Stay There Blue Note, Chicogo: Morch 1956 Intonation and Diction Were Flawless
RECORD REVIEWS Today, her name is rapidly fading into the shadows of history. Enter Dr. Robert E. Sunenblick. His Uptown label rescues lost music JORGE ROSSY SiAY IH ERE and publishes it in CD packages with informative liner notes, noshlgic pho- tographs, and optimized sound. Southern's art was introverted and nuanced. She often talked a song, in a small, little-girl-lost voice that recalls Blossom Dearie. But Southern had real pipes, and could ascend dra- JORGE ROSSY JERI SOUTHERN matic crescendos when she chose. Her Stay There Blue Note, Chicogo: Morch 1956 intonation and diction were flawless. lorge Rossy, vibes, marimba; Mark Turner, tenor Jeri Southern, vocals, piano; Al Bruno, double bass; Torch songs were her sweet spot. Her saxophone; Peter Bernstein, guitar; Doug Weiss, Dominic "Mickey" Simonetta, drums versions of "You Better Go Now" (her bass; Al Foster, drums (CD). Uptown UPCD 2284 Robert E. Sunenblick, oniy hit), "scarlet Ribbons," and "He Pirouet PlT3096 (CD). 20I6. Jason Seizer, prod.; MD, David A. Sunenblick, prods.; Frank Holzfiend, 'Was Daniel Dettwiler, eng. DDD. eng.; Doug Benson, audio restoration. ADD. TT: 68:15 Too Good to Me" sound un- TT:51:34 adorned, almost matter-of-fact. But her PERToRMAT{cE ffi PERFORMANCE ffi sorrcs EXf,il clarity and sincerity place each song in soNrcs Ed-lIlB a special, pure, standalone domain. After several high-profile years as the Even greatjazz artists are often forgot- This album comes from a club long drummer in pianist Brad Mehldau's ten, lost to the merciless ravages of closed, whose long-deceased owner, trio,Jorge Rossy opted to become time.Jeri Southern had a brief run in Frank Holzfiend, made his own a full-time pianist himse[ and his the 1950s.
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