Fresh Sound Records continues its brilliant idea of reissuing sessions from the 50s and 60s from female vocalists that underservedly got overlooked. It was a time when there was a surfeit of these ladies, and while it wasn’t due to the quality of their voice, style or music, simply got lost in the crowd. Take advantage of this second chance. You’re in for a treat!
Martha Hayes had a tone and delivery that gives dashes of mid to late period Billie Holiday as she teams up with a hip quartet lead by pianist Steve Foster along with Ray Alexander/b, Don Russo/b and Fratturo/as. Hayes is sensuous throughout this blue mooded session, glowing on “My Myself” and “Good Morning Heartache” while Fratturo cuts through the dark like a sharp knife on a searing “Black Coffee.” Gloriously desultory throughout; a must for fans of long shadows.
Ilene Woods was used as vocalist for the 1950 Disney film Cinderella, also appearing on numerous TV shows during the 50s. This 1957 album is her only release, and it’s a lush and sensitive beauty. She’s supported by an orchestra directed by arranger Bill Clifton, and she floats with the flutes on “Estrellita” and sizzles to the congas on “What A Difference A Day Makes.” Sensitive treatments of “If You Were Mine” and “When Your Lover Has Gone” show an alluring and attractive mastery of lyrics and moods, right up there with Sinatra’s Where Are You? album of the same circa. A real treat.
The other single disc features a pair of swinging sessions, with the first one lead by Gloria Smyth, teamed in this 59-60 collection with hip Angelenos including Teddy Edwards/ts, Les McCann/-Terry Trotter-Joe Castrop, Billy Higgins/dr and Leroy Vinnegar/b among others. Smyth is frisky on a torrid “Running Wild” and sassy on “Billy” while Edwards is blowing like there’s no tomorrow as he wails with Smyth on “I’ll Be Over” and swoons on “Gee Baby Ain’t I Good To You” along with an agonizing Castro. Smyth shows her influences of Vaughan and Fitzgerald throughout, but they are only influences, as she is her own person throughout, easy as pie on “Imagination” and hip on “Bye Bye Blackbird.” You’re gonna flip!
Helyne Stewart also teams up with some of LA’s finest during her 1961 album, with Jack Sheldon/tp, Frank Rosolino/tb, Art Pepper/as, Teddy Edwards/ts, Pete Jolly/p, Phineas Newborn/p, Leroy Vinnegar/b and Frank Butler/dr being just part of the muscular lineup. Stewarts got an earthy voice, swinging hard with Edwards on a white-knuckler of “This Can’t Be Love” and sweet as lemon pie with Pepper during “My Silent Love.” Sheldon is a perfect partner on a confident “Love Is Here To Stay” and she gets deep with Newborn and Edwards during “That Old Feeling” and “ This Heart Of Mine” and she shows her deep blue hues on “Why Don’t You Do Right” that is as greasy as Sunday Fried Chicken. Finger lickin’ good!