I noticed in the current issue of Jazzwise that Alyn Shipton reviews a reissue of Nancy Harrow's 1960 recording with Buck Clayton's Jazz Stars - Wild Women Don't Have The Blues. Alyn awards the album four stars and justifiably so.
Originally recorded for the Candid label, this reissue is on vinyl and released by Exceleration Music who took over Candid and several other jazz related labels including Mack Avenue (DETAILS).
I didn't receive a review copy but that didn't matter as I've treasured the original recording ever since it was 'compacted'. Great singer, great band, great arrangements and great tunes.
Take me Back Baby. Count Basie and Jimmy Rushing wrote this for the old Basie band and with the soloists: Tate, Clayton and Wells all being Basie Alumni and Kenny Burrell playing rhythm guitar á la Freddie Green, Basie lives and the scene is set for 'Mama' Harrow to make her entrance. A very individual voice with a hint of Billie, Helen Humes, Maxine and Ivie Anderson - but only just a hint.
All Too Soon. By association, Ivy springs to mind but it's Harrow's baby. Gwaltney takes one on clarinet followed by Wells' distinctive sound full of slurs and slurps and his own brand of slideology. Clayton blows muted behind the vocal.
Can't We Be Friends? Tate has a nice big fat solo followed by Wellstood and some tasty guitar from Burrell. Clayton too is in there pitching along with Harrow's vocal - which is as much a musical story as it is a song. Only the greats can pull off something like that and our girl (who was still recording in 2024 at the age of 94) does just that.
On the Sunny Side of the Street. An uptempo romp. Buck tightly muted, Burrell releasing some dazzling single string flurries, swinging piano from Wellstead and, of course, a great vocal.
Wild Women Don't Have the Blues. The title track, composed and recorded by Ida Cox in 1924 is effectively revived by Harrow along with open horn from Buck, clarinet from Gwaltney and blues piano from Wellstood.
I've Got the World on a String. More imaginative singing, trombone by Wells, Gwaltney on alto this time and another masterclass in arranging by Clayton.
I Don't Know What Kind of Blues I've Got. Duke's composition is given an Ellingtonian feel beginning with some Carneyesque baritone from Banks. The horns have the harmonic depth that the number demands and Harrow does justice to the lyric.
Blues For Yesterday. Composed by blues pianist Leroy Carr and subsequently recorded by Louis Armstrong, a powerful Clayton solo leads into more distinctive blues singing by Harrow. The underrated Gwaltney on clarinet, Wellstood on piano and Tate, arguably the most blues-orientated of the horns, captures the mood as indeed does Nancy Harrow - the reigning Empress of the Blues! Lance
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