The complete works of Helen Carr – one of the best female jazz singers to record for the Bethlehem label, and an icy-voiced siren with a wonderful style. The set features 20 tracks in all – lifted from one full LP and a shorter 10" set – and all cuts feature small group backing, with players like Howard Roberts, Don Fagerquist, Max Bennett, Red Mitchell, and Charlie Mariano, whose icy alto really adds a new dimension to the set. The CD's worth it alone for Carr's classic reading of "Down In The Depths Of The 90th Floor" – but also includes many other great tracks, like "Lonely Street", "Do I Worry", "Not Mine", "I Don't Want To Cry Anymore", and "Memory Of The Rain". CD

Features backing by Ralph Sharon's Group (with Herbie Mann on flute and JJ Johnson & Kai Winding on trombones), Mat Mathews' Quartet (with Herbie Mann on tenor and flute), Bobby Troup's Quintet (with Buddy Collette on flute, Howard Roberts on guitar, and Bob Enevoldsen on bass), and Vinnie Burke's Quartet (with Art Mardigan on drums). CD

Music from Johnny Hartman, Nina Simone, Chris Connor, Mel Torme, Betty Roche, Carmen McRae, Joe Derise, Helen Carr, Paula Castle, Audrey Morris & the Pat Moran Quartet. CD

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

One of the darkest vocal jazz albums of the 50s – packaged with a great title and cover image that features a lone lit window in a New York skyscraper! Helen's got some incredible backing on the record – a small combo that includes Charlie Mariano on alto sax, Don Fagerquist on trumpet, and Donn Trenner on piano – all gently sliding in behind Carr's blue vocals in a way that's similar to some of the Chris Connor work on Bethlehem from the same time. Titles include a near-perfect reading of "Down In The Depths On The 90th Floor", plus "Not Mine", "Tulip Or Turnip", "Moments Like This", "I'm Glad There Is You", and "Memory Of The Rain". CD

An excellent CD that brings together 24 tracks lifted from some of Chris' lesser-known recordings for the Bethlehem label – including some tunes from eps and early 10" LPs. Backing on the set is by The Ellis Larkins Trio, The Vinnie Burke Quartet, The Ralph Sharon combo, and Sy Oliver's orchestra – and the CD features tracks that include "All about Ronnie", "In Other Words", "A Good Man Is A Seldom Thing", "I Hear Music", "Out Of This World", and "Lush Life" – in both original and alternate versions. CD

An excellent LP that brings together a dozen tracks from some of Chris' lesser-known recordings for the Bethlehem label – originally released as eps and early 10" LPs. Backing on the set is by The Ellis Larkins Trio, The Vinnie Burke Quartet, The Ralph Sharon combo, and Sy Oliver's orchestra – and the set features tracks that include "All About Ronnie", "In Other Words", "A Good Man Is A Seldom Thing", "I Hear Music", "Out Of This World", and "Lush Life". LP, Vinyl record album

A great set of tracks that represents some of Chris Connor's first recordings as a solo act – culled from earlier ep and 10" releases, and issued here on a full LP with a total of 15 tracks. Backing is by three groups – the Ellis Larkin Trio, Vinnie Burke's Quartet, and Sy Oliver's Orchestra – and Chris is in fine fine form, vocalizing with that icy tone we love so much, a bit sad, and a bit mellow, but always heartfelt, without the forced emotion of other singers of her generation. Titles include "Stella By Starlight", "Goodbye", "Spring Is Here", "Ask Me", "Lullaby Of Birdland", "Try A Little Tenderness", and "He's Coming Home". CD

A great set of tracks that represents some of Chris Connor's first recordings as a solo act – culled from earlier ep and 10" releases, and issued here on a full LP with a total of 14 tracks. Backing is by three groups – the Ellis Larkin Trio, Vinnie Burke's Quartet, and Sy Oliver's Orchestra – and Chris is in fine fine form, vocalizing with that icy tone we love so much, a bit sad, and a bit mellow, but always heartfelt, without the forced emotion of other singers of her generation. Titles include "Stella By Starlight", "Goodbye", "Spring Is Here", "Ask Me", "Lullaby Of Birdland", "Try A Little Tenderness", and "He's Coming Home". LP, Vinyl record album

A good collection of Chris' early work for Bethlehem records – not exactly the "rich sound" implied in the title, but as good as it gets for icy cool jazz vocals! The album features tracks that include backing by the Ralph Sharon combo, the Ellis Larkins trio, and the Vinnie Burke quartet – and the set features 12 tracks that run from mellow to swinging, with titles that include "A Good Man Is A Seldom Thing", "In Other Words", "Lush Life", "Come Back To Sorrento", "All About Ronnie", "Miser's Serenade", and "All About Ronnie". LP, Vinyl record album

Joe Derise was great male vocalist from the 50s – one who only recorded a few sides under his own name, but really left his mark on music! Joe's got an easily swinging style that's a bit in the mode of other 50s male singers, like Bobby Troup or Jackie Paris – but he's also a bit more fragile, in that intimate style used more by female singers like Chris Connor or June Christy – not nearly as icy, but with a sense of care that really comes through strongly in this rare Bethlehem release. This album features Joe working with a trio that includes Osie Johnson on drums and Milt Hinton on bass – and Joe accompanies himself on piano, gently coaxing warm feeling out of tunes that include "Maybe", "Comes Love", "My Romance", "It Might As Well Be Spring", and "How High The Moon". CD

An album as incredible as its bulls-eye cover – the first record ever from a young Bob Dorough – and easily one of his most swinging sessions! The style here is a bit straighter jazz than on some of Bob's later work – vocalese inspired by Jon Hendricks, King Pleasure, Eddie Jefferson, and others – recorded with a small combo that includes Jack Hitchcock on vibes, Warren Fitzgerald on trumpet, Jerry Segal on drums, and Bob's longtime partner Bill Takas on bass. Many of the tunes are vocalized versions of bop numbers – done with a nicely quirky style that shows that the mad Dorough touch was already in place during these early years – on titles that include "It Could Happen To You", "Polka Dots & Moonbeams", "Baltimore Oriole", "Yardbird Suite", "Devil May Care", and "Ow" – plus his great original "You're The Dangerous Type"! CD

An album as incredible as its bulls-eye cover – the first record ever from a young Bob Dorough – and easily one of his most swinging sessions! The style here is a bit straighter jazz than on some of Bob's later work – vocalese inspired by Jon Hendricks, King Pleasure, Eddie Jefferson, and others – recorded with a small combo that includes Jack Hitchcock on vibes, Warren Fitzgerald on trumpet, Jerry Segal on drums, and Bob's longtime partner Bill Takas on bass. Many of the tunes are vocalized versions of bop numbers – done with a nicely quirky style that shows that the mad Dorough touch was already in place during these early years – on titles that include "It Could Happen To You", "Polka Dots & Moonbeams", "Baltimore Oriole", "Yardbird Suite", "Devil May Care", and "Ow" – plus his great original "You're The Dangerous Type"! Also features a bonus alternate take of "Yardbird Suite". CD

Although the world always remembers Johnny Hartman best for his Impulse recordings with Coltrane, we've always dug some of his earlier stuff – like this album – because the sound's a bit rawer, and the style's got more of a kick! The magical Hartman voice is presented in two great settings – one a small orchestra directed by Frank Hunter, the other an even cooler group headed by Ernie Wilkins – with great horn work from players who include Anthony Ortega, Howard McGhee, Jerome Richardson, and Lucky Thompson! The tracks are familiar, but done with that dusky Hartman style – and titles include "I Could Make You Care", "The Lamp Is Low", "Stella By Starlight", "All Of Me", and a very haunting rendition of "The End Of A Love Affair". CD

A nice little album from Johnny Hartman – recorded back in the mid 50s for Bethlehem, in the years before he recorded his more famous dates for the Impulse label! The set has Johnny singing nice and mellow – with backing by a group led by pianist Ralph Sharon, one of Tony Bennett's longtime accompanists, with added trumpet by Howard McGhee – which creates some nicely moody interplay in the relatively spare setting of the session. Hartman's vocals are a dream, as always – and tracks include "What Is There To Say", "Moonlight In Vermont", "I'll Remember April", "Down In The Depths", "I Fall In Love Too Easily", and "We'll Be Together Again". CD

A nice little album from Johnny Hartman – recorded back in the mid 50s for Bethlehem, in the years before he recorded his more famous dates for the Impulse label! The set has Johnny singing nice and mellow – with backing by a group led by pianist Ralph Sharon, one of Tony Bennett's longtime accompanists, with added trumpet by Howard McGhee – which creates some nicely moody interplay in the relatively spare setting of the session. Hartman's vocals are a dream, as always – and tracks include "What Is There To Say", "Moonlight In Vermont", "I'll Remember April", "Down In The Depths", "I Fall In Love Too Easily", and "We'll Be Together Again". LP, Vinyl record album

A nice little album from Johnny Hartman – recorded back in the mid 50s for Bethlehem, in the years before he recorded his more famous dates for the Impulse label! The set has Johnny singing nice and mellow – with backing by a group led by pianist Ralph Sharon, one of Tony Bennett's longtime accompanists, with added trumpet by Howard McGhee – which creates some nicely moody interplay in the relatively spare setting of the session. Hartman's vocals are a dream, as always – and tracks include "What Is There To Say", "Moonlight In Vermont", "I'll Remember April", "Down In The Depths", "I Fall In Love Too Easily", and "We'll Be Together Again". CD features lots of bonus tracks – 6 more numbers that are alternate takes of songs on the set! CD

Great early work from Carmen McRae – small combo, jazzy, and a nicely different set than some of her other work of the 50s! Backings are by two groups – one headed by accordionist Mat Mathews, the other by saxophonist Tony Scott – both quartets, and both of them working with a nicely lean sense of swing that seems to bring the same out of Carmen! The album's not as dark or moody as you might expect from these years – and that's a great thing to us, because it illuminates another side of Carmen's talents that don't always get as much exposure. Titles include "Easy To Love", "If I'm Lucky", "Tip Toe Gently", "Old Devil Moon", "Misery", and "Too Much In Love To Care". CD also features 9 more bonus tracks – including alternates of album tracks by McRae – plus 5 more by Julie London, pulled from the split Bethlehem Girl Friends album! CD

One of the coolest jazz vocal albums you'll ever find! Frank Minion sings this suite of tracks billed as an "Introduction To Black Opium Street", and he puts the music together with little recitations in between the tracks, so that the whole thing sounds like one of the great Langston Hughes jazz albums from the same period. Minion's singing voice is in the same rich-toned tradition as singers like Johnny Hartman, but his speaking voice is raw and very soulful – and he gets more than able backing by a great set of players that includes Tommy Flanagan on piano, Roland Alexander on tenor and flute, Dannie Richmond on drums, and Paul Chambers on bass. The whole album sounds more like a rare session on Candid than it does the usual stuff on Bethlehem – and it's a surprisingly hip album that still holds up well over the years! Titles include "Oddsville USA", "Bongo Blues", "Autobiography Of A Musician", "Watermelon", "Flamenco Sketches", "Laughing Boy", and "Later". CD

One of the coolest jazz vocal albums you'll ever find! Frank Minion sings this suite of tracks billed as an "Introduction To Black Opium Street", and he puts the music together with little recitations in between the tracks, so that the whole thing sounds like one of the great Langston Hughes jazz albums from the same period. Minion's singing voice is in the same rich-toned tradition as singers like Johnny Hartman, but his speaking voice is raw and very soulful – and he gets more than able backing by a great set of players that includes Tommy Flanagan on piano, Roland Alexander on tenor and flute, Dannie Richmond on drums, and Paul Chambers on bass. The whole album sounds more like a rare session on Candid than it does the usual stuff on Bethlehem – and it's a surprisingly hip album that still holds up well over the years! Titles include "Oddsville USA", "Bongo Blues", "Autobiography Of A Musician", "Watermelon", "Flamenco Sketches", "Laughing Boy", and "Later". CD

A rare and exceptional vocal jazz LP – cut by the obscure Marilyn Moore, then the wife of Al Cohn – who's pictured in profile on the cover of the record! Marilyn's got a style that's somewhat raspy – clearly inspired by Billie Holiday at times, and not what you'd expect in comparison to some of the cooler, clearer female singers who worked on Bethlehem in the 50s. The backing is in a small group mode – with Cohn on tenor and bass clarinet, plus Don Abney on piano, Joe Wilder on trumpet, Barry Galbraith on guitar, Milt Hinton on bass, and Osie Johnson on drums – all in a nicely relaxed mode to fit the mellow, moody sound of the record. There's a nice sense of darkness throughout – a bit more edge than you might expect – and titles include "Trouble Is A Man", "Ill Wind", "Born To Blow The Blues", "Lover Come Back To Me", and "You're Driving Me Crazy". CD

A rare and exceptional vocal jazz LP – cut by the obscure Marilyn Moore, then the wife of Al Cohn – who's pictured in profile on the cover of the record! Marilyn's got a style that's somewhat raspy – clearly inspired by Billie Holiday at times, and not what you'd expect in comparison to some of the cooler, clearer female singers who worked on Bethlehem in the 50s. The backing is in a small group mode – with Cohn on tenor and bass clarinet, plus Don Abney on piano, Joe Wilder on trumpet, Barry Galbraith on guitar, Milt Hinton on bass, and Osie Johnson on drums – all in a nicely relaxed mode to fit the mellow, moody sound of the record. There's a nice sense of darkness throughout – a bit more edge than you might expect – and titles include "Trouble Is A Man", "Ill Wind", "Born To Blow The Blues", "Lover Come Back To Me", and "You're Driving Me Crazy". CD

Really lovely work from Pat Moran – leader of one of the grooviest groups of the 50s! The Pat Moran Quartet were unique in that they were both a jazz combo and a harmony vocal group – one that mixed two male voices and two female voices in a nicely swinging way that has plenty of echoes of the Hi Los or Four Freshmen from the time! Pat plays piano and Bev Kelly's the other female voice in the group – blended nicely with the voice and bass of John Doling and vocals and drums of Johnny Whited. Tracks are often familiar Bethlehem jazz numbers, but they're given a really groovy twist in this setting – and although the group only recorded 2 albums, we love them both to death! Titles include "Somebody Loves Me", "Sunday Kind Of Love", "Gone With The Wind", and "Have You Met Miss Jones". 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

A sweet little session of 50s vocal jazz – equally great not just for the singing by Joy Byran, but also for the arrangements by pianist Marty Paich! Paich's captured here at a great early point scoring for singers – and he gives Joy the same fluid jazzy approach that he used on the best Bethlehem albums by Mel Torme – a great thing for the singer, as it really makes the album sparkle a bit more than it might on its own. Joy's a pretty decent singer overall – with a range that's surprisingly deep, and a delivery that's best on the lighter, more sprightly tunes on the session – which are the sort that Paich does his best work with. Players include Bob Enevoldsen, Herb Geller, and Jack Sheldon – and titles include "You're My Everything", "My Shining Hour", "Round Midnight", "My Heart Stood Still", "I Could Write A Book", and "What Is There To Say". CD

Chris' Craft is a great one here – beautifully simple and straightforward jazz vocals, served up at a level that few other singers can match! The album's one of our favorites from Connor's classic years with Atlantic – as it's got a mellow, moody approach that's filled with the darker tones that first caught our ears on Chris' earliest recordings for Bethlehem. Instrumentation here is mostly small combo – arranged by Stan Free, and featuring Free on piano, Bobby Jaspar on flute, Mundell Lowe on guitar, George Duvivier on bass, and Ed Shaughnessy on drums. Titles include "Be A Clown", "Be My All", "Good For Nothin", "Moonlight In Vermont", "The Night We Called It A Day", "Lover Man", and "On The First Warm Day". CD

Chris' Craft is a great one here – beautifully simple and straightforward jazz vocals, served up at a level that few other singers can match! The album's one of our favorites from Connor's classic years with Atlantic – as it's got a mellow, moody approach that's filled with the darker tones that first caught our ears on Chris' earliest recordings for Bethlehem. Instrumentation here is mostly small combo – arranged by Stan Free, and featuring Free on piano, Bobby Jaspar on flute, Mundell Lowe on guitar, George Duvivier on bass, and Ed Shaughnessy on drums. Titles include "Be A Clown", "Be My All", "Good For Nothin", "Moonlight In Vermont", "The Night We Called It A Day", "Lover Man", and "On The First Warm Day". LP, Vinyl record album

A nice little live set from Chris – recorded at the Village Vanguard with a group that includes Kenny Burrell on guitar, Eddie De Haas on bass, Bill Rubenstein on piano, and Lex Humphries on drums. The setting of the album is similar to some of Chris' work at Bethlehem – very small combo and jazzy, save for the fact that there's a bit more "room" in the recording than on the very close-miked Bethlehem sessions. The approach is a great one to open up another new side of Connor's talents – and the album has a bit tighter feel than Chris' other live album from the same period. Titles include "Round Midnight", "All About Ronnie", "Fine & Dandy", "Misty", "Senor Blues", and "Angel Eyes". LP, Vinyl record album

They got the "jazz date" right in the title on this one – as Chris Connor works here with some exceptional small combo backing – all in a mode that almost takes her back to the earliest sound of her first few records on Bethlehem! Ralph Sharon's the maestro here – handling all the arrangements for a few small combos with players who include Oscar Pettiford on bass, Sam Most on flute, Eddie Costa on vibes, Joe Puma on guitar, and Lucky Thompson and Al Cohn on tenor – all modern-minded players who turn out to be a really great fit for Connor on the date. A few numbers even feature added Latin percussion from Mongo Santamaria – and titles include "All I Need Is You", "Driftwood", "Fancy Free", "It Only Happens When I Dance With You", and "Lonely Town". CD features 2 bonus tracks – "Misty" and "Senor Blues". CD

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 wonderful Holiday album that's stayed fresh for years – a date that was maybe done as a seasonal one-off for singer Ella Fitzgerald, but one that's gone on to become one of her best-selling records of all time! Ella's got a perfect style to interpret these numbers – upbeat and swinging, very much as promised in the title – with a quality that makes the tunes move, and avoids some of the too-blue and more melancholy modes that can sometimes get in the way of making a Christmas jazz vocal album work this well! Fitzgerald has great arrangements here – working with Frank DeVol and Russ Garcia – on a set of lightly jazzy versions of Christmas favorites like "Sleigh Ride", "Jingle Bells", "Winter Wonderland", "White Christmas", "Frosty The Snowman", and one of the best versions of "What Are You Doing New Years Eve" ever recorded! Plus, this 2LP set has a full album of bonus tracks – titles that include "Christmas Island", "We Three Kings/Little Town Of Bethlehem", "The Secret Of Christmas", "Holiday In Harlem", and "Santa Claus Got Stuck In My Chimney" – plus duets with Louis Armstrong on "Gee Baby Ain't I Good To You" and "I've Got My Love To Keep Me Warm" – and with Louis Jordan on "Baby It's Cold Outside". (Holiday Music, Vocalists) LP, Vinyl record album

One of the rarest records on the Mode label, and one of the few we've ever seen from this obscure west coast vocalist! The record features Johnny singing with some great LA jazz backing – an octet that features Herb Geller, Marty Paich, Jack Sheldon, Ronnie Lang, Mel Lewis, and Bob Enevoldsen. In fact, the group's so great that Johnny's vocals sometimes have trouble keeping up with the perfection – but that's also part of the charm of the set, which feels like some of the more obscure vocal material recorded for Bethlehem at the same time: nice and honest, with the kind of intimate club feel you'd get from some local vocal hero in a small city nightclub. Titles include "Nobody Else But me", "I Love You", "Love Me Now", "Boys & Girls Like You & Me", and "Star Eyes". CD

The first Riverside album by Bev Kelly – an obscure ice-blond singer from the late 50s, with a sound that's much more in keeping with some of the vocalists on the Bethlehem label, than the few singers who cut sides for Riverside. Bev's got the great fortune to be working here with Jimmy Jones, who's done some great work for Sarah Vaughn over the years – and the small group backing on the album includes strong players like Kenny Burrell, Jerome Richardson, Milt Hinton, Roy Haynes, and Jones himself. Titles include "My Ship", "Lonelyville", "Lost April", "Love Look Away", "Thursday's Child", "Love Locked Out", and "Gloomy Sunday". A nice sad one – in case you couldn't guess by the titles! CD

A really dark little album of vocal jazz from 50s singer Barbara Lea – recorded here with small combo backing, and a strange sound that's a fair bit different than most other efforts of this type from the time! At one level, there's definitely a leaner 50s vocal jazz approach going on – similar to work on Bethlehem – but Barbara also serves things up with some odd notes of nostalgia and sentimentality, echoing earlier eras not in the style of the music, but almost in a sense of sadness and wistfulness that comes through in her vocals. The style's quite a change from the iciness of other postwar chanteuses – but it's also not as overly emotional as those from other eras either. Players in the groups include Dick Cary on piano, Jimmy Raney on guitar, Johnny Windhurst on trumpet, and Jimmy Lyons on piano. Titles include "Will I Find My Love Today", "Sleep Peaceful Mr Used To Be", "Am I In Love", "Autumn Leaves", "We Could Make Such Beautiful Music Together", and "More Than You Know". CD

A really dark little album of vocal jazz from 50s singer Barbara Lea – recorded here with small combo backing, and a strange sound that's a fair bit different than most other efforts of this type from the time! At one level, there's definitely a leaner 50s vocal jazz approach going on – similar to work on Bethlehem – but Barbara also serves things up with some odd notes of nostalgia and sentimentality, echoing earlier eras not in the style of the music, but almost in a sense of sadness and wistfulness that comes through in her vocals. The style's quite a change from the iciness of other postwar chanteuses – but it's also not as overly emotional as those from other eras either. Players in the groups include Dick Cary on piano, Jimmy Raney on guitar, Johnny Windhurst on trumpet, and Jimmy Lyons on piano. Titles include "Will I Find My Love Today", "Sleep Peaceful Mr Used To Be", "Am I In Love", "Autumn Leaves", "We Could Make Such Beautiful Music Together", and "More Than You Know". LP, Vinyl record album

A pivotal album in the career of Peggy Lee, and one that marked her turning from a singer of pop and swing material, to a sensitive interpreter of jazz material. The album's one of the best-ever by Peggy, and features the kind of material that's not easy to find amidst the bulk of her pop-oriented work – a moving set of ballads and torchy numbers, recorded in small-combo fashion, in a style that's similar to some of Chris Connor's later Bethlehem work. The combo includes Cootie Chesterfield on trumpet, Jimmy Rowles on piano, Max Wayne on bass, and Ed Shaughnessy on drums. A real treasure – with titles like "A Woman Alone With The Blues", "Love Me Or Leave Me", "Easy Living", and "Black Coffee". This reissue features all 12 tracks from the full-length LP. CD

A pivotal album in the career of Peggy Lee, and one that marked her turning from a singer of pop and swing material, to a sensitive interpreter of jazz material. The album's one of the best-ever by Peggy, and features the kind of material that's not easy to find amidst the bulk of her pop-oriented work – a moving set of ballads and torchy numbers, recorded in small-combo fashion, in a style that's similar to some of Chris Connor's later Bethlehem work. The combo includes Cootie Chesterfield on trumpet, Jimmy Rowles on piano, Max Wayne on bass, and Ed Shaughnessy on drums. A real treasure – with titles like "A Woman Alone With The Blues", "Love Me Or Leave Me", "Easy Living", and "Black Coffee". This reissue features all 12 tracks from the full-length LP. CD

Brilliant work by Peggy Lee – very different than most of her later more pop-oriented recordings! Peggy signed to Decca as a solo act right after working with bigger bands in the 40s, and her recordings for the label are wonderful – featuring many ballads and torchy numbers, recorded in small-combo fashion, in a style that's similar to some of Chris Connor's later Bethlehem work, plus some larger arrangements that push her even further, and which move into a wealth of interesting styles that show her to be an incredibly talented vocalist. The package features a total of 46 tracks in all – and tracks include "Black Coffee", "Lover", "You Go To My Head", "Let Me Go Lover", "Joey Joey Joey", "My Old Flame", "Street Of Dreams", "Where Flamingos Fly", "Johnny Guitar", "Sisters", "Bouquet Of Blues", "Love Letters", and "Sans Souci". CD

Wonderfully spare early jazz sides by Peggy, and the kind of material that's not easy to find amidst the bulk of her pop-oriented work. The album's a moving set of ballads and torchy numbers, recorded in small-combo fashion, in a style that's similar to some of Chris Connor's later Bethlehem work. The combo includes Cootie Chesterfield on trumpet, Jimmy Rowles on piano, Max Wayne on bass, and Ed Shaughnessy on drums. A real treasure – with titles like "A Woman Alone With The Blues", "Love Me Or Leave Me", "Easy Living", and "Black Coffee". LP, Vinyl record album

Icy brilliance from a young Helen Merrill – The Nearness Of You – a record that's easily the Mercury equivalent of June Christy's classic work on Capitol or Chris Connor's classics for Bethlehem! Helen's working here with small combo backings on all tracks – carved out with players who include Bobby Jaspar, Bill Evans, Oscar Pettiford, and George Russell – all swinging gently alongside the vocals, but also taking care to shade things in with some of the darker, bluer colors that always worked best for Merrill – and which made her voice echo with a depth that few other singers could match! Titles include "When The Sun Comes Out", "I Remember You", "Summertime", "Let Me Love You", and "All Of You". You've Got A Date With The Blues – maybe our favorite album ever from Merrill – certainly from the early days – and a unique outing cut for MGM's excellent Metrojazz label! The set's got a more laidback sound than Merrill's previous records – and a definite bluesy undercurrent too – one that comes through strongly in the piano and arrangements of Jimmy Jones, and in the tremendous tenor work from Frank Wess – whose playing on the record gives the set a soulful quality we're not used to hearing with Helen! Tunes all follow the theme of the title – but are done in really inventive ways, especially when Wess gets a chance to solo – and titles include "Blues In My Heart", "The Blues", "The Thrill Is Gone", "You've Got A Date With The Blues", "The Meaning Of The Blues", and "Vous M'Ebloussez". CD

A sweet and mellow session of vocals from singer Ruth Price – very nicely matched here with backings by the quartet of guitarist Johnny Smith! The album's unusual for Smith in that his group also includes the vibes of John Rae – a player who brings in some added chromatic range to the album, and manages to match Johnny's tone nicely! Ruth herself is a nicely laidback singer who works perfectly with the Smith approach – never too dramatic or overly emotional, and with a cool tone that slides in nicely alongside the guitar and vibes. The feel's a bit like some of Chris Connor's work on Bethlehem, but a bit warmer – and titles include "I'm Nobody's Baby", "Goodbye", "Run Little Rain Drop Run", "Back In Your Own Back Yard", "It Never Entered My Mind", "Wonderful Guy", "Sleeping Bee", and "Wonderful Guy". CD

An obscure little set, but a great one too – the standout album from singer Toni Lee Scott, recorded with small combo backing that features Gerald Wiggins on piano and Howard Roberts on guitar! The style of the set is often like some of the work on the Mode or Bethlehem label in the late 50s – moody, intimate, and done with a really relaxed feel that's a great contrast to some of the more mainstream vocalists of the time. Toni's voice is beautiful throughout – emotive, but never overdone – and the choice of material is great too, possibly due to the fact that Tommy Wolf (one of our favorite songwriters) had a hand in producing the set! Titles include "It Couldn't Happen To A Nicer Guy", "My Heart Stood Still", "Where's The Boy I Saved For A Rainy Day", "What Now My Love", "Ten Cents A Dance", and "Something Cool". CD

Frank Sinatra's first run of Christmas work – material recorded for Columbia Records in the late 40s, but quite similar to his better-known Holiday sides for Capitol in the 50s! As with that work, the style here is quite respectful of the spirit of the season – more reverent than playful, although always with an undercurrent of sadness that makes the tunes especially nice – that Christmas longing that would show up in the best Holiday records, which Sinatra always seemed to get. Heck, even the version of "Jingle Bells" sounds a bit melancholy – and pretty darn nice, too – next to tunes that include "Christmas Dreaming", "Winter Wonderland", "Let It Snow", "Santa Claus Is Comin To Town", and "White Christmas" – plus a medley of "O Little Town Of Bethlehem/Joy To The World/White Christmas", which begins with a cool spoken introduction. (Holiday Music, Vocalists) CD