Diana
Ross’s professional achievements are staggering. Her success as
lead vocalist of The Supremes in the ’60s and afterward as a solo
artist led Billboard magazine to name her the female entertainer of the
century in 1976. In 1993 “The Guinness Book of World Records” weighed
in, declaring her the most successful female artist ever.
Yet, despite these illustrious accolades, among today’s youth the
singer-actress is probably less known for her work than for her run of
bad press that began with the publication of J. Randy Taraborrelli’s
scathing 1989 tell-all, “Call Her Miss Ross.” The streak extended
through her 2002 DUI arrest in Arizona — that regrettably yielded
a frightful mug shot photo.
Ross’s extraordinary career seemed destined to be defined by her
personal difficulties. But a recent discovery has triumphantly reshuffled
the deck, reuniting the artist with her art. “Blue” (Motown),
a collection of jazz standards recorded in late 1971-early ’72 that
was shelved and subsequently lost in the Motown vaults, has just been issued.
And the results are a revelation.
“Blue” was planned to be a companion album to the chart-topping
soundtrack to “Lady Sings The Blues,” an acclaimed bio-pic
detailing the troubled life of legendary jazz singer Billie Holiday. Ross
garnered a Best Actress Oscar nomination for her stunning portrayal of
the drug-addled chanteuse.
She had intently studied Holiday’s thin but unforgettable voice and
her languid phrasing, with its penchant to ride just behind the beat, until
she had transformed her own vocal style. The pop diva emerged from “Lady
Sings The Blues” as an authentic jazz singer, as “Blue” so
beautifully attests.
Ironically, Ross’s convincing metamorphosis was apparently the album’s
undoing. Motown brass felt it was too jazzy and were worried it might cost
Ross her standing with pop and R&B fans. The decision was made to shelve
the recording. In 1973, the singer’s return to popular music, “Touch
Me In The Morning,” went to the top of the singles chart. With the
passing years, “Blue” faded from everyone’s memory until
it was completely forgotten.
Thankfully, the master tapes were recently stumbled upon and the label
recognized their artistic importance. Thirty-four years after its creation, “Blue” is
at last available to the public. It now contains 16 tracks — the
12 recorded for the original LP and four cuts from the sessions that were
later re-recorded in less jazzy form and released on other albums.
Hearing Ross in her prime interpret such matchless compositions as “What
A Diff’rence A Day Makes,” “Smile,” “Love
Is Here To Stay,” “You’ve Changed” and “My
Man (Mon Homme)” is hair-raising. Best of all is her take on George
and Ira Gershwin’s “I Loves Ya Porgy.” In the hands of “Blue” producer
Gil Askey, who also oversaw the “Lady” soundtrack, it becomes
a toe-tapping swing that Ross’s delicate soprano positively shimmers
through.
Since the “Blue” tapes were stored with little documentation
there’s no record of the musicians who played on the project (although
many were certainly the same as those featured on “Lady”).
It’s too bad — Ross’s fans owe each contributor to this
project a heartfelt “thank you.” They’ve restored the
star to her rightful place in the musical firmament.
Soundbite: What do you do if you’re the teen pop queen of Finland,
with multiple hit records, two Finnish Grammy Awards and numerous magazine
covers to your credit before your 17th birthday? Well, if you’re
Janita you pick up and move to Brooklyn to start your career all over again.
With the release of “Seasons Of Life” (Lightyear/WEA), the
singer-songwriter’s first major label U.S. album, she proves that
the gamble was worth it. “Seasons” is a sensational collection
of jazzy, soulful pop that would have ruled the Quiet Storm radio format
in its heyday. Fans of Sade and Bebel Gilberto should definitely check
this one out.
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