SPECIAL 2 WEEKS OF REVIEWS FOR MEMORIAL DAY WEEKEND;
HONOR OUR HEROES

Otis Blackwell
These Are My Songs!
Inner City Records

Ann Burton
New York State Of Mind
Inner City Records

Urszula Dudziak
Future Talk
Inner City Records

52nd Street
Scrapple To The Apple
Inner City Records
By George W. Harris

Teddi King
Sings Ira Gershwin…This Is New!
Inner City Records

Tom Lellis
…And In This Corner…
Inner City Records

Susannah McCorkle
The Music of Harry Warren
Inner City Records

Judy Roberts
Nights In Brazil
Inner City Records

Joe Lee Wilson
Secrets From The Sun
Inner City Records

Inner City Records has been putting out a major cache of re-releases by singers from the 70s and 80s. Those decades were for many the nadir for jazz vocalists, as fusion and rock overshadowed just about everything else until Diana Krall surfaced in the 90s to spark a re-interest in the genre. These discs, some of which are quite important finds, shows us the greats, near greats, were greats and ingrates during a time of baptism by fire.

Unless you are a reader of the fine print on record albums, you’ve probably never heard of singer Otis Blackwell. You’ve heard his tunes, however; back in the 50s he wrote tunes like “All Shook Up,” “Hey Little Girl,” “Great Balls Of Fire,” “Return To Sender” and “Don’t Be Cruel,” just to name a handful. Why he never decided to ply his own wares is anybody’s guess. His voice is a sort of lounge-room Elvis Presley, which explains why Elvis caught on; he WAS a white guy who sounded black. The band on this album is classic mid 70s boogie rock, and do serviceable renditions of these pieces. It’s worth the ticket just to hear the songs by the real composer.

Ann Burton is one of those singers who consistently put out great music at just the wrong time. This 1981 date, produced by vocalist Helen Merrill, no less, includes an all star band of Grady Tate/dr and Buster Williams/b and Mike Renzi/p, and they go through a varied and original collection of obscurities and standards. He r voice is mature, calm, and smooth like warmed butterscotch on vanilla ice cream, as she goes through revamped versions of “All Or Nothing At All” and “New York State Of Mind.” Most intriguing are her choices of “Never Never Land” and “Tell Me More…” which both sound intriguingly fresh. Great classic singing from someone overlooked during her prime.

Avant-gardish Polish singer Urszula Dudziak put out this 1979 disc with a den of young lions, and everyone’s in a feisty mood. John Abercrombie/g, Kenny Kirkland/p, Marcus Miller/b, Zbigniew Namyslowski/as/, Boddy Williams/dr, Calvin Brown/g, and Michal Urbaniak/v play it wild and wooley on this collection of “original” tunes. Dudziak has a style and range that makes Al Jarreau and Bobby McFerrin seem like Perry Como in comparison; tunes like “Kasia’s Dance” and “Shenkeansen” are E ticket rides, while vocal solos “Future Talk” and “Chorale For One” are tests for the temporal mandibular joint. Exciting stuff, and not for the faint of heart.

I have no idea if the band 52nd Street, or it’s vocalists, Eric Shaw and Wendy Simon, ever put out anything besides this disc, and I looked all over the internet for them. If you’re a fan of vocalese, or Lambert, Hendricks and Ross, your socks are going to be knocked off by this absolutely delicious serving of imaginative bop. They put the Ram in the Rama-dama-ding-dong on swinging versions of tunes like “Jumpin’ With Symphony Sid” and “My Favorite Things” (With modern and hip new lyrics). A pair of Bob Dorough tunes (“Love: Webster’s Definition” and “I’ve Got Just About Everything”) will get your blood flowing, as will a clever ditty “Eveybody Eats When They Come To My House.” I’m going to be playing this one over and over for a LONG time. What a treat!!!

Vocalist Teddi King put out a subdued duo recording with pianist Dave McKenna back in 1977. Her pixie voice is filled with pathos and vibrato, and she convincingly includes to usually omitted intros to tunes like “How Long Has This Been Going On” and “But Not For Me.” The mood is relaxed, and McKenna perfectly supports the chanteuse on the tunes, as well as performs a handful of cabaret style solo pieces on “I Can’t Get Started” and “Soon,” among others. Definitely for the intimate apparel department.

Susannah McCorkle was a tragic figure who was just simply ahead of her time in that she put out records from the 70s on that were straight and unfiltered treatments of the Great American Songbook. The only problem was that the musical world was not ready for it when she was putting out first-rate discs like this beaut from (mostly) 1976. Supported by a swinging team of Keith Ingham/p, Bruce Turner/as-cl, Len Skeat/b and Johnny Richardson/dr, McCorkle’s perkily swinging voice brightens up standards like “Lullabye Of Broadway,” but also uncovers obscure gems like the exotically enticing “The Girlfriend of The Whirling Dervish,” which includes some wonderful clarinet work by Turner. A great disc from and undeservedly ignored singer.

Judy Roberts still puts out releases, and they are all of high quality; this 1981 recording one of her earliest. The band is definitely still in the 70s groove, consisting of her own hands on the digital keyboards, as well as supported by the electric bass/guitar (Michael Fiorino/Brian Torr/Neal Seroka), and contemporary drums and percussion )David Derge/Tony Carpenter/Geraldo De Oliveira). Her voice is light and nimble, and she goes through some originals and jazz compositions with a disco/samba feel, as on Ivan Lins’ “Common Ground” and Stevie Wonder’s “I Can’t Help It.” Pleasant fare for those more attuned to the pop than jazz vein.

OK, now, where’s this guy Tom Lellis been hiding? I’ve never even HEARD of this guy before this disc came my way. He’s still putting out stuff, and if it’s anything even remotely similar to this rookie 79 disc , I am THERE! Sort of a mix between Mark Murphy and Elliot Lurie of Looking Glass (singer of the 70s hit “Brandy”-do you know how hard it was for me to find that out? It drove me CRAZY!!!) Lellis is also and advanced keyboard player, and goes toe-to-toe with his band of Eddie Gomez/b, Jack DeJohnette/dr, Skip Hadden/perc, and Jeremy Steig/fl (I told you that you’d love this disc!) on adventurous tunes like Cole Porter’s “Begin The Beguine” and McCoy Tyner’s “Man From Tanganyika.” Lellis’ own compositions are mature works as well, while his vocals on Miles Davis’ “ESP,” and Chick Corea’s which features Bill Dobbins on piano, are adventurous, modern yet completely accessible. Find this guy before he becomes a tragic footnote in jazz lore! Wow!!!!

Running a close second in pleasant surprise is Joe Lee Wilson, who is also still on the jazz vocals scene, although usually performing in Europe. This 1976 recording displays a full voiced baritone with a real free spirit to his singing. The music has that modal/Coltrane lilt, and is charged with emotion and joy. His own compositions like “Come And See.” And “Dedicated To My Father” are wondrous works, while his reading of “Over The Rainbow and Coltrane’s “Mode For Trane” are rich and rewarding. There are so few male vocalists around that are even 1/10th original, so it’s always important to point out when one gets found Look for this guy.