By Jim Santella

We may not all sound terrific when singing in the shower, but it’s something that comes naturally and to which everyone can relate. So, deciding which singers we enjoy and which ones we’d rather not spend time with comes to us as simply as picking ice cream: handled quickly and getting those opinions readjusted from time to time. Feelings run strong with respect to singers because we’ve heard so many in our lifetimes.

Shirley Witherspoon’s Magic & Love (Hot Springs Records) comes from the heart. She’s spent a lot of years with this music and knows how to relate. No doubt, her six grandchildren have come to love that weathered voice like no other. Nobody sounds quite like Shirley Witherspoon. Depending on the song and its inferred overhead, the singer can remind you of Billie Holiday one moment and Marlene Dietrich the next. This is what happens between "Tain’t Nobody’s Business if I Do" and the classic Kurt Weill/Ira Gershwin "My Ship." Witherspoon is best when belting out the blues, singing from experience, and romping with a swing classic such as "Do Nothing ‘Til You Hear from Me." During 1969-70 she toured and performed with Duke Ellington and his Orchestra. On this, her 3rd album, a piano trio with Kenny Werner provides the accompaniment. Toots Thielemans guests on "It Had to be You" and "My Ship." Jimmy Heath’s tenor saxophone graces "Tain’t Nobody’s Business if I Do" and "Night Train Blues." Witherspoon adds trumpeter Gene Adams and tenor saxophonist Ronny Loew to "Mama Treat Your Daughter Mean" and captures a characteristic blues mood. Wah-wah trumpet moans, a lively drum break, and spontaneous scat singing add up to a good time. The sentimental "As Time Goes By," on the other hand, explores the expressive nature of ballad singing. Bassist Gordon Johnson and Witherspoon share the kind of expressiveness for which we remember Billie Holiday. A thirty-plus year singing career has provided the experience that Shirley Witherspoon has to offer on this don’t-miss album.

Martha Lorin tells the stories with an easy air on Come Walk With Me (Southport). Interpreting the American popular songbook alongside classic jazz standards, the New York chanteuse shares her third solo release with guest veteran artists Fareed Haque, Johnny Frigo, Von Freeman and others. Preferring smaller intimate ensembles, Lorin is supported quite capably by pianist Miles Black, bassist Eddie de Haas and drummer Leon Joyce. With tenor saxophonist Freeman and guitarist Dave Onderdonk for "On Green Dolphin Street," the singer carries a traditional air while swinging with enthusiasm. Freeman’s smooth experienced delivery is a perfect match for her vocal style and tone. Adding clarinetist Bill Blount and vocalist Joanie Pallatto for "Just a Sittin’ and a Rockin’," Lorin introduces an enjoyable swing mood to the session. With guitarist Haque on "Rain Song," the leader creates a romantic mood with her deeply moving portrayal. Combining acoustic guitar with the lyrical cello of Larry Gray, the piece offers each artist a chance to demonstrate Spanish classical charm. The expressive "Lush Life" proves perfect for Lorin’s soothing low voice, while her clear enunciation reveals the true meaning of those precious lyrics. Several numbers feature Johnny Frigo’s violin. His vocal-like delivery blends well with Lorin’s interpretations. "Every Time We Say Goodbye" is performed with only the minimum essentials. In this case, it’s just piano, guitar and voice. Even though they’re sitting this one out, you can still feel the ride cymbal and walking bass inside because Lorin’s interpretation makes it that much more comfortable. It’s like visiting an old friend.

The Best Is Yet To Come (self-produced) is Maggie Worsdale’s second album. Her expressive soprano voice, ideally suited for musical theater, brings a program of show tunes and lovely ballads into our living rooms so that we can reminisce. However, the singer’s upper register pitch problems and thin lower register resonance make things uncomfortable in places. Even a full studio orchestra and synthesized strings can’t help. Worsdale’s clear diction and emotive presence tend to relate each story quite well. The musical arrangements, however, are limited to standard routines. For the most part, the singer’s accompaniment comes from keyboards and synths. "One Hundred Years from Today" stands out as the session’s high point, moving lively with studio orchestra. Neither the liner notes nor the Maggie Worsdale web site provide information as to who is working with her; however, the track does include a lovely clarinet interlude followed by an expressive trombone solo. The full studio orchestra also appears on the album’s title track. While Worsdale entertains with a storytelling charm, the music is found lacking in several areas.

Veteran soprano Judi Silvano has released Songs I Wrote Or Wish I Did (JSL Records) with organ quartet. This is first class jazz from an outstanding singer, working with organist Larry Goldings, guitarist Vic Juris, bassist Essiet Essiet and drummer Victor Lewis. Her husband, tenor saxophonist Joe Lovano, joins the stellar ensemble for two songs. Billy Strayhorn’s "A Flower is a Lovesome Thing" offers an emblematic view of the art of conversation, as singer and saxophonist pass melodic fragments back and forth. While conversational speech does involve a back and forth pattern (one person speaking while the other one listens), this session’s formula places the artists together in harmony. Each listens and performs simultaneously, communicating with studied perception. Guitarist, bassist, saxophonist and vocalist meld together with similar ideas. Citing Ella Fitzgerald as a powerful influence, Silvano relies on lyrics to express. Similarly, she and the band members emphasize lyrical ideas throughout. Silvano wrote half the songs for this project. Her "Listen to This" employs the voice as an instrument, as another member of the ensemble providing wordless vocal melodies. Again, on her "Climbin’ the Peak," wordless vocals place Silvano and Lovano in harmony with a unison rhythmic pattern. While the rest of the album emphasizes lyrics, this one features more vocalese with instrumentalist interaction. Highly recommended, the latest album from this talented singer/songwriter has a lot to offer, and it’s pure jazz.

Taking jazz back to its roots, Halina Pytlasinska sings spirituals, folk songs, blues and swinging pop that turns loose the improvisation muse. Her smooth, pleasant alto voice, which resembles that of Chris Connor, forges Halina After Dark (self-produced) as both familiar and adventurous. Bassist Julia Doyle and pianist Frances Knight help create the various moods, while trombonist Paul Taylor adds a unique modern jazz feeling to the session. War-horse classics "All Blues" and "Nature Boy" are treated with respect. Others draw from references around the world. Two Tom Waits songs, "The Briar & the Rose" and "Tango ‘til They’re Sore," lend interesting elements. Waits’ ballad sits comfortably with a lyrical charm, while his tango scores as the program’s highlight. Combining ethnic flavors with unique avant-garde improvisation, the piece spins and turns on rhythmic wheels. Recommended, Halina Pytlasinska’s album features a soulful and imaginative presentation centered on her confident vocals.

Versatile singer Ranee Lee includes swing, cabaret ballads, blues, and jazz standards on Dark Divas: Highlights (Justin Time). Her strong alto voice is complemented by an equally versatile ensemble that includes pianist Tilden Webb, tenor saxophonist Richard Beaudet, trumpeter Ron DiLauro, trombonist Muhammad Abdul Al-Khabyyr, guitar, bass and drums. From a Dixieland combo to a smoky bar piano trio and a down & dirty roadhouse blues band, Lee’s ensemble fits each occasion perfectly. For straight-ahead jazz, they’re running up-tempo, trading fours, and matching the singer’s tricky vocalese note for note. Highly recommended, Ranee Lee’s latest album tells the stories convincingly through lyrical emotion and scat, while a crisp ensemble matches her every step of the way. The album represents highlights from her musical show, Dark Divas, which pays homage to Josephine Baker, Billie Holiday, Lena Horne, Dinah Washington, Sarah Vaughan, Ella Fitzgerald and Pearl Bailey. It’s a risky move, letting yourself be compared to the best jazz singers in history through trademark songs such as "Fine and Mellow," "One for my Baby," "Oh Lady, be Good" and "A-Tisket A-Tasket." But Lee is at her best when telling a story. She accomplishes the task easily and naturally. After all, these songs speak for themselves. "So set ‘em up, Joe." "He’s the lowest man that I’ve ever seen." "The most surprised party was me." "What happened to the hair on the head of the man I love?" "Now he’s washin’ dishes and baby clothes." "Let’s meet for a sweet siesta." "I’m just a lost babe in the woods." "And only now I see how the years have run away." "So do we, so do we, so do we, so do we, so do we." "If you could see me now, you’d find me being brave." So… "Do the dance of love."

With Faces Of Love (Whaling City Sound), Marcelle Gauvin uses her clear articulation and expressive manner to weave romantic tales. Ideally suited for musical theater, the singer’s manner lends itself to storytelling with a convincing air. It helps that she’s backed by an all-star ensemble that interprets every tune hand-in-hand alongside the leader. Careful to keep the ensemble’s focus on romance, pianist John Harrison, bassist Peter Kontrimas, drummer Jack Menna and tenor saxophonist Michael Monagan lend support to Gauvin’s performance and add refreshing solo interludes. "Look at me Now," for example, begins with an upbeat unison passage from bassist and singer. They’re on the same page, strolling with a bouncy melody. Soulful solos from piano and bass lead to a scat-sung chorus of fours with the drummer. Following a jazz format and weaving in crisp instrumental support, Gauvin’s performance presents many sides of the musical puzzle with applied cohesion. Her focus on the romantic message of each song keeps its luster, simply because each of the accompanists works to the leader’s direction. "Sentimental" paints a picture of bouncy swing with walking bass and ride cymbal, including a loose Monagan solo interlude. Tenor saxophonist Stan Strickland guests on "Triste," while Monagan appears for a handful more. Both supply a soft saxophone sound to enhance Brazilian moods. Gauvin, who sings two of the selections in Portuguese, has the honor of kicking off the start of a new record label with this, her debut recording. Serving talent that deserves wider recognition, we wish Whaling City Sound success and offer congratulations on a fine inaugural album.