When Blossom Dearie died at 82 over the weekend, we lost a brilliant musician whose subtle artistry and private nature conspired to limit her popularity. There was nothing about her “teacup voice,” as Whitney Balliett described it, or her sophisticated harmonic sense at the piano that could have led to mass adoration. Nonetheless, for decades she was idolized by a substantial base of listeners charmed by her singing and of musicians who admired her integration of vocal performance with self-accompaniment. No singer has been better at playing for herself.
Blossom’s piano playing was probably influenced a lot by Ellis Larkins. She voiced like he did, and had that same delicate touch. Bill Evans’ early playing reflected a lot of Lennie Tristano… I’m sure he must have heard Blossom when she was around the Village, but I think he worked his ideas out pretty much by himself.
The nonagenarian pianist presented de Barros with every biographer’s hope, unrestricted access to his subject’s personal papers and nearly unrestricted access to her private thoughts. He made the most of it, turning exhaustive research and hundreds of hours of interviews into a true story with the sweep of a novel. From the early discovery of McPartland’s musical gift through her wartime service, her ecstatic and stormy marriage to Jimmy McPartland, her growth as a pianist, her deep affair with Joe Morello, and the radio show that made her a national figure, she has had a fascinating life. It makes a splendid read.
Mulligan’s Concert Jazz Band had three fewer musicians than most big jazz outfits. Its size permitted precision, flexibility and subtlety, yet the band had the power of sprung steel. In this concert from a half century ago, the CJB is as fresh as yesterday. Arrangements by Mulligan, Bob Brookmeyer, Al Cohn and Johnny Mandel set standards to which big band writers still aspire. Bassist Buddy Clark and drummer Mel Lewis inspired Mulligan, Brookmeyer, Conte Candoli, Gene Quill and Zoot Sims to some of the best soloing of their careers. This beautifully produced issue of the complete concert is a basic repertoire item.
She was a wonderful accompanist indeed, right up there with Ellis Larkins and Don Abney. But other than something for Annie Ross 50+ years ago, I can’t recall Blossom ever playing for someone else. Can you, Doug, or one of your knowledgeable readers?
(Not I. Let’s hear from the knowledgeables. — DR)
I read your comments about Blossom. Dead on, of course. And the OP/BB piano blues YouTube is heavenly too.
Behind Bob Dorough on some of their recorded duets in the ’70s is all I can think of (and simillarly behind Grady Tate).
PS.: This a fascinating anecdotal account of her well known foibles:
http://denniscooper-theweaklings.blogspot.com/2008/05/bill-reed-presents-blossom-dearie-day.html
(Maybe now she’s gone it’s not so contentious…? It is, however, interesting…).
I’ve been a Blossom Dearie fan since the early ’60s and am currently researching Ellis Larkins for a Baltimore jazz history book, so I appreciate your perspective on the connection between the two.