Sultry jazz goddess Iris Bell, an icon of Charleston nightlife in the era of private bars and supper clubs, died April 19 of cardio-respiratory failure.

She was known for her lusty style, breezy improvisations and extensive repertoire.

"She could go from country to a blues ballad, and the transition was seamless," said Charleston writer and former publicist Julia Sadd. "It was incredible what she could do with lyrics. "The improvisation was thrilling, truly."

"Iris did a lot of music you wouldn't expect from just one person," said longtime Charleston bassist Hubert "Rabbit" Jones. "Jazz, country, spirituals, she could do it all.

"She was one of West Virginia's major contributors to music and had the highest respect from her fellow musicians."

"I got to know her when I played drums with George Legg at the Charleston Athletic Club," Rick Justice said. "Later, we worked some gigs together. She was one of the most competent jazz artists I've ever had the pleasure to work with, a consummate musician. Everything about her was musical. She was a joy."

"She was one of the better piano players and singers in the U.S.," said Charleston saxophonist Dugan Carter. "When you played with her, she could follow you anywhere you went, and she didn't have to have rehearsals to do it. She deserved a lot more than what she got in Charleston."

Bell grew up on the West Side. Her father was a surgeon, her mother a classically trained singer and pianist. She studied classical piano and voice as a youngster, but the music didn't move her.

As a teenager, she heard Sarah Vaughan and fell in love with jazz. She taught herself to play jazz piano and learned songs by listening to the radio and scribbling lyrics in shorthand. Playing by ear, she built a repertoire of more than 7,000 pieces.

Sultry jazz goddess Iris Bell, an icon of Charleston nightlife in the era of private bars and supper clubs, died April 19 of cardio-respiratory failure.

She was known for her lusty style, breezy improvisations and extensive repertoire.

"She could go from country to a blues ballad, and the transition was seamless," said Charleston writer and former publicist Julia Sadd. "It was incredible what she could do with lyrics. "The improvisation was thrilling, truly."

"Iris did a lot of music you wouldn't expect from just one person," said longtime Charleston bassist Hubert "Rabbit" Jones. "Jazz, country, spirituals, she could do it all.

"She was one of West Virginia's major contributors to music and had the highest respect from her fellow musicians."

"I got to know her when I played drums with George Legg at the Charleston Athletic Club," Rick Justice said. "Later, we worked some gigs together. She was one of the most competent jazz artists I've ever had the pleasure to work with, a consummate musician. Everything about her was musical. She was a joy."

"She was one of the better piano players and singers in the U.S.," said Charleston saxophonist Dugan Carter. "When you played with her, she could follow you anywhere you went, and she didn't have to have rehearsals to do it. She deserved a lot more than what she got in Charleston."

Bell grew up on the West Side. Her father was a surgeon, her mother a classically trained singer and pianist. She studied classical piano and voice as a youngster, but the music didn't move her.

As a teenager, she heard Sarah Vaughan and fell in love with jazz. She taught herself to play jazz piano and learned songs by listening to the radio and scribbling lyrics in shorthand. Playing by ear, she built a repertoire of more than 7,000 pieces.

In 1956, at age 22, she formed the Iris Bell Trio. The only female bandleader in the area, she entertained regularly at the Press Club, Army Navy Club, Owl's Club and Charleston Athletic Club.

"We would play anywhere, work anytime, and got some good engagements," she said in a 1977 newspaper story. "Most of the dates were in bootleg clubs, but I was only raided once."

She wrote more than 20 songs, including one that was released on the flip side of a Paul Anka recording. In 1963, she wrote "This Is My West Virginia," the official West Virginia Centennial song adopted by the Legislature as a state song.

In the late 1960s, she took her trio on the road and settled for seven years in Ann Arbor, Mich., where she headlined at the Rubyiat Supper Club. In 1975, she performed at Mr. Kelly's in Chicago, a coveted booking for jazz musicians. That summer, she appeared at the National Women's Music Festival with Melissa Manchester.

In 1977, she returned to Charleston. Battling depression triggered by her mother's death, she limited appearances for many years to the annual West Virginia Jazz Festival at the Science and Culture Center.

She revived her career in the 1990s and played frequently at the Fifth Quarter. In later years, beset with worsening health problems, she remained a virtual recluse.

She died in Buckhannon, where she moved recently to be near her youngest daughter. Her body was cremated. A memorial service is planned from 1 to 4 p.m. May 31 at the West Side Methodist Church, 401 Roane St. A jam session will follow the service.

To contact staff writer Sandy Wells, use e-mail or call 348-5173.