During a 2004 concert at the Steinway-Haus Hunter (1895-1984), and Ida Cox (1896- from Jones included having Rose trade scat- horns and strings, but arranger Burr gives the You Are Near Me), and Stanley Adams gave “Can’t We Be Friends,” by in Düsseldorf, Germany, jazz and blues singer 1967)—were full-time singers who wrote ted fours with drummer Allison Miller on “I’m present version a George Shearing flavor English lyrics and a new title and meaning George Gershwin associate Kay Swift Pamela Rose performed eight songs in a row some of their own material. And carrying in the Mood for Love” (something with his piano-vibes-guitar voicings. (Another to it in 1934, the year the Dorsey Brothers and her lyricist husband, prominent New by women composers. Although she hadn’t the tradition into the present century instrumentalists, not vocalists, usually do with Fisher-Roberts composition, “You Always Hurt Orchestra (with singer Bob Crosby) first made York banker James Paul Warburg, was first consciously planned the set that way, it with three original compositions is Rose drummers). Rose and Jones the One You Love,” it a hit. Rose takes the tune at a relaxed tempo performed in 1929 by Libby Holman in The wasn’t entirely by happenstance, as the herself. She also has launched a web handpicked the players for was a hit in 1945 for and really lets it breathe. Little Show on Broadway. Rose learned it San Francisco vocalist had long held a keen site—www.wildwomenofsong.com—filled each selection, drawing producer Jones’s late from and Louis Armstrong’s “And Then Some,” by the team of Vee interest in women songwriters, particularly with fascinating details about the women on musicians who often father, bandleader Spike classic 1956 duet recording. In Rose’s Lawnhurst and Tot Seymour, is perhaps the those of the and classic blues eras. represented on the disc. perform with Rose around Jones). lightly swinging treatment, trumpeter Mike least-known standard of the bunch, although San Francisco—pianists John Olmos offers a tip of the hat to Satchmo. Thunderous applause followed Rose’s With depth of feeling, crystalline enunciation, “Down Hearted bandleader Ozzie Nelson hit the top of the R. Burr and Tammy Hall, announcement that every tune she’d sung refined musical sensibility, and rich, inviting Blues” was written charts with it in 1935. Originally written with “Close Your Eyes,” from 1933, organist Wayne De La Cruz, was composed by a woman. The same thing alto tones, Rose offers fresh, frequently ex- and recorded by Alberta a 2/4 bounce, Burr’s piano trio provides a is perhaps the best of the many tunes and guitarists Danny Caron began happening back home in the San quisite, takes on the 11 standards presented Hunter in 1922, but it loose, ethereal groove behind Rose’s heart- written by Bernice Petkere, who in her day and Mimi Fox, among them— Francisco area. “I would say,” she explains, in Wild Women of Song. Much of was Bessie Smith who felt vocal. was known as “the Queen of Tin Pan Alley.” and out-of-towners Catingub “‘the last six songs you heard were written the musical variety that makes the album such had a massive hit with Rose's organ combo alternates between an (from Los Angeles) and Miller Lyricist is represented by by women.’ The place would go crazy. I think a rewarding listening experience stems from it that same year. Rose’s Afro-Cuban groove and 4/4 swing, much (from New York). two selections: “A Fine Romance,” people really are surprised to realize that the the mind of producer Leslie Ann Jones, one of rendition features pia- as the song itself draws on the tension written with Jerome Kern and introduced contributions of women to these songs that the most successful and respected recording The program opens with nist Hall. “She’s a singer’s between major and minor keys. by Fred Astaire in the 1936 film Swing Time, we love and revere are so strong, yet we engineers in the business, with a resumé that “I Don't Know friend,” Rose says. “Her and “I’m in the Mood for Love,” Rose’s own three compositions—“I’m don't know their names. It became a little includes work with such renowned interpreters Enough About harmonic approach is written with Jimmy McHugh and first Not Missing You” (written with cause to bring out these writers’ names and of the Great American Songbook as Rosemary You.” Written by Peggy one of a kind.” performed by Frances Langford in the 1935 Wayne De La Cruz and Danny Caron), to tell people a little bit about them.” Clooney, Michael Feinstein, and Carmen McRae, Lee and her then-husband, Another classic blues, Ida film Every Night About Eight. Rose swings “Bruised Around the Heart” as well as with many leading lights of jazz, Dave Barbour, it was Wild Women of Song, Rose’s fifth Cox’s “Wild Wom- both of them hard. (with Mimi Fox), and “If You’re So pop, rock, R&B, and women’s music. Among recorded by Lee in 1946 and album, is a collection of 14 songs by 13 en (Don’t Have the Special” (with Caron, De La Cruz, and Jones’s numerous suggestions was hiring Matt was the first of her many “My Silent Love,” by Dana Suesse different women. Songwriting was the Blues),” dates to 1924. her 20-year-old daughter Emma Dinkelspiel)— Catingub to write arrangements and play piano self-penned hits. Catingub’s (“The Girl Gershwin”) and lyricist Edward primary occupation of eight: Bernice Rose’s modern version provide intriguing insight into romantic rela- and saxophones for parts of the project. blues-bitten alto solo is one Heyman, was a hit for Ruby Newman in Petkere (1901-2000), Doris Fisher (1915- boasts a boogaloo beat and a robust trombone tionships and place Rose within the tradition of the disc’s instrumental highlights. 1932. Although attracted to the song by 2003), Dana Suesse (1909-1987), Dorothy The son of and former musical director for solo by Doug Beavers. of the women songwriters she so lovingly Billy Eckstine’s lushly orchestrated 1946 Fields (1905-1974), Kay Swift (1897-1993), the late jazz singer Mavis Rivers, Catingub had Rose was initially drawn to “That celebrates. She may not be a wild woman, but The prolific Mexican composer Maria Grever version, Rose decided to strip it to its Vee Lawnhurst (1905-1992), Tot Seymour worked with Jones and vocalist Dianne Reeves Ole Devil Called Love”— her singing and songs sure are wonderful. wrote “What a Diff’rence a Day essentials by doing it as a duet with guitarist Cause wild women don’t worry, (1889-1966), and Maria Grever (1894-1951). on the soundtrack of the 2006 motion picture melody by Doris Fisher, words by Allan Roberts— Made” as “Cuando Vuelva a tu Lado” (When Mimi Fox. —Lee Hildebrand Three— (1920-2002), Alberta Good Night, and Good Luck. Other input by Billie Holiday’s 1946 Decca recording with Wild women don’t have the blues... - Ida Cox