This latest series of BEST VOICES from Fresh Sound Records consistently makes me wonder why I bother listening to any of today’s singers. These obscure ladies have a better vocal delivery, inherent swing, clarity and musical support than anyone out there on the circuit these days. Sorry, but the truth hurts. Here’s the latest cache…
Shelley Moore has a range from Blossom Dearie to confident soul on this 1961 session that includes Ramsey Lewis on piano, along with guitarist John Collins, tenor saxist Eddie Harris and Plas Johnson on tenor and flute. Interested yet? With Johnson on flute, she is relaxed like Miss Christy on “For The First Time” and feathery for “Summer Love”. Harris’ smoky tenor gallops with her on the swift “I Want To Be Happy” and is bluesy with Collins on the stark and passionate “The Thrill Is Gone”. Lewis is the perfect accompanist, slinky on the sensuoius “Son In Love’ and rockish on the rhumba’d “I Hadn’t Anyone But You.” Who let her get away?
Ann Williams is backed by a Jimmy Jones orchestra that includes Clark Terry/tp-fgh, Barry Galbraith/g, George Duvivier-Milt Hinton/b and Osie Johnson/dr for this NYC session from 1961. At times, the support sounds like vintage George Shearing as her husky voice joins with Terry’s squeezed tones on “Serenade In Blue” and the muted “When The Sun Comes Out”. She’s in a warm voice on the bluesy “The World Doesn’t Care” and noirish for the nocturne “You And Your Lullaby”. The soft strings create a misty mood for “Now You’re Leaving Me” and the team is hip while bouncing to “I Wish You Love”. Classy!
Lynn Taylor (1937-79) had a fairly short life and career, making you wonder what could have happened if she had lasted longer. This 1956-57 session has her interpreting tunes by the famed composer Arthur Schwartz, accompanied by pianist Buddy Weed’s Septet that included Billy Butterfield/tp and Barry Galbraith/g. Taylor wisps through the bluesy “I See Your Face Before Me” and is cozy by the fire with Stanley Webb’s flute on “Then I’ll Be Tired Of You.” Her sensual reading of “Something To Remember You By” and relaxed “The Dreamer” is relaxed and intimate, with rich vibrato from Bob Alexander’s trombone on “Oh But I Do”. She saunters with confidence for “Wandering Heart For Miss Sterling” and draws you in for the kill on “Warm Kiss and Cold Heart”. Pretty and poised.
Marjorie Lee never made it too big, however she did a stint with Russ Morgan’s orchestra back in th e day before teaming up with John T. Williams’ Quintet for this 1957 Hollywood Session. She had the pick of the studio litter, featuring the luscious alto sax of Ted Nash, who swoons like Johnny Hodges on “I Let A Song Go Out Of My Heart” “Something To Live For” and “I Got It ad And That Ain’t Good.” Lee carries a torch on the swaying “Boulevard of Broken Dreams” and leans against the lamppost with her vibrato on “These Foolish Things”. Williams throws in a dash of Art Tatum on “Alone Together” and swings easy on “One Love” and Our Waltz”. Lee and Williams step into the shadows on an expressive “Good For Nothing Joe” and are laconic on a dreamy “Maybe You’ll Be There.” She’ll grab your attention.
Carole Simpson (1928-2013) was one time the vocalist for Billy May’s band, so you know she knows how to belt it out. She sounds a bit like Chris Connor and June Christy on this 1960 Hollywood session under the supervision of TV-move star Steve Allen. All of the songs are from Allen’s pen, including the Mel Torme co-written “When You Get TO Frisco” that has Simpson in a confident swagger. Allen’s popular “This Could Be The Start of Something Big” is features some swinging clarinet as well, while Simpson’s gentle vibrato sparkles on the late night “And Now Goodbye”. The horns get Ellingtonian on “Bluesville” and the brassy “What Kind Of Fool” with Simpson completely in control, while she’s coy and intimate on “Spring In Maine”. She’s got the feeling.
Connie Haines is just about the only one here on this latest collection who was with a popular band for any length of time, being the featured canary with Tommy Dorsey and Harry James, sharing the mic with Frank Sinatra. This 1957 album has her giving tribute to the famed show singer Helen Morgan, backed by an orchestra that included Don Fagerquist/tp, Howard Roberts/g, Mel Lewis/dr and Buddy Clark/b. Like the Swing Era pro that she is, she’s clear and expressive on the romantic “They Didn’t Believe Me” and able to coo like a pigeon on the tender “Make Believer”. On material by Jerome Kern, she makes the birds fly on “Can’t Help Lovin’ That Man” and gives a gorgeous aria with pianist John T. Williams on “Bill” Timeless treasures.