Sylvia De Sayles was billed as “the next Lena Horne” and you can hear why-she’s got that bright and earnest glow to her voice, well demonstrated on this album that has her backed by an orchestra conducted by swing master Sy Oliver. The 1963 NYC session displays her clear vibrato, brimming over with clear enunciation as on ‘I’ve Got Your Number” while she goes over the top on “Wild Is Love”. The songs have a Middle of the Road pop feel, even on the darker “Don’t Explain” and she shows how to dig in on a confident “The Best Is Yet To Come”. Polished like the chrome on a Caddy.
Vera Sanford got her break when her trial attorney boss heard an audition disc of hers, and turned his secretary into a recording star. This 1964 album has her backed by an orchestra conducted and arranged by Jonny Pate, with lots of harp in support of the lush background. Sanford has a dash of Sarah Vaughan in her delivery, husky and classy on “I Can’t Escape From You” and oozing over “The More I See You”. She rides through the rumble of the drums of the dramatic “Dancing In The Dark” and gets poppish on “Too Late Now”. An exotic “Shangri_La” and misty “The More I See You” are impressive displays of a confident lady at the mic. Anything else by this walk off?
The Gale Robbins-Helen Grayco combo is interesting in that both ladies actually made names for themselves outside the music world. Robbins actually has a star on the Hollywood Walk of Fame for her many film roles, and she was a model to boot! This 1957 session has her backed by some of LA’s finest including Bob Cooper/ts, Lou Levy/p, Tommy Tedesco/g, Buddy Clark/b, Larry Bunker/vibes, Mel Lewis/dr, Med Flory/as and Dave Pell/ts on some sassy takes of “What Is This Thing Called Love?” and a big bold “They Can’t Take That Away From Me”. She acts out her roles well as she walks through the dark reeds of “Gold Earrings” and sounds like a pinup girl on an R&Bish “Ain’t Misbehavin’”. Sing to me, baby!
Helen Grayco did stints with both Stan Kenton and Spike Jones (actually marrying him!) , in order to give you a hint of her versatility. She’s got a rich, blue and husky sound, perfect for late night torch tunes, and this 1957 session with Gerald Wiggins/p, Larry Bunker/vibe, Barney Kessel/g, Joe Mondragan/b, Alvin Stoller/dr, Les Robinson/as and a string sections shows what she can deliver. She’s intimate on ‘Take Me In Your Arms” and swoons with Robinson on “Mood Indigo”. Clear and penetrating, she works well with Wiggins on “While We’re Young” and “Every Time We Say Goodbye” and goes dark with Mondragon on “Black Coffee” and “You Don’t Know What Love Is”. This lady has a left hook!