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Short Bio
She mesmerizes audiences with her energy, passion and that elusive
quality known as ‘soul.’ Whether singing a jazz standard, a blues
tune or one of her own much-loved pop/R&B recordings, Thelma Jones
infuses each performance – be it in the recording studio or live
onstage – with the same innate soulfulness. With roots in gospel and
a longstanding love for the country music of artists like Hank
Williams and for the blues work of artists such as B.B. King and
T-Bone Walker, the North Carolina-native has developed her own
distinctive style, drawing on such influences but always adding her
own special touch. That ‘touch’ is never more evident than on her
latest CD, “Law Of Old.”
 While
Thelma says the ten-track set “is pretty much a bluesy album,” there
are elements of the other musical forms she listened to during her
formative years. The rousing “Movin’ On To A Higher” is a sanctified
gospel-flavored cut while “Land Of The Jam” is, as the title
implies, a funky workout. An infectious groove tune, the album’s
title cut is a self-penned Jones composition, with a time-honored
message; the jazzy “All Tears Fall” is a standout as is “Don’t Drop
Me,” a blues opus that Thelma says “reminds me of my musical roots.
Growing up, we only had access to country and blues but I would
sneak and listen to music by artists like Little Willie John and
others. If you heard me sing on some of my shows, you might think I
was a jazz singer but when I first started singing secular music,
people thought of me as a blues stylist. Personally, I like to think
I can do any kind of music!”
Certainly, through her
distinguished career, Thelma Jones has consistently shown that there
are no limits to her musicality. Born in Fayetteville, North
Carolina, Thelma’s earliest musical experiences revolved around the
church. “My aunt Mitty was the one who first encouraged me to sing
gospel,” Thelma recalls. “I know she was amazed that I knew all the
lyrics and melodies of the blues songs that were playing on the
radio. She taught me the gospel tune, “I’ll Fly Away” and the first
time I performed it in church, the congregation started jumping up
and down and crying and screaming…it was quite frightening in a way
since I was only a little girl…”
During her teen years,
Thelma was a part of a family group known as the McDaniel Singers,
recalling that her earliest gospel influence was the late Mahalia
Jackson: “She sang from the heart and you could feel it in her
voice.” After the family relocated to New York City, Thelma and the
group began performing with such gospel notables as The Clara Ward
Singers and as a soloist, she was featured on the Reverend James
Cleveland’s popular “TV Gospel Time” show. Thelma cut one gospel
single (“Little David Play On His Harp”) but it was only a matter of
time before she entered the world of secular music. “I was singing
with a group my sister had started and one night we were up at a
club in Harlem which was a popular hangout for celebrities who
appeared at The Apollo Theater,” says Thelma. “She dared me to sing
so I did Ray Charles’ “Hallelujah I Love Him So” and T-Bone Walker
was there. He convinced me to go to The Apollo’s amateur night. I
went and I won and that was the beginning of my career as an R&B
artist.”
Thelma signed with Barry
Records, the sister label to Old Town (whose roster included a
number of doo-wop artists, groups like The Fiestas and stylist
Arthur Prysock), and cut five singles for the company. “The caliber
of musicians was great, guys like Bernard Purdie on drums and The
Sweet Inspirations (of Elvis Presley and Aretha Franklin fame)
singing backgrounds,” Thelma notes. “My first record, “Never Leave
Me” did well and made it to the R&B charts. That led to my first
‘official’ appearance at The Apollo which is where I met the late
Big Maybelle (known for classic hits like “Candy” and “Gabbin’
Blues”). I remember her saying, ‘I can’t believe it, a little bitty
girl with a big ole voice!’ She took me under her wing and became a
real mentor for me and that’s why, these days, I include a tribute
to her in my ‘live’ shows.” The response to “Never Lave Me” led to
shows on the famed chitlin’ circuit and Thelma appeared with such
artists as The O’Jays, Otis Redding, Jerry Butler, The Intruders,
Walter Jackson, Brook Benton, The Vibrations, James Brown, Howard
Tate and another prime musical influence, Gladys Knight (& The
Pips).
One of Thelma’s Barry
singles, “The House That Jack Built” was shaping up to be a hit for
her when ‘Queen Of Soul’ Aretha Franklin recorded it; Thelma’s
original version made an impact among die-hard R&B fans in Europe
after it was released in the U.K. Ever since, Thelma has been
regarded as a soul sister of the first order and several of her
Barry tracks have been reissued on CD in Britain in recent years,
much to her amazement: “I really didn’t realize those songs would
stand the test of time,” she smiles.
 After
performing consistently with the likes of longtime favorite B.B.
King, Little Milton and The Staple Singers, Thelma relocated briefly
to Florida, often appearing on blues-oriented shows. In 1976, after
Columbia Records’ executives heard a ‘live’ version of Thelma
singing “Will You Still Love Me Tomorrow,” she signed with the
label. Her first release, the emotion-filled “Salty Tears” received
considerable attention, especially in the U.K. The song is often
requested by audiences wherever Thelma performs and the response it
generated when first released led to Thelma’s self-titled 1978
Columbia album.
Produced by Bert DeCoteaux
(known for his work with Ben E. King, Sister Sledge and other
hitmakers), the album contained Thelma’s chartmaking cover of Smokey
Robinson & The Miracles’ “I Second That Emotion” along with such
standouts as the ballad “I’d Rather Leave While I’m In Love,” “I Can
Dream” and “Now That We Found Love,” written by renowned Philly
producers Gamble & Huff. The album received strong critical acclaim
and remains much sought after by R&B collectors worldwide: both
“Salty Tears” and “I’d Rather Leave While I’m In Love” are being
reissued in the UK on a Sanctuary Records compilation in early 2004.
After Thelma moved to Los
Angeles in 1980, she would frequently include tunes from her
Columbia LP in shows with such artists as The Four Tops and Herb
Jeffries. Inspired and encouraged by the legendary Ruth Brown,
Thelma continued performing throughout the ‘80s and ‘90s, appearing
in clubs, in Las Vegas, at private parties and at five-star hotels
such as Loews in Santa Monica where she has been a constant
favorite.
In 1996, after singing an
accappella version of “Amazing Grace” at private function, she was
approached by guitarist John Heussenstamm to appear at a fundraising
event who was impressed with her heartfelt rendition of the classic
hymn. Heussenstamm, whose credits include work with Linda Hopkins,
Kenny Loggins, Deniece Williams and Michael McDonald, began working
with Thelma on “Law Of Old” in 2002. “We recorded it in Laguna with
some amazing musicians,” says Thelma. “It was so peaceful and there
was no stress or pressure. It’s the first recording project I’ve
done in a while and I’d say it really expresses who I am musically
at this point in my career.”
 Thelma’s
recent credits include a Levi’s commercial, videos with Jackson
Browne and saxophonist Najee and ovation-induced performances at the
famed “Divas Simply Singing” concert, at a Rhythm & Blues Foundation
benefit and at a tribute to Phyllis Hyman (benefit for The Minority
AIDS Project) in Los Angeles. Creating a loyal and strong following
among audiences who are touched by her always real, always moving
live performances, Thelma is enjoying a resurgence of interest in
her music. The reissue of her original 1978 CBS album in Japan has
further stimulated interest in Thelma’s music as have online sales
on her latest CD, “Law Of Old” and with its’ blues, jazz and R&B
sound, Thelma’s latest recording indeed promises to expand her
growing audience worldwide; it is a true musical treat, a testament
to her enduring talent and her soulful artistry.
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