina Simone and such instrumentalists as Miles Davis and Sonny Stitt. Her taste is rather adult.

Her impact is impressive. Not long ago, Leslie appeared on that popular caravansary for the sleepless, The Jack Paar Show on NBC-TV, and performed two inspirational songs.

During her performance, Paar glanced to his right and noticed that the petite Paris- ienne, Genevieve, was weeping.

Paar leaned over and whispered to the sobbing girl, “Is she that good?”

Genevieve, daubing at her eyes, replied, “Zhahk, she geevs me, how you say, cheeken skin?” Whether it’s goose-bumps or “cheeken skin” you get, you will agree after hearing this album that Leslie’s voice is a thrill.

—Fred Danzig

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