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| 3.873 Ft
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| 1. | Every Day I Have the Blues
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| 2. | It's Sand Man
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| 3. | Two for the Blues
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| 4. | One O'Clock Jump
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| 5. | Little Pony
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| 6. | Down for Double
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| 7. | Fiesta in Blue
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| 8. | Down for the Count
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| 9. | Blues Backstage
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| 10. | Avenue C
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| 11. | Jumpin' at the Woodside
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| 12. | Going to Chicago Blues
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| 13. | Tickle Toe
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| 14. | Let Me See
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| 15. | Every Tub
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| 16. | Shorty George
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| 17. | Rusty Dusty Blues
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| 18. | The King
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| 19. | Swingin' the Blues
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| 20. | Lil' Darlin'
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| 21. | Doodlin' [*]
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| 22. | Every Day I Have the Blues [*]
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Jazz
It is fair to say that Lambert, Hendricks and Ross set standards in style and musical ability. The trio's contribution to jazz vocal cannot be underestimated and their vocal gymnastics dramatically changed the sound of other vocal groups. They were voted best vocal group in downbeats readers poll 5 years in a row.
Two complete albums on one! The first features a rhythm section based on Count Basie's "New Testament" band with the vocalese practitioners Dave Lambert, Jon Hendricks and Annie Ross executing the tricky lead and section work. Annie Ross is astonishing as she hits impossibly high trumpet parts with aplomb. Then on the second you have the thrilling, ultra swinging sound of the full Count Basie Orchestra plus appearances from Joe Williams. In fact there's enough words and music here to make it seem like some sort of crazy jazz opera.
Also including bonus live tracks "Doodlin" and "Everyday I Have The Blues" recorded with Count Basie.
Lambert, Hendricks & Ross
Active Decades: '50s and '60s
Born: 1957
Died: 1964
Genre: Jazz
Styles: Bop, Vocalese, Traditional Pop, Vocal Jazz, Harmony Vocal Group
The premier jazz vocal act of all time, Lambert, Hendricks & Ross revolutionized vocal music during the late '50s and early '60s by turning away from the increasingly crossover slant of the pop world to embrace the sheer musicianship inherent in vocal jazz. Applying the concepts of bop harmonies to swinging vocal music, the trio transformed dozens of instrumental jazz classics into their own songs, taking scat solos and trading off licks and riffs in precisely the same fashion of their favorite improvising musicians. Vocal arranger Dave Lambert wrote dense clusters of vocal lines for each voice that, while only distantly related, came together splendidly. Jon Hendricks wrote clever, witty lyrics to jazz standards like "Summertime," "Moanin'" and "Twisted," and Ross proved to be one of the strongest, most dexterous female voices in the history of jazz vocals. Together Lambert, Hendricks & Ross paved the way for vocal groups like Manhattan Transfer while earning respect from vocalists and jazz musicians alike.
The act grew out of apartment jam sessions by Lambert, a pioneering arranger and bop vocalist who had appeared in groups led by Gene Krupa and Buddy Stewart -- though he had also gained infamy leading a vocal choir on the disastrous "Charlie Parker with Voices" session recorded for Clef in 1953. That same year, Lambert met Jon Hendricks, who had similar vocal specialties that extended to lyrical changes. The pair debuted with a radically reworked version of "Four Brothers," which featured lyrics by Hendricks and note-for-note duplications of the original solos by Al Cohn, Zoot Sims, Stan Getz and Woody Herman. They recorded a few other sides but were unsuccessful until a chance meeting with solo vocalist Annie Ross hit paydirt.
The first LP by Lambert, Hendricks & Ross was 1957's Sing a Song of Basie. Though the trio originally intended to hire a complete vocal choir to supplement their voices, the general incompetence of the studio voices led them to multi-track their own voices. The results were excellent, incredible vocal recreations of complete solos from Basie classics like "One O'Clock Jump," "Down for Double" and "Avenue C" with added lyrics by Hendricks. The next year's follow-up, Sing Along with Basie, featured the bandleader himself and his group in a supporting role.
Perhaps realizing that multi-tracking was a bit of a gimmick, Lambert, Hendricks & Ross then recruited a straight rhythm trio and began touring and recording that way. The first studio effort, 1959's The Swingers!, represented a leap in quality and musicianship, leading to a contract with Columbia later that year. The trio recorded three albums for the label during the next two years, including a tribute to Duke Ellington.
All three had pursued separate solo projects during the trio's run. After constant touring began to wear her out, Ross left the group in 1962. Lambert and Hendricks replaced her with Yolande Bavan, and continued recording for RCA. However, it was nearly impossible to replace a soloist of Ross' caliber, and the three albums Lambert, Hendricks & Bavan recorded between 1962 and 1964 were decidely below par. The group broke up in 1964, and Lambert's death in a traffic accident just two years later quashed any hopes of a reunion. Both Hendricks and Ross continued to perform and record, with Ross doing much theater and film work as well.
--- John Bush, All Music Guide |
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