Jazz vocal groups have never been thick on the ground, and insofar as there is any such lineage at all, it's safe to say its existence is largely down to the Boswell Sisters. Their harmonies amounted to the opposite of sibling rivalry, and the liberties they took with tempo and key changes were to have a positive effect on a young Ella Fitzgerald and others.
The trio lacked the transformative powers of Louis Armstrong, who after all could give musical and human substance to even the tritest ditty, but then most mortals did. The sincerity of "We Just Couldn't Say Goodbye, cut in August of 1932 with the Dorsey Brothers Orchestra, is a good example of just what the sisters did derive from Armstrong, howeverespecially when they sound so liberated in the up-tempo section, which is as good an example as any of artists getting the better of at best indifferent material. Their version of "Heebie Jeebies exhibits a very different kind of exuberance, and the fact that they don't set themselves up for comparison is a feat in itself.
"Sing A Little Jingle, cut in May of 1931 in the company of Victor Young and the New Brunswick Orchestra, is a case in point regarding the ditties. The arrangement, even though it was of course fashioned for times more innocent than these, is sickly to the point of being a hazard to dental health. Fats Wallers' "It's You, however, is surely irresistible to all but the stoniest of hearts, and Connee Boswell's solo vocal lines have about them the air of a true jazz singer, so sure is she in the liberties she takes with the lyric.
"Put That Sun Back In The Sky could have been so much corn with lesser voices, but the sisters lend it hues of blue that might have been far removed from the composer's intentions, before upping the tempo to a frantic leveland they succeed not only in putting that figurative sun back where it belongs, but also in making it joyously hot.
In focusing on a four-year period, this collection provides a snapshot in time of this group's development, and such has been the influence of their music that it's transcended that time and become a part of the broadest continuum.
Track Listing: Weíre On The Highway To Heaven; Thatís What I Like About You; Heebie Jeebies; When I Take My Sugar To Tea; Shout Sister Shout; I Found A Million Dollar Baby; Sing A Little Jingle; Itís You; Itís The Girl; I Canít Write The Words; Concentratiní On You; Nothing Is Sweeter Than You; Put That Sun Back In The Sky; Between The Devil & The Deep Blue Sea; If It Ainít Love; Got The South In My Soul; Doggone Iíve Done It; We Just Couldnít Say Goodbye; It Donít Mean A Thing; Crazy People; Mood Indigo; Thatís How Rhythm Was Born; Coffee In The Morning (Kisses In The Night); The Object Of My Affection; Dinah.
Personnel: Martha, Helvetia (Vet) and Connee Boswell: vocals (1-25), accompanied by various orchestras.
I grew up listening to my father's Jazz records and listening to radio. My dad was a musician for many years as a vocalist, bassist and drummer. His two uncles played in the Symphony of Reggio Calabria back in Italy
I grew up listening to my father's Jazz records and listening to radio. My dad was a musician for many years as a vocalist, bassist and drummer. His two uncles played in the Symphony of Reggio Calabria back in Italy. So music and jazz specifically have been a part of me since I was born. I love and perform in all styles of music from around the world. Improvisation in jazz is what drew me in, and still does as well as other genres that feature improvisation. A group of great musicians expressing themselves as one is the hallmark of great jazz and in fact all great music.