Jazz
From the audience's reaction, Blossom Dearie held London in the palm of her hand during her stand at Ronnie Scott's. They clapped and shouted and, sometimes, to the surprised joy of Dearie herself, sang along. The ten-track set, recorded with Dearie on piano and vocals with drummer Johnny Butts and bassist Jeff Clyne, alternates between comic numbers and ballads, although it's clear which Dearie prefers. Although she has the capability of summoning melancholy and loss as readily as glee, she prefaces the somber "When the World Was Young" by deadpanning to a few audience guffaws, "I feel that I must warn you right now that...there's a very dramatic ending." She's simply bewitching in either mode, mastering the intimacy and confidence that allowed cabaret or jazz singers to hold an audience spellbound, but best when using her girlish voice and comic's timing to skewer romance ("Everything I've Got Belongs to You") or hipness ("I'm Hip"). Compared to her studio sides, her voice becomes yet warmer and more personable in person, with just a rub of vibrato at the end of her lines. Blossom Time at Ronnie Scott's is a splendid complement to her two or three best Verve LPs.
By John Bush, All Music Guide.
**
"Blossom Time at Ronnie Scott's," was initially recorded, live, by the American singer Blossom Dearie, during her first visit, in 1966, to the famed London jazz club. It was released on the British Fontana label, for which she would record three more albums. Dearie, a jazz pianist/singer/songwriter, and a frequent player in the bebop style, is best known for her distinctive, intimate, soft "girlish" voice. She's considered one of the great supper club singers: she's appeared at Michael's Pub, among other New York venues, as well as Carnegie Hall. In 1985, she was the first winner of the annual Mabel Mercer Foundation Award, for outstanding supper club artist.
On the record at hand, she's backed by her customary accompanists, Jeff Clyne on bass, and Johnny Butts on drums. Of her "boys," as she calls them, Dearie says, "Two wonderful musicians, two great friends. Johnny Butts gave me exactly the support I needed. A most sympathetic and swinging drummer. Jeff Clyne is the ideal bass player for me. His feel and intonation are excellent. I could not have asked for more from either of them. They are just perfect."
The program is top-heavy with standards, but they deliver a swinging version of that Brill Building triumph, "On Broadway;" and a fresh take on Rodgers and Hart's" Everything I've Got Belongs to You." She continues to favor Dave Frishberg material, see "I'm Hip," and does nicely with Noel Coward's "Mad about the Boy." Mind you, the album does sound a bit "much of a muchness." And I myself had the privilege of seeing Dearie in person, at Ronnie Scott's, in the late 1960's, during my high flying days. I sat at a table of jazz aficionados, way more knowledgeable than I will ever be, and the word at that table was, "Blossom Dreary." Consider yourself warned.
By Stephanie DePue.
**
Blossom has called this her favorite recording, and though artists are notoriously bad critics of their own work, I can see its charms--especially for those just discovering the singer-pianist with the tiny and childlike but strangely compelling voice. The audio fidelity and crowd ambience of the on-location recording lend immediacy and a sense of the "au courant" to the proceedings, and the rhythm section and programming are superior to the live performance I caught by Blossom at Manhattan's Reno Sweeney in the mid-70s. The repertoire is varied, but each tune is executed to perfection, making it all but impossible to select highlights and lowlights, favorites and throwaways. Even that biggest of all "musical clichés," Duke's "Satin Doll" (forget Amazon's spelling), sounds fresh and welcome as performed by Blossom.
As for the Lolita-like, undeniably girlish quality in Blossom's voice, it's counterbalanced by her forthright, direct, no-nonsense approach to a song's lyrics. There's no pose, no self-consciousness, and little to no sensuality or seduction in this remarkably versatile performer whose child-like delivery includes a child's honest candor. Any ironic subtexts, or even sexuality, are the projections of the listener.
Only one downside, imo: the decision not to edit out Blossom's "jokes." Even she can't breathe new life into these groaners.
By Samuel Chell.
**
Blossom Deari- Vocal
Johnny Butts- Drums
Jeff Clyne- Bass
**
01. On Broadway 3:55
02. When The World Was Young 4:20
03. When In Rome 4:45
04. The Shadow Of Your Smile 4:13
05. Everything I've Got Belongs To You 4:30
06. Once Upon A Summertime 3:51
07. I'm Hip 2:48
08. Mad About The Boy 5:05
09. The Shape Of Things 2:42
10. Satin Doll 5:15
**
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