Usually, when people start getting into the pioneers of modern jazz female vocalists, they begin with the triumvirate of Billie Holiday, Ella Fitzgerald and Sarah Vaughan. For some reason, Carmen McRae (1922-94) gets overlooked these days, although at one time her patented behind-the-beat phrasing was the style most imitated by singers in her wake, most notably in ladies like Diana Krall. This four disc-97 song boxed set tries to get her name back in the upper echelon, where it belongs.
The collection includes singles from the late 40s to 50s, beginning with her stint with Mercer Ellington’s orchestra with a vibrant “Pass Me By”, and concluding her time with Decca singles with a big band with strings that features trumpeter Charlie Shavers with rich reads of “Invitation” and “Moonray”. Subsequently, included is her 1955 eponymous Bethlehem album, supported by Herbie Mann/fl, Tony Scott/p-cl, Mundell Lowe/g and Kenny Clarke/dr with irresistible reads of “Old Devil Moon” and “Easy To Love”. In 1956, her Decca album Torchy features her with orchestra and strings along with Joe Wilder/tp, Al Klink/ts for luscious versions of “Yesterdays” and “But Beautiful”, with McRae pouring her heart out. The same year, she delvered a small group beauty with Dick Katz/p, Wendell Marshall/b, Kenny Clarke/dr and Mundell Lowe/g, Herbie Mann/fl and Mat Mathews/acc for a bopping “Yardbird Suite” and swaggering “Sometimes I’m Happy”. Two albums from 1957 have McRae backed by Jimmy Mundy’s orchestra for a collection of after late night ballads including “My Foolish Heart” and “Lush Life”, contrasted with a swinging date with McRae at the piano alternating with Ronnell Bright with Specs Wright/dr and Ike Isaacs/b for riveting ballads such as “Guess Who I Saw Today” and bouncy swingers such as “Nice Work If You Can Get It”.
McRae’s phrasing is something that every aspiring canary needs to take in and imbibe. Never overdone, and always timed like a simmering pan of pasta sauce, brewed to perfection. Check this one out.