Lambert, Hendricks & Ross

Certainly one of the premier jazz vocal acts of all time, Lambert, Hendricks & Ross revolutionized vocal music during the late '50s and early '60s by turning away from the increasingly crossover slant of the pop world to embrace the sheer musicianship inherent in vocal jazz. Applying the concepts of bop harmonies to swinging vocal music, the trio transformed dozens of instrumental jazz classics into their own songs, taking scat solos and trading off licks and riffs in precisely the same fashion of their favorite improvising musicians.

Vocal arranger Dave Lambert wrote dense clusters of vocal lines for each voice that, while only distantly related, came together splendidly. Jon Hendricks wrote clever, witty lyrics to jazz standards like "Summertime," "Moanin'" and "Twisted," and Ross proved to be one of the strongest, most dexterous female voices in the history of jazz vocals. Together Lambert, Hendricks & Ross paved the way for vocal groups like Manhattan Transfer while earning respect from vocalists and jazz musicians alike.

The act grew out of apartment jam sessions by Lambert, a pioneering arranger and bop vocalist who had appeared in groups led by Gene Krupa and Buddy Stewart -- though he had also gained infamy leading a vocal choir on the disastrous "Charlie Parker with Voices" session recorded for Clef in 1953. That same year, Lambert met Jon Hendricks, who had similar vocal specialties that extended to lyrical changes. The pair debuted with a radically reworked version of "Four Brothers," which featured lyrics by Hendricks and note-for-note duplications of the original solos by Al Cohn, Zoot Sims, Stan Getz and Woody Herman.

They recorded a few other sides but were unsuccessful until a chance meeting with solo vocalist Annie Ross hit paydirt. The first LP by Lambert, Hendricks & Ross was 1957's Sing a Song of Basie. Though the trio originally intended to hire a complete vocal choir to supplement their voices, the general incompetence of the studio voices led them to multi-track their own voices. The results were excellent, incredible vocal recreations of complete solos from Basie classics like "One O'Clock Jump," "Down for Double" and "Avenue C" with added lyrics by Hendricks. The next year's follow-up, Sing Along with Basie, featured the bandleader himself and his group in a supporting role.

Perhaps realizing that multi-tracking was a bit of a gimmick, Lambert, Hendricks & Ross then recruited a straight rhythm trio and began touring and recording that way. The first studio effort, 1959's The Swingers!, represented a leap in quality and musicianship, leading to a contract with Columbia later that year. The trio recorded three albums for the label during the next two years, including a tribute to Duke Ellington. All three had pursued separate solo projects during the trio's run.

After constant touring began to wear her out, Ross left the group in 1962. Lambert and Hendricks replaced her with Yolande Bavan, and continued recording for RCA. However, it was nearly impossible to replace a soloist of Ross' caliber, and the three albums Lambert, Hendricks & Bavan recorded between 1962 and 1964 were decidely below par. The group broke up in 1964, and Lambert's death in a traffic accident just two years later quashed any hopes of a reunion. Both Hendricks and Ross continue to perform and record, with Ross doing much theater and film work as well.

Discography

The Hottest New Group In Jazz

Of course, Lambert Hendricks and Ross are no longer new, though they were the epitome of cool jazz in the 1950's. This re-issued double CD set contains a career retrospective - 39 songs worth, though not everything that was on the (unfortunately) discontinued "Twisted" CD - and is a fabulous value. The three personalities of Dave Lambert, Jon Hendricks and the British Annie Ross complimented and balanced each other uniquely, pushing the jazz envelope, while always retaining their warmth and sensuality. Accompanied by a rhythm combo, and sometimes horns, songs such as "Caravan," "Moanin'" and "Centerpiece" are just as vital now as they ever were. Highly recommended.

Listen to Moanin' in Real Audio.

Sing A Song Of Basie

Everyday It's Sand, Man Two For the Blues One O'Clock Jump Little Pony Down for Double Fiesta in Blue Down for the Count Blues Backstage Avenue C

The first album that launched their career, the trio of Jon Hendricks, Dave Lambert and the English Annie Ross pioneered the use of voices patterned on instrumental parts. The daring of this group creates a giddy excitement, which can be heard on tracks such as "It's Sand, Man," whereby the three voices (accompanied by piano, bass and drums) gain altitude in a series of ascending patterns that thrill the senses. Though Ross in particular possesses a fine voice, the attraction is not in the prettiness of the sound as much as the interplay of the voices, and the utter originality of their interpretations. Every song is enchanting.

Listen to It's Sand, Man in Real Audio.

Everybody's Boppin'

Charleston Alley Moanin' Twisted Bijou Cloudburst Centerpiece Gimme That WIne Stemonette Summertime Everbody's Boppin' Home Cookin' Blue Come On Home Cottontail Midnight Indigo

To listen to this trio reveals what a great influence this group has been on so many artists, in terms of choice of material and style. The most sophisticated and hip vocal treatments - Hendricks was a foremost developer of the vocalese technique - they change moods on a dime and are impossible to predict. Ross takes the lead on "Midnight Indigo," a sultry trickle of sweat on the back of the neck. "Moanin'" mixes up roadhouse blues with the sweetest of refrains. "Summertime" is just on the inside of a discordant wail, an eerie lament. Also included: "Cloudburst" and "Centerpiece."

Listen to Cloudburst in Real Audio.

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