... LP, Vinyl record album

The title tells the story of the album's concept – as Teddi King pays tribute to a dozen male "kings" of music – including Frank Sinatra, Nat King Cole, Dick Haymes, and Billy Eckstine! The tunes are all signature numbers by each of the male stars – redone by Teddi here with a female twist, and set to backings by Lew Douglas and Johnny Richards – both of whom give Teddi some of the best support of her 50s career. Richards' backings are especially great – nicely dynamic, in a way that breaks past some of Teddi's sleepier qualities – and even on the mellower numbers, the King vocals are in full force, sung with even more promise than on previous albums for RCA. Titles include "Flamingo", "Unforgettable", "April Showers", "A Cottage For Sale", "This Love Of Mine", "Keeping Out Of Mischief Now", and "Temptation". LP, Vinyl record album

Incredible early work from Lorez Alexandria – the kind of albums that instantly set her apart from other singers of the 50s, reissued here properly for the first time in years! On This Is Lorez, the singer is working with sublime small combo backings from the group of pianist King Fleming – an unusual Chicago ensemble that includes Wilber Wynn on guitar, Ronald Wilson on flute and oboe, Vernel Fournier on drums, and Audrey Jones on bongos – a musical lineup that brings in a different sort of sophistication to the record, shading tunes with moody colors on flute and oboe that perfectly support Alexandria's soulful and sensitive interpretations of the tunes. The whole thing is pure genius, and a key look at the new levels of sophistication that were bubbling everywhere on the Chicago scene during the years of Jamal and Sun Ra. Lorez Sings Pres follows in a very similar mode – with backing by a Chicago group that again includes King Fleming piano, plus Charles Stepney on vibes, Paul Serrano on trumpet, and Vernel Fournier on drums – an extremely hip lineup that makes the record far more than just the Lester Young tribute promised in the title! But despite the instrumentalists, the real star on all sides is Alexandria – who sings with dark tones and deep colors that go far beyond conventional jazz vocals – all carried off with that slightly breathy mode that was one more unique aspect of her work! CD features all tracks from both albums – a total of 22 titles that include "Snowstorm", "I'm Glad There Is You", "The Sky Is Crying", "I'm Making Believe", "Necessity", "Penthouse Serenade", "DB Blues", "This Year's Kisses", "Easy Living", "No Eyes Blues", "Jumping With Symphony Sid", and a key early reading of "Baltimore Oriole". CD

A wonderful vocal set – with jazzy backings by Bill Holman! Titles include "Impossible", "Hooray For Love", "Shake Down The Stars", "I've Got The Sun In The Morning", and "They All Laughed". LP, Vinyl record album

A groovy little vocal group with a swinging 50s sound – working here with some great jazzy arrangements from trombonist Kai Winding! The style of the set prefaces Winding's pop/jazz sides for Verve in the mid 60s – but has a sound that's somewhat similar – with lead vocals by the male/female Axidentals group, and some trombone-based jazzy backings that showcase Winding's horn amidst a larger brass section. There's a great poppy punch to these tunes – and the Axidentals themselves can be credited for some extremely inventive vocal arrangements at times – in styles that go way beyond those of conventional groups of the period, in a mode that reminds us of some of the work by the Kirby Stone Four or the John LaSalle Quartet. Titles include "Walkin", "Out Of This World", "You Gotta Wail", "No Moon At All", "Day In Day Out", and "Close To You". LP, Vinyl record album

Two early 70s albums from Shirley Bassey – back to back in a single set! Never Never Never is a warmly-crafted 70s album from the great Shirley Bassey – a set that continues that great move she was making at the end of the 60s – shaking off some of the bolder, brassier styles that famously got her going at the start, but which were maybe sounding a bit dated after the James Bond soundtracks got too much play! Instead, Bassey's opening up in a nicely mature mode – maybe making the same sort of shift between soul and adult modes that Johnny Mathis was hitting during the same period – and working with great UK maestros Johnny Harris and Arthur Greenslade, both able to balance strings and soul on titles that include "Never Never Never", "Make The World A Little Younger", "No Regrets", "Going Going Gone", "Somehow", "I Won't Last A Day Without You", "The Old Fashioned Way", and "Someone Who Cares". On Good Bad But Beautiful, Shirley Bassey is at her mellow best – sounding very different than the brassy vocalist who first rose to international fame with "Goldfinger" – yet still able to work through all the rich aspects of her great vocal range! Arthur Greenslade handles the backings, and the style is mature, and updated in maybe the way that Frank Sinatra was hitting at the time – both in the choice of songs, and in the way that Greenslade sets Shirley up for the best reading of the lyric. Titles include "I'll Be Your Audience", "Emotion", "Good Bad But Beautiful", "Jesse", "Run On & On & On", "Feel Like Makin Love", and "I'll Be Your Audience". CD

An obscure vocal jazz gem from the LA scene of the 50s – recorded for Atlantic, but done in a style that's a fair bit like the best work for Bethlehem or Mode at the time! Betty Bennett sings here with backings from Shorty Rogers on one side, and Andre Previn on the other – often in a mode that's slightly dark, and subdued – gently moving forth with a nice sense of restraint. Betty's vocals burst out nicely at times – showing a nicely illustrative style, especially on some of the more story-based tunes – and there's a nice choice of material here that's a refreshing change from some of the overdone standards on other vocal albums. Tracks include "Sidewalks Of Cuba", "Island In The West Indies", "Tomorrow Mountain", "This Is The Moment", and "Treat Me Rough". CD

An incredible full length debut from vocalist Mario Biondi – a jazz singer we'd rank right up there with the legendary Mark Murphy – supported here with great backings from the High Five Quintet! The grooves here are in a soaring, tightly-stepping style – very much the best club jazz mode of the contemporary European scene – with all-acoustic instrumentation, and rhythms that move along at a really great dancefloor pace! Mario's vocals are really unique too – with a little rasp that catches slightly, and really brings a timeless quality to his voice – mixing personal feeling into the lively numbers on the album, with an unexpected depth that really makes the album stand out from similar sessions of this type! There's echoes of hip vocal jazz work from years past by artists like The Peddlers, Bobby Cole, or Mark Murphy – and titles include "A Child Runs Free", "No Mercy For Me", "This Is What You Are", "I Can't Keep From Cryin Sometimes", "Rio De Janeiro Blue", "Handful Of Soul", "On A Clear Day", "Never Die", "No Trouble On The Mountain", "Slow Hot Wind", and "Gig". (New Grooves, Vocalists) LP, Vinyl record album

A great little vocal session on Bethlehem – and maybe the only record we've ever seen from singer Betty Blake! Blake's a great vocalist right from the start – one who balances swing and sophistication wonderfully – amidst some very hip jazz backings from a combo that features Zoot Sims and Roland Alexander on tenor, Marcus Belgrave on trumpet, Teddy Charles on vibes, Kenny Burrell on guitar, and Mal Waldron on piano! The set's got a bit more punch than some other Bethlehem vocal dates, but it also has a nice sense of spontaneity too – never over-arranged or too staid, in ways that really show off Blake's swinging side. Titles include "Moon and Sand", "I'll Be Around", "While We're Young", "Blue Fool", and "Trouble Is A Man". CD

A different James Brown album – but a nice one! James doesn't sing soul, so much as jazz – in front of large backings by Louis Bellson, with arrangements by Oliver Nelson that are in his best 60s soul mode – and which give the album a very very groovy feel overall! The record's not funky, but James' vocals are plenty darn soulful – and the album is proof that he could be a huge talent in just about any mode that he chose – shining with a brilliance that was irrepressible! James covers a few of his older tracks on the album, and sings a few other pop standards – and titles include nice versions of "It's Magic", "The Man In The Glass", "Papa's Got A Brand New Bag", "That's My Desire", and "I Need Your Key (To Turn Me On)". CD features the previously unissued bonus track "There Was A Time" – plus the full, unedited versions of 4 other tracks – appearing here for the first time ever! (Soul, Vocalists) CD

Beautiful vocal work from Guy Cabay – put together with a strong touch of jazz, a bit of bossa, and a swirling vibe that's mighty nice! Guy's got a breathy style of singing that works perfect with the backings – and its bits of guitar, organ, and other elements – often used as gently as Cabay's vocals, but in a style that's warm and sophisticated – like some of the hippest material on Saravah Records in the 70s, particularly work by Pierre Barouh! These tunes also often have a breezy rhythm that borrows from bossa nova, and which really suits the style of Guy's vocals – on titles that include "Julia Deus", "Pove Tiesse", "Tot Reguede", "Camamele Et Cataplame", "A M'Vwezene", "Li Robaleu", "Pax Pollinibus Bonae Voluntatis", and "Li Sabat D'Sinte Mere L'Oto". (French, Vocalists) LP, Vinyl record album

One of the strangest albums to come out of the late 60s spoken word record boom – a collection of Bob Dylan tunes, read with a heavy English accent by actor Sebastian Cabot! Cabot's probably best known for his roles in the shows Checkmate and Family Affair – and he uses that familiar growly voice to great effect here on Dylan's tunes – spitting them out with a slightly bitter quality that's a fair bit different than Bob's original versions, but still very much in the same spirit! The backings are relatively spare – bits of strings, guitar, and other instrumentation – all handled by Irving Spice – and tunes include "It Ain't Me Babe", "Don't Think Twice, It's All Right", "Like A Rolling Stone", and "Blowin In The Wind". One of the best examples of "establishment hip" we can think of – and it's records like this that took more steam out of the left than Barry Goldwater ever did! (Spoken Word, Vocalists) LP, Vinyl record album

Some of the greatest work ever recorded by this incredible Chicago soul singer! The set brings together 17 tracks from Terry's years at the Chess/Cadet label – his greatest time in the studio, when he was mixing his unique style of folksy soul with some of the more complicated backings of arranger Charles Stepney. This set is brimming over with classics, and is a perfect introduction to Terry's best work. Titles include "Ordinary Joe", "Dancing Girl", "Just As Long As We're In Love", "I Just Can't Help Myself", "Occasional Rain", "I'd Rather Be With You", and lots lots more! (Soul, Vocalists) CD

An incredible treasure from a lost vocal jazz genius – the little-known Bobby Cole, every bit as great a singer as he was a songwriter, very unusual for the time! Bobby was probably best remembered as the house pianist at Jillys, but at the time of this 1964 recording, he was poised to emerge as a serious vocalist with a rich talent for penning interesting and witty little tunes. The album's got Bobby singing in a style that's halfway between Matt Dennis and Mark Murphy – with the sophisticated talents of both in place, and perhaps a bit of the wit of Bob Dorough or Roy Kral. The original album features Bobby on piano and vocals, with only bass and drums behind him – and the CD features a bonus 6 tracks recorded in more recent years, with larger backings. The core album is completely brilliant – the kind of off-kilter vocal record we die for – and every track's a fresh original by Bobby! Titles include "You Can't Build A Life On A Look", "Heat", "You Could Hear A Pin Drop", "Change Of Scene", "A Perfect Day", "Elegy For Eve", and "Status Quo". CD

Two rare European records from Freddy Cole – best known to most of us in the US as a jazz singer! One More Love Song is surprisingly soulful set from Freddy – quite different than some of the straighter jazz vocals he's cut over the years! This rare gem was recorded in The Netherlands in the mid 70s – and features backings from Jerry Van Rooyen and Tony Noite, both of whom mix jazzy inflections with fuller orchestrations – helping to bring Cole's rich background into a whole new light! Freddy's voice still has that wonderful trademark rasp – familiar to, yet quite different than brother Nat – and the use of some smoother soul modes makes for a really great contrast. Titles include "One More Love Song", "I Loved You", "I Need You So", "Still Wanna Be With You", "Isn't She Lovely", and "Here Is Where Your Love Belongs". Right From The Heart has Freddy Cole taking on a mix of adult ballads and some groovier numbers – set to arrangements by John Gally, Hennie Bekker, and Steve Gray – and recorded in London with a nicely mature feel. There's a bit of polish to the production, especially on the more upbeat cuts – but the mellower numbers still have Cole singing in a great old school mode. Titles include "The Girl From The Piano Bar", "To Be With You", "Teach Me Tonight", "Summer Love", "Somewhere Down The Line", and "Right From The Start". CD

A nice little session that's one of Nat's last great vocal albums – thanks to some solid jazz backing by George Shearing. Shearing's group here is a super-hip west coast Latin one, with Emil Richards on vibes, Al Hendrickson on guitar, Al McKibbon on bass, and Shelly Manne on drums. Most tracks have them augmented by some larger backings by Ralph Carmichael – which creates this dreamy jazzy pillow for Nat to sing over. Cole's voice is still super-sweet and super-sexy, and the record is a good mix of ballads and more jazzy material. Titles include "Lost April", "Azure-Te", "September Song", "Don't Go", "There's A Lull In My Life", and "Serenata". LP, Vinyl record album

One of our favorite albums by Nat King Cole – done with a bit more depth and feeling than some of his other Capitol sets of the time – and some great jazzy backings, too! Arrangements are by Dave Cavanaugh, but there's almost a Basie-like quality to the group at times – never too hard-swinging, but definitely that slow-burning quality the Count could hit so well with a singer, especially on the horns! The group is awash with Basie-ites – and saxes are by Marshall Royal, Frank Foster, Billy Mitchell, and Frank Wess; trumpets include Joe Newman and Thad Jones; trombones feature Al Grey, Henry Coker, and Benny Powell; and rhythm features guitar from Freddie Greene, piano from Gerald Wiggins, and drums from Sonny Payne – definitely a swinging lineup. Titles include the great "Welcome To The Club" – plus "Anytime Anyday Anywhere", "The Late Late Show", "Wee Baby Blues", "Avalon", "She's Funny That Way", and "The Blues Don't Care". LP, Vinyl record album

Four late 60s gems from Perry Como – all records that really have him pushing beyond his pop style of the 50s! First up is Lightly Latin – one of the most sublime albums we've ever heard from Perry Como – a set that definitely takes its Latin lightly, and instead really goes for the best sort of mellow side of the Como sound! There's definitely a few bossa touches in the mix – a bit of acoustic guitar or light percussion – but they're added in very sparely, and couched with a beautifully subtle wall of sound from arranger Nick Perito, who works here with a lot more understatement than on some other records. Como's vocals are very far from pop – and the album brings out his maturing style wonderfully with a spacious, soft-toned style of production. Titles include "Dindi", "Once I Loved", "Stay With Me", "How Insensitive", "The Shadow Of Your Smile", "Baia", and "Manha De Carnaval". Next is Perry Como In Italy – one of the most haunting albums we've ever heard from Perry Como – a session recorded in Italy during the mid 60s – featuring arrangements by Nick Perito, and backing vocals by the Alessandro Alessandroni Singers! The tunes include a fair bit of older Italian numbers – some sung in the language of their origin, some in English translations that we've come to know on this side of the Atlantic – and Como takes them all with a sad-tinged style that makes the album one of his moodiest ever – a record that oozes melancholy with every song, and which has a late nite, heartbreaking appeal that goes beyond even the understanding of language. The set's a great one to convey the popularity of Italian work on the American market in the 60s – and Como carries off the session even better than some of the more likely singers on the scene during the period. Titles include "Souvenir D'Italie", "Forget Domani", "Anema E Core", "One Day Is Like Another", "Arrivederci Roma", "Oh Marie", and "E Lei". Look To Your Heart is the kind of record that moves so far beyond familiar pop vocalizations, it's almost like Perry's in a universe all by himself! The words seem to just be sneaking out of the singer's voice – these mutterings that are almost to himself, which makes his readings of the tunes feel even more personal than you might expect – even amidst larger backings from Nick Perito – like Como is off to the side of the room, ruminating on love lost and life lived! That quality comes through tremendously on the eerie "Father Of Girls" – a tune that's worth the price of admission alone – and other titles include "Try To Remember", "Look To Your Heart", "In These Crazy Times", "Sunrise Sunset", and "When You're In Love". Seattle is a record that has Perry Como taking on a bit of a country tinge at times – working with Chet Atkins production that almost seems as if the singer is trying to match the Dean Martin spirit of the late 60s, right down to phrasing that feels a bit like ol Dino himself! A few other cuts have more familiar Como modes, with backings by Nick Perito – and titles include the lively title cut "Seattle", plus "Happiness Comes Happiness Goes", "Together Forever", "Sunshine Wine", "Deep In Your Heart", "Hearts Will Be Hearts", "Turnaround", and "Beady Eyed Buzzard". CD

The first album in a legendary run of vocal jazz classics on Atlantic Records – and a set that really helped Chris Connor move to a new level of expression in her music! The sound here is much richer than Connor's previous recordings for Bethlehem – and the small combo jazz backings have been replaced by fuller orchestrations by Ralph Burns – done in a cool, edgey sort of way that really pushes Chris into newly sophisticated territory! The sound's on a par with the best June Christy/Pete Rugolo collaborations on Capitol – and the group's filled with some great jazz players, including Zoot Sims, John Lewis, Milt Hinton, and Oscar Pettiford. Titles include "I Get A Kick Out Of You", "My April Heart", "He Was Good to Me", "Where Are You", and "Get Out Of Town". CD

The first album in a legendary run of vocal jazz classics on Atlantic Records – and a set that really helped Chris Connor move to a new level of expression in her music! The sound here is much richer than Connor's previous recordings for Bethlehem – and the small combo jazz backings have been replaced by fuller orchestrations by Ralph Burns – done in a cool, edgey sort of way that really pushes Chris into newly sophisticated territory! The sound's on a par with the best June Christy/Pete Rugolo collaborations on Capitol – and the group's filled with some great jazz players, including Zoot Sims, John Lewis, Milt Hinton, and Oscar Pettiford. Titles include "I Get A Kick Out Of You", "My April Heart", "He Was Good to Me", "Where Are You", and "Get Out Of Town". LP, Vinyl record album

A lovely side by Chris Connor for Atlantic, recorded not too long after her stint at Bethlehem – where she'd perfected an icy cool style of singing that's still to be matched to this day! The album features larger arrangements by Richard Wess – but still has a light jazzy feel, intimate in approach, despite the larger musical backings. Chris' voice is at once personal and removed – a razor's edge of emotion, repressing some impulses, and opening up surprisingly at other moments. Titles include "Skyscraper Blues", "The Lady Sings The Blues", "Come Rain Or Come Shine", "When Sunny Gets Blue", "Just In Time", "Baltimore Oriole", and "How Little We Know". LP, Vinyl record album

A lovely side by Chris Connor for Atlantic, recorded not too long after her stint at Bethlehem – where she'd perfected an icy cool style of singing that's still to be matched to this day! The album features larger arrangements by Richard Wess – but still has a light jazzy feel, intimate in approach, despite the larger musical backings. Chris' voice is at once personal and removed – a razor's edge of emotion, repressing some impulses, and opening up surprisingly at other moments. Titles include "Skyscraper Blues", "The Lady Sings The Blues", "Come Rain Or Come Shine", "When Sunny Gets Blue", "Just In Time", "Baltimore Oriole", and "How Little We Know". CD