If Spain-based Fresh Sound Records has proven anything by these reissues, it’s that the 50s and 60s were the halcyon days for jazz vocals. There was such a surfeit of talent that artists like these on these three packs simply got overlooked. And it wasn’t for lack of talent or swing!
Marty Bell has a tone and nuance a bit like Jackie Paris with an extra warble to his syllables, as he sings along with Don Elliott’s 1956 Quartet of Bob Corwin/p, Vinnie Burke/b and Jim Campbell/dr. Elliott accompanies with vibes, trumpet and congas, giving a suave instrumental take on his “According To Moyle” and sounding Chet Bakeresque on “You Go To My Head.” Bell himself is quite suave on “I Didn’t Know What Time It Was” and hep on the cozy read of “This Can’t Be Love.” Beatnik before Kerouac.
Don Heller is backed by a team from the same year arranged by Ralph Burns which includes no less than Charles Mingus-George Duvivier/dr, Freddie Greene-Billy Bauer/g and Don Lamond-Osie Johnson/dr. He sounds like a jazz version of the post-elvis pretty boys like Fabian and Bobby Rydell on a cozy parlor “Blame It On My Youth” and peppy on a preppy “Ridin’ On AThe Moon.” He saunters on “ Bidin’ My Time” and with harp is gentle with Greene on “In Other Words (Fly Me To The Moon).” Rebels with a cause.
Like Prince, Marlene has no last name while bringing together a first class team of boppers in Joe Wilder/tp, Herbie Mann/fl, Hank Jones/p, Wendell Marshall/b and Kenny Clarke/dr for this 1955 date. She’s got a breathy coo that works well with Jones on the noir alley of the title track, while she swings with Wilder’s horn on “If I Love Again.” A dreamy piano and voice finally allow Manne in on “Some Other Time” with Wilder on mute creating a misty night as Marlene causes palpitations on “You Leave Me Breathless.”
Pat O’Day has a slinky voice influenced by June Christy on this 1956 session with Jack Zimmerman’s Orchestra. Some exotic marimba adds to the coy “My Sweetie Went Away,” but the highlights are her intimate duets with guitar on the sensuous intros to “All By Myself in the Morning” and “Bill” that have her sighing in reflection. Clearly enunciated lyrics add to the way she draws you into her soft couch of a voice.
The last disc has Juanita Cruse with an LA combo from 1960 lead by pianist Gerald Wiggins along with William Green/fl-ts, Emil Richards/vib, Dennis Budimir/g, Al McKibbon/b, Jackie Mills/dr and Jack Costanzo/con. The California Cool charts have Cruse sounding like a soft Eartha Kitt on the sleek Latin “Alone Together” while she takes a steady and pulsating tempo to Billie Holiday’s “Fine and Mellow.” Green’s flute adds drapery to the dark “Don’t Explain” and teams with McKibbon for a jogger’s pulse on “Sunset Eyes.” Strapless gowns of sound.
Jeri Jorden also records in Los Angeles in 1960, but with bassist Red Callender and studio studs including Buddy Collett/fl-cl, Jimmy Rowles/p, Irving Ashby/g and Frank Capp/dr. Jorden is a sandied Carmen McRae along with Collette’s clarinet on the sublime “baby I’m Gone” and she knows how to stretch out a lyric like Salt Water Taffy on a streetwise “Cocktails For Two.” A rapid running “Ridin’ High” shows her dexterity while her dark eyeliner stands out on “Easy Living.” A lonely night in So Cal!