Legendary radio disc jockey Sid Mark based in Philadelphia heard Norma Mendoza’s first TV appearance in October 1959. She was singing Jimmy Wisner’s instrumental tune Sidney’s Soliloquy which had no lyrics, so the composer and pianist had to write some to fit Norma’s translucent voice. After the song was over, the DJ announced that she was a great talent, and this, from the man who had brought the great Nina Simone out of limbo, was no easy compliment.

She is a completely natural singer with classical training, driven by clear diction and imaginative phrasing. Her voice is somewhere between an alto and amezzo-soprano, conferring hera remarkable two-octave range and a slight sultry edge.

She is a completely natural singer with classical training, driven by clear diction and imaginative phrasing. Her voice is somewhere between an alto and amezzo-soprano, conferring hera remarkable two-octave range and a slight sultry edge.

A few months later, in the early winter of 1960, Norma recorded for the local Firebird label what would be the first and only albumin her career. It was an engaging collection of performances in which she managed to stamp her personality, cool reading, and sophisticated and warm approach, accompanied by Wisner’s trio. The 28-year-old pianist and former member of Charlie Ventura’s group had also taught piano at Caruso’s Music Studio in Chester. With him in the rhythm section were drummer Hank Caruso from Chester, who cut four sides before departing for winter work in Florida; for the other tunes he was replaced by Dave Levin. The third rhythm man was Wisner’s old-time friend and bass player Ace Tesone. Wisner did all of the arrangements as well and contributed five of his originals including the beautiful ballad Dreamy Eyes which he wrote in collaboration with Lennie Niehaus. The album was released in the spring with the title “All About Norma.” Barbara Gardner wrote in her Down Beat review: “Her ability to control the extreme ends of her vocal range with authority and confidence is a quality more female vocalists could learn. Her steady, sure flight through the changes of Potato Chips is impressive.”

From that point on Norma and Jimmy’s trio became a permanent team with many performances. They got engaged again at Pep’s in the spring and summer, and on November 11, Norma appeared in a concert at the Philadelphia Textile Institute with the Jimmy Wisner Big Band. The repertoire included Jimmy’s original If It’s Love, a swinging number which Norma had previously recorded for Firebird and which came out on a single. The label mentioned that it was Norm Yablonsky’s orchestra
accompanying Norma, but thatwas just a pseudonym used by Jimmy Wisner, probably due to his various contractual obligations.

During the fall of 1960, Norma discovered she had a flair for teaching, and she began working as a vocal coach. Among her pupils were Frankie Avalon and Fabian. Her romance with Wisner finally resulted in their wedding which was held on December 21, 1960. The couple settled in Haddon Township, Camden, New Jersey, and not long after their ceremony they were right back at Pep’s.

Beginning on June 28, 1961, Norma and Jimmy’s trio began a weekly live radio show called “The Jazz Opinion” on WHAT-FM. Previously, in June 23, they had opened at the new Red Hill, at 7921 River Rd. in Pennsauken, where they became the new attraction for the legendary “Harvey Husten’s Jazz in Jersey” sessions which still beared the name of their late founder who had died in 1957 at age 38, and which had been held regularly Friday through Sunday at Red Hill. Thanks to Husten’s astute handling, in 1955 he convinced the owners of the original Red Hill Inn in Camden to try a jazz policy. The old Red Hill became one of the nation’s better jazz rooms. After Husten died, Joe DeLuca Jr, son of the owner, took over the booking, and the Red Hill continued to prosper. In early 1961, DeLuca bought a luxurious but empty nightclub that had closed, and turned it into the new Red Hill, with seating for 450 people.

In mid-July 1961, the trio of the Red Hill maestro, as Jimmy Wisner was known, and his wife Norma got a leave of absence from Red Hill to make an Italian tour with Frankie Avalon. Jimmy’s trio was to be Frankie’s accompanists and Norma the film actor’s voice coach, but the tour was canceled unexpectedly and plans for a European tour for Norma and the Jimmy Wisner Trio were terminated. Instead Jimmy and Norma went on their own trip to Europe.

When Mel Tormé first arrived to perform at the Red Hill Inn on the weekend of November 3, 1961, he was backed by Wisner’s trio. Norma was also part of a show which garnered a lot of attention and audience. Shortly after Tormé left, Norma and Jimmy went back to Pep’s until the end of the year. After New Year’s Eve, Norma decided to take a break, but by March 3 she had come out of her temporary retirement to sing with her husband’s trio at The Drake hotel in Philadelphia.

As a result of the success of his first visit, on March 24, 1962, Mel Tormé returned for another weekend to the Red Hill, and during the Jazz in Jersey sessions on Saturday night and Sunday afternoon, Atlantic Records’ Nesuhi Ertegun recorded Torme’s first album for the label, live with Wisner’s trio. They had Norma record some duets with Tormé which unfortunately were never issued.

At the end of May 1962, Norma accompanied her husband on a European tour that Jimmy did with the Hi-Lo’s; then in England with Nelson Riddle, and Sweden with Mel Tormé. Upon their return in July they appeared at the Stork’s club.

In September 1962, Jimmy departed for Los Angeles. Shortly afterwards, Norma and their family would join him at their new home in Granada Hills. The departure was due to Jimmy’s affiliation with Mel Tormé as an accompanist and arranger, but also Jimmy saw an opportunity in Los Angeles to find new jobs. “We love the Collingswood where we live, but you can’t find the kind of opportunities here
commensurate with your talent and experience,” said Jimmy.

Not that Wisner hadn’t tried the wet kiss of success, because two years earlier he collaborated with Edward Grieg on the production of the album “Asia Minor” by Kokomo, another pseudonym used by Jimmy in those days. The record became a Top 10 pop hit a few weeks after its release in January 1961. Characteristically, he spent the profits to record Norma with a 26-piece string ensemble, but his gamble didn’t pay off. The record companies weren’t interested in another sweet warbler with fiddles behind her.

Jimmy was very excited at his new prospects though, and felt prepared to face the difficulties of starting a new stage of his career in Los Angeles. “It’s the same in Los Angeles as anywhere —more musicians than work,” said Jimmy. “But if you have the know-how and the contacts, I feel the opportunities are there.” However, things did not go as Jimmy expected. In early 1963, the Wisners were disenchanted with their West Coast experience, and in April they returned to New Jersey to a bi-level rancher development home at 214 Round Hill Rd., Ashland (near Haddonfield). Norma then decided to retire from the club circuit with the idea of dedicating herself entirely to herwork as a pop songwriter. Meanwhile, Jimmy, getting busier, headed East with the Hi-Lo's.

Norma reached her first hit as a songwriter with the Al Martino record “Living a Lie” which reached No. 22 on the Billboard Hot 100 in late 1963. She also did the vocal riffs and her husband played piano on another Al Martino’s hit “Painted, Tainted, Rose.”

From April to August 1964, Norma with Jimmy’s trio performed together on “The Mark of Jazz,” a TV show hosted by Sid Mark. At the end of January 1965, Norma Tracey —9-year-old daughter of Norma Mendoza— recorded the song “Leroy” that won trade magazine attention. Early 1966, singer Bobby Rydell organized a Philadelphian seven-member entertainment troupe to play military camps around the world.

Beginning on January 28, with a three-week visit to South Vietnam, the Rydell troupe included the Jimmy Wisner Trio, featuring drummer Carl Mottola and bassist Frankie Day. Day was also Rydell’s manager but was allowed to go as amusician.

In April of 1966, Norma recorded a single for Decca which included a bossa nova penned by Wisner called “Girl on the Beach” with “Incredible” on the flip side. She often performed in Jersey night clubs, as the Club Honeydew in Oaklyn and sang for some radio commercials. “But I really consider myself retired from show business because keeping this house running is a fulltime job,” she said in 1967.

Jimmy was traveling all the time, due to his increasing professional activity as arranger and conductor for several record labels. Meanwhile, Norma decided that she wanted to sing again and in 1968 she appeared Thursday and Friday nights accompanied by the trio of pianist Johnny Walker and by the Charles Lamb trio at the Beacon Inn, at Flying W. Ranch in Lumberton, N.J.

In September 1970, Norma and Jimmy divorced. While Norma decided to retire from the music scene for good, she continued her job as a vocal coach.

—Jordi Pujol (From the inside liner notes of FSRV 134)