I have given up trying to figure out how Fresh Sound Records finds these obscure vocalists that are simply amazing. This last batch might be the best of all; no one is scraping the bottom of the barrel here. On the contrary!
Chicago-born Rose Hardaway put out one album, and it is a swinging beauty as she fronts a 1959-60 orchestra arranged and conducted by Sammy Lowe. She’s got a hint of Dinah Washington’s sass and Eartha Kitt purr on as she sways on the saxy and sexy “Please Send Me Someone To Love” and slinks on “Just For A Thrill”. With flutes she swings easy on the suave “It Had To Be You” and agonizes out a howl on “How Long, How Long Blues”. Some bonus tracks include a roaring take of Horace Silver’s “Senor Blues” as well as some doo woppers like “That’s What We’re Here For”. Who let her off her leash?
Ada Lee honed her skills with Count Basie and Lionel Hampton before putting out this classy album arranged by pianist Dick Hyman. The 1961 sessions include all stars Milt Hinton-George Duvivier/b, Joe Puma/g and Jerome Richardson/wwinds along with a string section and chorus. Her voNewice is bright and clear, sweet toned with strings on a soulful “Romance In the Dark” and swooning with Hyman’s harpsichord during “I’ll Never Smile Again”. The material can be poppishly geared to the white middle class as on the clever “Something Is Missing” or deep and bluesy on Jimmy Witherspoon’s “Rain Is Such a Lonesome Sound”. Like Hardaway, she delves into the Hard Bop songbook and gives a gospel feel to the classic “Moanin’”. Definitely worth a number of listens.
At one time, Crystal Joy kept company with the likes of Monk, Coltrane and Diz, and this album teaming her with Don Elliott’s Quintet of Hank Jones/p, Trigger Alpert/b, Grady Tate/dr, Kenny Burrell/g and Frank Wess/fl show that she had the right feel for bop. Elliott plays mellophone and vibes for the 1959 session dedicated to Steve Allen compositions. Her husky voice works well on the exotic Latin lover of “We’re Together” and gets Broadway clear for “This Cold Be The Start of Something”. She’s dreamy with Elliott’s vibes on “Spring In Maine” with Burrell and Wess supporting the harmonies and slinks with them on a sensuous “The Best Time Of Day”. Smoke rings of sounds.
Althea Gibson sounds like she’s relaxing on a chaise lounge on this cozy 1959 session with Dole Dickens’ Quartet featuring guitarist Everett Barkdsale. Gibson is intimate with the guitarist on “September Song” and richly regretful during “A Cottage For Sale”. Hints of Sarah Vaughan are heard on the clear and confident “Don’t Say No” and the vulnerable “I Don’t Stand A Ghost Of A Chance” but she really sounds like herself throughout, getting peppy on “I Can’t Give You Anything But Love” or glowing ON “You’re My Everything”. Styling swing.