La grande époque du jazz vocal: 1923-1945

They Say...

Review by arwulf arwulf, All Music Guide

This excellent double CD of jazz and blues vocals recorded between 1923 and 1945 has been presented in English as The Prewar Vocal Jazz Story. This phrase was derived from the secondary title printed in French across the cover. The main title, which could be translated as "The Golden Era of Vocal Jazz," would be more accurate, as Avant-Guerre refers in this case to the time period preceding the Second World War. Seeing as this conflict began in September of 1939 and the U.S. entered the fray in late 1941, "Prewar" was an unfortunate choice of terminology for a collection that extends well into 1945, the year the war ended. Thank goodness this discrepancy has little to do with the actual music contained in this carefully presented anthology. Laid out in exacting chronological order, the selections trace a year-by-year trajectory spanning nearly two and a half decades. Meticulous observers will note that two years -- 1924 and 1941 -- are left out of the loop, while 1939 and 1945 are heavily represented. More importantly there are a handful of singers who probably should have been included but weren't. Frankie "Half-Pint" Jaxon and Josephine Baker belong in this set, as do Henry "Red" Allen and the lovely Evelyn Preer. Nevertheless, the vocalists who do appear are well chosen to represent the evolution of jazz and blues singing during this time period. The balance of the 1920s are roundly represented by a campy Ethel Waters, a rock-solid Bessie Smith, a robust Eva Taylor, a frantic Jelly Roll Morton, and the exquisite Adelaide Hall. Rather than singing, Ivy Smith cajoles and shouts at pianist Cow Cow Davenport on a smoky stomp recorded in 1928. Louis Armstrong's powerful rendition of the "St. Louis Blues" is this compilation's only example from the tumultuous year 1929. The next decade opens pleasantly as banjoist Will Johnson is heard singing with Red Allen's Orchestra and the Boswell Sisters merrily emulate Armstrong's 1926 recording of Boyd Atkins' "Heebie Jeebies." Other highlights from the 1930s are Steve Washington with the Washboard Rhythm Kings, the Spirits of Rhythm with Leo "Scat" Watson, the majestic persona of Billie Holiday, the organic wonderment of Joe Turner, and a yodeling, fiddling Stuff Smith. The effervescent "Dream Man" is definitely one of the best records ever created by Fats Waller & His Rhythm. The lyrics to "Utt-Da-Zay" imply that the phrase is of unknown origin, but it obviously comes from Yiddish. Strangely enough, this is the only song that is performed twice, first by a rather square-sounding group called the Quintones (backed by Barney Bigard & His Jazzopators) and then in a darker, more dramatic manner by Cab Calloway. The transition into the 1940s -- and wartime -- is represented by tougher, hipper singers: Slim Gaillard, Roy Eldridge, Hot Lips Page, and bassist Wilson Myers, who revisits an old Butterbeans & Susie routine in the company of Sidney Bechet. The collection culminates with some of the greatest vocalists of 1945, artists who would profoundly affect popular music for years to come: Eddie "Cleanhead" Vinson, Sarah Vaughan, Dinah Washington, Louis Jordan, and Nat King Cole. Here then is a terrific core sample of landmark recordings. While a certain amount of pleasant crooning occurs here and there, the dominant vibe is strongly steeped, hot, and swinging.