The Best Voices Time Forgot
Collectible Albums by Top Female Vocalists
· Collector's Edition
· 2 Original LPs on 1 CD
· Original Cover Art, Liner Notes
· Personnel Details
· Stereo Recordings
· Newly Remastered in 24-Bit
Singin' and Swingin'
Carole Simpson (1928-2013) born in Anna, Illinois, began piano lessons at five, voice lessons at twelve. She started as a piano cocktail single at Hotel Wisconsin in Milwaukee, until she joined Billy May’s band as a featured vocalist in 1952-1954. Then came several long and sometimes weary years of clubbing it around the country, New York, Chicago, Las Vegas, never truly deciding whether she preferred singing or playing piano. Eventually, Tutti Camarata heard Carole sing and brought her to the attention of Dave Cavanaugh at Capitol Records, who recorded her first album in the summer of 1957—“All About Carol.” After listening to the album, Steve Allen booked her for his TV show, and in 1960, as soon as he knew Carol’s contract with Capitol was over, invited her to record her second LP, “Singin' and Swingin'” issued on the Tops label. Carole’s feeling for jazz and knowledge of music is obvious here. Her projection of the lyrics is excellent, her sound is most pleasant, and her sense of rhythm sure.
A Tribute to Helen Morgan
Connie Haines (1920-2008) was initiated into show business at the age of four when she made her debut on radio. At ten she had her own popular commercial radio show in Jacksonville, Florida. By the time she turned fourteen, Connie became the youngest headliner ever to play the Roxy Theater in New York. Her late teens included stints with Harry James’ orchestra, and later the renowned Tommy Dorsey aggregation of the early Forties. When this young, dynamic singer finally decided to venture alone, she got her own coast-to-coast radio program, appeared in some of the best shows, and sang in the most glamorous of the nation’s supper spots, theaters and hotels. Still, and despite numerous record hits, “A Tribute to Helen Morgan” was her first LP. You’d be hard-pressed to find a more cheerful, sunnier personality than hers, or a better candidate to render this tribute, though, and with the melodies that Helen made famous, the voice of Connie Haines.
Tracklist
Total time: 68:51 min.
01. Bell, Book and Candle Duning-Allen) 2:07
02. Baby (Steve Allen) 2:18
03. And Now Goodbye (Allen-Allyn) 2:16
04. When You Get to Frisco (Torme-Allen) 2:27
05. This Could Be the Start of Something Big (Steve Allen) 3:11
06. The Ship Sailed (Allen-David) 2:33
07. Spring in Maine (Leight-Allen) 2:07
08. Oh, What a Night for Love (Steve Allen) 2:11
09. Fools (Steve Allen) 2:24
10. What Kind of Fool? (Steve Allen) 2:14
11. You Gotta Get Lucky Sometime (Burke-Allen) 2:06
12. Bluesville (Steve Allen) 2:27
13. They Didn’t Believe Me (Kern-Reynolds) 3:55
14. Yesterdays (Kern-Harbach) 3:13
15. Broken Hearted (Henderson-De Sylva-Brown) 2:58
16. Make Believe (Kern-Hammerstein II) 3:45
17. Mean to Me (Ahlert-Turk) 3:30
18. Can’t Help Loving That Man (Kern-Hammerstein II) 2:55
19. Don’t Ever Leave Me (Kern-Hammerstein II) 2:25
20. More Than You Know (Youmans-Rose-Eliscu) 3:55
21. The Way You Look Tonight (Kern-Fields) 2:58
22. Bill (Kern-Wodehouse-Hammerstein II) 2:32
23. Why Do I Love You? (Kern-Hammerstein II) 3:25
24. Why Was I Born? (Kern-Hamerstein II) 3:52
Album details
Sources:
Tracks #1-12, from “Carole Simpson—Singin' and Swingin'” (Tops-Mayfair LP-9732)
Tracks #13-24, originally issued in Mono on the album “A Tribute to Helen Morgan”
(Tops L 1606), and later reissued in Stereo with the title “On Broadway” (Venise 10020)
Personnel on “Singin' and Swingin'”:
Carole Simpson, vocals
With Jazz Combo and Orchestra under the supervision of Steve Allen
Personnel on “A Tribute to Helen Morgan”:
Connie Haines, vocals
With Orchestra arranged and conducted by Lew Raymond
Tracks#14, 16, 21, 22, 24: Don Fagerquist, trumpet; Ronny Lang, Hymie Gunkler, Gene Cipriano, woodwinds; John T. Williams, piano; Buddy Clark, bass; Milt Holland, drums. String section (4 violins; 2 violas).
Recorded at Radio Recorders, Hollywood, July 26, 1957
Tracks #13, 15, 17, 19: Don Fagerquist, trumpet; John T. Williams, piano; Howard Roberts, guitar Buddy Clark, bass; Mel Lewis, drums.
Recorded at Radio Recorders, July 31, 1957
Tracks #18, 22: John T. Williams, piano, Buddy Clark, bass.
Recorded at Radio Recorders, July 31, 1957
Original recordings produced by Steve Allen (1-12), and Dave Pell (13-24)
Produced for CD release by Jordi Pujol
Stereo · 24-Bit Digitally Remastered
Blue Moon Producciones Discograficas S.L.
Press reviews
"This latest series of THE BEST VOICES TIME FORGOT from Fresh Sound Records consistently makes me wonder why I bother listening to any of today’s singers. These obscure ladies have a better vocal delivery, inherent swing, clarity and musical support than anyone out there on the circuit these days. Sorry, but the truth hurts. Here’s the latest cache…
Carole Simpson (1928-2013) was one time the vocalist for Billy May’s band, so you know she knows how to belt it out. She sounds a bit like Chris Connor and June Christy on this 1960 Hollywood session under the supervision of TV-move star Steve Allen. All of the songs are from Allen’s pen, including the Mel Torme co written “When You Get TO Frisco” that has Simpson in a confident swagger. Allen’s popular “This Could Be The Start of Something Big” is features some swinging clarinet as well, while Simpson’s gentle vibrato sparkles on the late night “And Now Goodbye”. The horns get Ellingtonian on “Bluesville” and the brassy “What Kind Of Fool” with Simpson completely in control, while she’s coy and intimate on “Spring In Maine”. She’s got the feeling.
Connie Haines is just about the only one here on this latest collection who was with a popular band for any length of time, being the featured canary with Tommy Dorsey and Harry James, sharing the mic with Frank Sinatra. This 1957 album has her giving tribute to the famed show singer Helen Morgan, backed by an orchestra that included Don Fagerquist/tp, Howard Roberts/g, Mel Lewis/dr and Buddy Clark/b. Like the Swing Era pro that she is, she’s clear and expressive on the romantic “They Didn’t Believe Me” and able to coo like a pigeon on the tender “Make Believer”. On material by Jerome Kern, she makes the birds fly on “Can’t Help Lovin’ That Man” and gives a gorgeous aria with pianist John T. Williams on “Bill” Timeless treasures."
George W. Harris (June 15, 2020)
https://www.jazzweekly.com/
