Billy Eckstine, William Clarence Eckstine (July 8, 1914 – March 8, 1993) was an American singer of ballads and a bandleader of the swing era. Eckstine’s smooth baritone and distinctive vibrato broke down barriers throughout the 1940s, first as leader of the original bop big-band, then as the first romantic black male in popular music. Eckstine’s recording of “I Apologize” (MGM Pop Single, 1948) was inducted into the Grammy Hall of Fame Award in 1999.
Eckstine’s grandparents were William F. Eckstein and Nannie Eckstein, a mixed-race, lawfully married couple who lived in Washington, D.C.; both were born in 1863. William F. was born in Prussia and Nannie in Virginia. His parents were William Eckstein, a chauffeur, and Charlotte Eckstein. Billy Eckstine was born in Pittsburgh, Pennsylvania; a State Historical Marker is placed at 5913 Bryant St, Highland Park, Pittsburgh, Pennsylvania, to mark the house where he grew up.
Later moving to Washington, D.C., Eckstine began singing at the age of seven and entered many amateur talent shows. He attended Armstrong High School, St. Paul Normal and Industrial School, and Howard University. He left Howard in 1933, after winning first place in an amateur talent contest. He married his first wife, June, in 1942; she too was a vocalist. After their divorce he married actress and model Carolle Drake in 1953, and they remained married until his death. He was the father of five children and two step-children, including Ed Eckstine, who was a president of Mercury Records, Guy Eckstine, who was a Columbia and Verve Records A&R executive and record producer, and singer Gina Eckstine.
An influence looming large in the cultural development of soul and R&B singers from Sam Cooke to Prince, Eckstine was able to play it straight on his pop hits “Prisoner of Love”, “My Foolish Heart” and “I Apologize”. He had originally planned on a football career, but after breaking his collar bone he made music his focus. After working his way west to Chicago, Eckstine joined Earl Hines’ Grand Terrace Orchestra in 1939, staying with the band as vocalist and, occasionally, trumpeter, until 1943. By that time, he had begun to make a name for himself through the Hines band’s radio shows with such juke-box hits as “Stormy Monday Blues” and his own “Jelly Jelly.”
In 1944, Billy Eckstine formed his own big band and made it a fountainhead for young musicians who would reshape jazz by the end of the decade, including Dizzy Gillespie, Dexter Gordon, Miles Davis, Art Blakey, Charlie Parker, and Fats Navarro. Tadd Dameron and Gil Fuller were among the band’s arrangers, and Sarah Vaughan gave the vocals a contemporary air. The Billy Eckstine Orchestra was the first bop big-band, and its leader reflected bop innovations by stretching his vocal harmonics into his normal ballads. Despite the group’s modernist slant, Billy Eckstine hit the charts often during the mid 1940s, with Top Ten entries including “A Cottage for Sale” and “Prisoner of Love”. On the group’s frequent European and American tours, Eckstine, popularly known as Mr. B, also played trumpet, valve trombone and guitar.
Dizzy Gillespie, in reflecting on the band in his 1979 autobiography To Be or Not to Bop, gives this perspective: “There was no band that sounded like Billy Eckstine’s. Our attack was strong, and we were playing bebop, the modern style. No other band like this one existed in the world.”
After a few years of touring with road-hardened be-boppers, Eckstine became a solo performer in 1947, and seamlessly made the transition to string-filled balladry. He recorded more than a dozen hits during the late 1940s, including “My Foolish Heart” and “I Apologize.” He was one of the first artists to sign with the newly-established MGM Records, and had immediate hits with revivals of “Everything I Have Is Yours” (1947), Richard Rodgers’ and Lorenz Hart’s “Blue Moon” (1948), and Juan Tizol’s “Caravan” (1949).
Billy Eckstine had further success in 1950 with Victor Young’s theme song to “My Foolish Heart” and a revival of the 1931 Bing Crosby hit, “I Apologize”. However, unlike Nat “King” Cole (who followed him into the pop charts), Eckstine’s singing, especially his exaggerated vibrato, sounded increasingly mannered and he was unable to sustain his recording success throughout the decade.
While enjoying success in the middle-of-the-road and pop fields, Eckstine occasionally returned to his jazz roots, recording with Vaughan, Count Basie and Quincy Jones for separate LPs, and he regularly topped the Metronome and Down Beat polls in the Top Male Vocalist category: He won Esquire magazine’s New Star Award in 1946; the Down Beat magazine Readers Polls from 1948 to 1952; and the Metronome magazine award as “Top Male Vocalist” from 1949 to 1954.
His 1950 appearance at the Paramount Theatre in New York City drew a larger audience than Frank Sinatra at his Paramount performance.
Among Eckstine’s recordings of the 1950s was a 1957 duet with Sarah Vaughan, “Passing Strangers”, a minor hit in 1957, but an initial No. 22 success in the UK Singles Chart. Even before folding his band, Billy Eckstine had recorded solo to support it, scoring two million-sellers in 1945 with “Cottage for Sale” and a revival of “Prisoner of Love”. Far more successful than his band recordings, these prefigured Eckstine’s future career.
The 1960 Las Vegas live album, No Cover, No Minimum, featured Eckstine taking a few trumpet solos as well. He recorded several albums for Mercury and Roulette during the early 1960s, and he appeared on Motown for a few standards albums during the mid to late 1960s. After recording sparingly during the 1970s for Al Bell’s, Stax/Enterprise imprint, Eckstine (although still performing to adoring audiences throughout the world), made his last recording, the Grammy-nominated Billy Eckstine Sings with Benny Carter in 1986.
In 1986, Billy recorded his final album Billy Eckstine Sings with Benny Carter. Eckstine died on March 8, 1993, aged 78.