Vocalist Norma Winstone, as one of her album titles suggests, is a well kept secret from jazz fans on this side of the Atlantic. She possesses a gentle grace, clear enunciation and a subtle sense of swing that focuses on the mood of the lyrics more than the heat of the moment. These three albums, presently reissued by Storyville, are worth seeking out.
Well Kept Secret from 1993 has her with the impressive team of Jimmy Rowles/p, George Mraz/b and Joe La Barbera. Stacy Rowles contributes her soft flugelhorn to a glowing “Morning Star” while she singer herself slinks to Rowles on “A Flower Is A Lovesome Thing,” seductively sambas to “Dream of You” and waltzes with La Barbera on a genteel “Prelude To A Kiss.” Where’s this one been hiding?
A 1998 Manhattan in the Rain has Winstone with Steve Gray/p-synth, Chris Laurence/b and Tony Coe/ts-cl for a Baker’s Dozen subdued and sublime standards. She and Coe’s clarinet are wispy on “The Heather and the Hill” and wistful on “When the World Was Young.” She gets into a cabaret mood on “Two Kites” with his tenor and simmers with him on the Brazilian “Retrato Em Branco E Preto.” Gray, who does the arranging, is ebullient on the lovely read of the title track and the two are as calm as kittens on “It Never Was You.” Subtle and soft.
Winstone gets most intimate on a collection of duets with pianist John Taylor on a 1998 alubm. They deliver a spacious and haunting “Lazy Afternoon” and float in unison on “Strange Medowlark.” Taylor adds some string percussion on “Tango Beyond” and creates a pastoral mood for her on the dreamy “Ladies in Mercedes.” She sounds convincing as she pleads to God on “Come Sunday” and reflects with visceral intent during “Everybody’s Song But My Own.” Any upcoming trips to the Colonies coming up?