Helen Merrill aka Jelena Ana Milcetic, one of the most distinctive jazz singers ever - CROWN

Joao Moreira dos Santos: Helen Merrill is one of the most distinctive jazz singers ever

Helen Merrill aka Jelena Ana Milcetic

Helen Merrill – You’d Be So Nice To Come Home To – live 1960.
Festival de Jazz d’Antibes, Juan-les-Pins, France, July 1960.

Helen Merrill’s father, Frano Mileetiae, had four daughters: Margaret, Helen, Dorothy, and Anna.

On the top, sisters Dorothy and Helen (Merrill).

In the next row are Frano’s oldest daughter Margaret, Mr. Frano Mileetiae, his grandson (and the son of Helen) Alan Merrill,

and Frano’s daughter Anna on the right. Photo from about 1953.

Many thanks to Mrs. Dorothy for sending us this very nice photo and for her explanations.

Helen Merrill – excerpt from an interview
I never had a singer as an idol. I listened to many musicians and my idols were [saxophonists] Ben Webster, Lester Young, Johnny Hodges. These people knew the lyrics of the songs and interpreted the music with the meaning of the song in mind adding their own special feelings. My mother was my real influence. She felt music from a very spiritual place. A private place that was all her own. This kind of music can have no teacher – it came from her birthplace which was the island of KRK in Croatia. From that, I permitted my own experiences to lead my interpretation of music. I do not believe that art should emulate or we would still be looking for clones. We learn from one another and from there go on our own journey.

Helen Merrill

I learned that spaces and the imagination of the listener were as important as the messenger. There are lines in “I’ll Take You Home Again Kathleen” to this day I feel deeply moved by: “The roses all have left your cheeks, I watched them fade away and die… your voice is sad when e’re you speak and tears bedim your loving eyes, Oh I will take you home Kathleen to where your heart will feel no pain,” etc. – it was clear to me my mother was singing about herself. My mother missed her homeland and family there.
Source www.croatia.org/crown/articles/8792/1/Helen-Merrill-60-Years-of-Warm-Sweet-Songs.html

Helen Merrill aka Jelena Ana Milcetic
Review by Alex Henderson
Helen Merrill has never been afraid to take chances, but the veteran jazz singer is especially ambitious on Jelena Ana Milcetic — an autobiographical (or at least semi-autobiographical) work that draws on jazz, pop, and folk as well as traditional Croatian music. This is an extremely personal CD, and to fully appreciate it, you should know something about Merrill’s background. Although she was born and raised in the U.S., her parents were Croatian immigrants — Jelena Ana Milcetic is the Croatian name she was given at birth, but the jazz world has known her as Helen Merrill.

The singer (who was 68 and 69 when this CD was recorded over a five-month period in 1999) learned a lot of about Croatian culture from her parents, and by calling this release Jelena Ana Milcetic, she is celebrating her heritage. But the album is also a celebration of Merrill’s American heritage. By housing jazz, pop, folk, and Croatian elements under the same roof, the New Yorker acknowledges her parents’ homeland as well as her U.S. upbringing. This isn’t a release that caters to jazz purists — although some of the material is very jazz-oriented (especially Merrill’s interpretations of “Among My Souvenirs” and “Lost in the Stars”), some of it falls outside of jazz.
But as unpredictable and eclectic as this album is, the CD never sounds confused or aimless. From Judy Collins’ “My Father” to Michel Legrand’s “Nobody Knows” to the traditional Croatian song “Ti Si Rajski Cvijet,” everything fits together perfectly. Jelena Ana Milcetic is among Merrill’s most impressive accomplishments.
Source www.allmusic.com/album/aka-jelena-ana-milcetic

Jelena Ana Milcetic a.k.a. Helen Merrill is a 2000 studio by Helen Merrill. The album is a tribute to Merrill’s Croatian heritage.
Alex Henderson: “Helen Merrill has never been afraid to take chances, but the veteran jazz singer is especially ambitious on Jelena Ana Milcetic, an autobiographical (or at least semi-autobiographical) work that draws on jazz, pop, and folk as well as traditional Croatian music…But as unpredictable and eclectic as this album is, the CD never sounds confused or aimless…everything fits together perfectly. Jelena Ana Milcetic is among Merrill’s most impressive accomplishments”
Croatian traditional tunes sung by Helen Merrill:

Kirje (or Kirye; Croatian tamburitza play),

Imaging Krk,

My Father (starting with the melody of Anko Aneice),

Tanac (sopile song from the island of Krk),

Ti si rajski cvijet (You Are a Flower from Paradise)

Helen Merrill With Gary Peacock Trio – Until It’s Time For You To Go (Japan, 1971)

HELEN MERRILL – CHUGOKU REGION LULLABY ‘ FROM 1970’S THE SOUND OF TECHNICS JAPAN PRESS LP.
RECORDINGS ARE RECORDED DIRECTLY FROM THE VINYL TO CD AND NO NOISE CANCELING PROGRAM IS USED.
SIDE B TRACK 4 . BAMBOO FLUTE : HOZAN YAMAMOTO.

Helen Merrill in Japan

Helen Merrill in Tokyo

Helen Merrill: Big in Japan, JazzTimes, 2018 (updated in August 2024 by James Gavin)
As for Japan, Merril says, “I might go back for one more sayonara”

HELEN MERRILL Live 1986 Kyoto

Helen Merrill Live In Japan 1990 (at the age of 60)

Sand Pile – Helen Merrill singing in Japanese

Motherless Child – Helen Merrill in Tokyo & sings folk (1963, at the age of 33)

Helen Merrill In Tokyo
Helen Merrill – Bossa Nova In Tokyo

Helen Merrill’s parents

Helen Merrill’s parents are from Croatia, both of them born on the island of Krk: her father (Frano Mileetiae) was born in the village of Vantaeiaei, and her mother (Antonija Marija Mileetiae) in the town of Malinska.

Her mothers’ maiden name was Antonija Marija Mileetiae (yes, Milčetić; sic!), born in the village of Bogovići in Dubašnica, 16th November 1901. She was baptised in Duba1nica in the Church of St. Apolinar, which was not far from her home. Her mother (Hellen’s grandmother) was also Antonija Mileetiae b. Turčić, and her father – Juraj Milčetić.

Hellen’s parents – Frano and Antonija Marija, they met in New York and got married there.

Many thanks to Mrs. Dorothy Milcetic, sister of Helen Merrill, for this information (based on krsni list, that is, baptismal certificate, of her and Hellen’s mother).

Mrs. Antonette Mileetiae (Helen’s mother) on the left, is holding her oldest daughter Margaret in her hands, and with her son Johnny at her feet.

Dorothy’s aunt Katie is holding her daughter Antoinette, and then come John and Georgie, Dorothy’s cousins.

Many thanks to Mrs. Dorothy Milcetic for sending us this photo.

I read a comment Helen made about our mother Antonette, singing out her pain.
My parents lost their first born son Johnny at 6 years old in a horrible and tragic accident. My mother actually never recovered from it and turned to religion and other things to ease her pain. We girls were not yet born except for Margaret who witnessed the tragedy.
My mother missed her mother and father but returning to visit in those days was impossible. No flights and long expensive ships.
One of the songs that haunts me that she sang was an Irish song, I’ll Take You Home Again Kathleen. The words are very poignant for all immigrants. The other song was, Danny Boy also Irish. Helen was very much influenced by our mother in her interpretation in singing.
Dorothy Milcetic

Hellen Merrill’s father Frano Mileetiae driving a New York tug-boat.

Photo by the courtesy of Mrs. Dorothy Milcetic, sister of Helen.

Helen’s (and Dorothy’s) sister Anna in Vantaeiaei, a village on the island of Krk in Croatia, where their father Frano Mileetiae went to school.

Just behind Anna are her cousin Ivan, Helen and Margaret. The church is dating from 1500.
Anna was a model in New York for several years, before she married a Brazilian and moved to Rio.
Information and photo by the courtesy of Dorothy Milcetic.

Helen Merrill

Helen Merrill sings the Beatles: And I Love Him

Alan Merrill, the son of Helen Merrill, was distinguished rock guitarist and singer (The Arrows),

author of a well known tune I Love Rock ‘n’ Roll.

Alan Merrill (the son of Helen Merrill), Adam Peel, and Nenad Bach, 2011

“Helen Merrill” – A Timeless Debut in the Jazz Pantheon
Introduction:
In the vibrant tapestry of jazz history, certain albums stand as markers of brilliance, encapsulating the spirit of an era. Helen Merrill’s eponymous debut, recorded in December 1954 and released in 1955, is undeniably one such masterpiece. This article explores the richness of Merrill’s inaugural venture into the studio, her collaboration with trumpeter Clifford Brown, and the enduring impact of an album that seamlessly weaves together cool jazz and hard bop.
A Pioneering Collaboration: Merrill and Brown
Helen Merrill’s debut is not only a showcase of her vocal prowess but also a testament to the collaborative magic between Merrill and the legendary trumpeter Clifford Brown. Quincy Jones, the acclaimed arranger and conductor, provided the backdrop against which Merrill and Brown could weave their musical narratives. Brown, having recorded a similar album with Sarah Vaughan just days before, brought his distinctive trumpet stylings to complement Merrill’s vocals. In later years, Merrill paid homage to Brown, who tragically lost his life in a car accident in 1956, by recording a tribute album in 1995. This debut became a poignant marker of their brief yet impactful partnership.
Reception and Critical Acclaim:
The critical reception of “Helen Merrill” has been overwhelmingly positive, earning it a revered place in the jazz canon. Scott Yanow of AllMusic described the music as “essentially straight-ahead bop,” noting that Merrill and Brown elevated the seven standards with their musical presence. The album’s unique charm lies in its fusion of cool jazz and hard bop elements, creating a distinctive stylistic blend.
A 2007 reissue of Merrill’s first two albums prompted David Rickert to declare the sessions as “a vocal jazz feast well worth deserving of more renown.” He singled out the performance of “S Wonderful” as exceptional, emphasizing its status as one of the best renditions of the Gershwin tune in years.
Exploring the Tracks:
The tracklist of “Helen Merrill” reads like a journey through the Great American Songbook, each piece a testament to Merrill’s interpretive finesse and emotional depth. From the soulful rendition of “Don’t Explain” to the breezy “oeYou’d Be So Nice to Come Home To,” Merrill showcases her versatility. Notable is her interpretation of Mel Torm’EUR(TM)s “Born to Be Blue,” where she effortlessly embraces the sophistication of Torm'(TM)s lyricism.
The success of “Helen Merrill” is not solely attributed to Merrill and Brown. The ensemble, featuring luminaries like Jimmy Jones on piano, Barry Galbraith on guitar, and the rhythmic foundation provided by Milt Hinton, Osie Johnson, and Oscar Pettiford, played a crucial role. Quincy Jones, the arranger and conductor, brought his expertise to the table, contributing to the album’s polished and dynamic sound.
Legacy and Timelessness:
“Helen Merrill” is not just a debut; it’s a timeless piece of art that has transcended its era. The album’s influence extends beyond its initial release, inspiring vocalists and musicians across generations. Merrill’s ability to navigate between cool jazz’s subtlety and the vigor of hard bop set a standard that resonates in the world of jazz vocalization.
As we revisit the magic of “Helen Merrill,” we find ourselves immersed in a world where vocals and instruments engage in a sublime dance. Merrill’s debut, marked by its sophistication and emotional depth, remains a testament to the genius of collaboration and the enduring power of jazz to stir the soul. “Helen Merrill” is not just an album; it’s a journey, an experience, and an everlasting gem in the mosaic of jazz history.
References:

Swenson, J. (1985). Rolling Stone Jazz Record Guide. Random House.
“Helen Merrill” album cover art. Retrieved from https://en.wikipedia.org/wiki/File:Helenbrown.jpg

Source https://jazzdaily.blog/2024/02/05/helen-merrill-a-timeless-debut-in-the-jazz-pantheon/

Helen Merrill & Stan Getz: