The Story of Blossom Dearie in 10 Gorgeous Songs

With her light and airy vocals, delicate piano style and famous wit on stage, it’s no wonder that Blossom Dearie was a club favourite – not to mention something of a ‘musician’s musician’.

But scratch below the surface and we discover the stories that made up an artist whose place in the history of jazz – not to mention the evolution of independent recording artists – deserves wider attention.

Born in New York in 1924, she caught her first break performing with Woody Herman’s Blue Flames, before finding her at the centre of the birth of Cool, hanging out in Gil Evans’ apartment with the likes of Charlie Parker, Gerry Mulligan and Miles Davis.

We pulled together 10 of the most iconic Blossom Dearie songs to showcase the life and times of a true gem of the jazz world, with some suggest listening links for those of you just discovering this gem…

Old Devil Moon – From the album Blossom Dearie Plays April in Paris (1955/56)

Unlike the majority of American jazz greats who spent time in Paris once famous, Blossom Dearie actually went early on in her career.

After an early 1950s performance at the Chantilly Club in Greenwich Village, where she sang and accompanied herself on piano, she was introduced to Nicole and Eddie Barclay of Barclay Records.

Following their suggestion, she moved to Paris and recorded her debut album there, Blossom Dearie Plays April in Paris, for the label.

During her stay in Paris, she would also work with Annie Ross, Bob Dorough, and Bobby Short and, in 1954, married the Belgian saxophonist and flautist Bobby Jaspar who appears on her Barclays debut.

Lover Man (Oh Where Can You Be) – From the album Blossom Dearie (Verve 1957)

Returning to the United States in 1956, Blossom signed her first major label deal, with Norman Granz’s Verve.

She went on to record six albums for the imprint, with the eponymous first giving us this super version of Lover Man.

The results are quite superb and justify Norman Granz’s faith in signing the pianist and vocalist. The setting is just about perfect with guitarist Herb Ellis, Ray Brown on bass, and at the drums Jo Jones (not to be confused with “Philly” Joe Jones).

The tempo is perfect, and Dearie sounds relaxed, and her voice remarkably full as she performs this wonderful ballad.

I Hear Music – From the album Blossom Dearie (Verve 1957)

If Dearie sounds poised and elegant in vocal and accompaniment on ‘Lover Man,’ here the tempo is quicker, and she swings with panache.

There are hints here of what was often referred to as her “child’s voice,” but this brings a charm to the song and the joy in the music.

Between the Devil and the Deep Blue Sea – From the album Give Him The Ooh-La-La (Verve 1958)

Producer Norman Granz may have been an uncanny spotter of talent, but he was also a shrewd businessman and would commit to his artist’s long-term development.

This is the second of six albums that Blossom Dearie recorded for Verve and features the same line-up as her label debut and continues with her exploration of the standard repertoire.

That beguiling mix of young-sounding voice tinged with maturity breathes new life into the songs, and this gently swinging number is no exception.

Once Upon A Summertime – From the album Once Upon A Summertime (Verve 1958)

Slight change of personnel for this album with Mundell Lowe replacing Ellis on guitar and Ed Thigpen on drums.

Just as sympathetic a line-up, Brown’s arco bass is a lovely touch, and Lowe plays little but says a lot while letting Blossom’s own piano accompaniment fill the spaces. A spellbinding performance and one of many from a fine album.

Someone To Watch Over Me – From the album My Gentleman Friend (Verve 1961)

Recorded in 1959 but not released until two years later, this is another piece that makes use of Ray Brown’s arco playing and superb intonation, along with some sublime piano playing from Blossom.

She accompanies herself on this lovely ballad by George and Ira Gershwin, with her voice just on the right side of innocent and vulnerable.

Guys And Dolls – From the album Soubrette: Sings Broadway Hit Songs (Verve 1960)

The Verve era produced 6 albums, culminating in 1960 with a large ensemble album celebrating the hit songs of Broadway.

Strangely, on this version of ‘Guys and Dolls’, the vocalist seems to retreat back into her earlier and more childlike voice, and in doing so lends a playful naivety to the lyrics.

1960 marks not only the end of an era with her record label, but yet another step forward in her profile as a live artist: she’d also perform a double bill with none other than Miles Davis at New Yorks’s Village Vanguard

I’m Old Fashioned – From the album May I Come In? (Capitol 1964)

Having left Verve, Dearie recorded the album May I Come In for Capitol Records in 1964.

The switch finds Blossom Dearie accompanying herself on piano along with a full orchestra arranged and conducted by Jack Marshall in one of her best-known albums.

It’s a delightful mix of gently swinging standards and ballads, with Blossom’s vocals and piano on ‘I’m Old Fashioned’ are a real highlight.

On Broadway – From the album Blossom Time at Ronnie Scott’s (Fontana 1966)

The Capitol era was short lived, making way in 1966 for a productive association with Fontana Records.

It was for this label that she released the live set Blossom Time at Ronnie Scott’s, which she said was her favourite album that she recorded for the label.

At one of the London’s famous jazz clubs and with the sympathetic support of British musicians Jeff Clyne on bass and drummer Johnny Butts, Blossom sings and swings her way through ‘On Broadway’, casually inserting not one but two fine piano solos into the process.

This performance is perhaps the ideal way to catch Blossom Dearie, with her charm and charisma most evident live.

When The World Was Young – From the album Blossom Time at Ronnie Scott’s (Fontana 1966)

Sticking with Blossom Time, we hear her joking with the lucky few in the club before launching into a captivating reading of a beautiful and lesser-performed song by Johnny Mercer.

The compatibility with Clyne and Butts is clearly audible, and again her own accompaniment reveals her as a virtuoso pianist with an exceptional touch and use of space.

If I Were A Bell – From the album Me & Phil (EMI 1994)

Whilst the 1970s and 1980s were relatively quieter for Dearie, they are notabe for her work in setting up a label – Daffodil Records – to control her releases.

It ensured that she could continue touring and performing regularly and is perhaps why we can fast-forward all the way to 1994 and hear her, aged 70, still in fine form!

Captured live at the Club Malthouse, Melbourne Australia, this recording finds the singer/pianist in a duo setting with bassist Phil Scorgie – a format that Blossom seems to revel in.

Her quiet and delicate style permeates the whole album, and her light voice is captured perfectly, as is her piano playing. Scorgie is unobtrusive but supportive, and this again ensures the emphasis of each song focuses on Dearie.

‘If I Were A Bell’ is taken at a slow tempo that brings out the lyrics, along with Blossom’s child-like vocals and superb touch at the piano, at their best in an album full of subtle delights.

Recap: Blossom Dearie

Another artist in danger of being overlooked with the passing of time, Blossom Dearie never really received the recognition that her considerable talent deserved.

Often considered a musician’s musician, Blossom Dearie sang with a highly distinctive treble voice often described as small or child-like.

Like fellow pianist and vocalist Shirley Horn, she was adept at slow tempos, bringing out the meaning of the music and the lyrics in a unique and profound manner.

Much of her discography is readily available, and she continued releasing albums until 2004, giving her last public performance early in 2007.

Suffering ill health in later life, Blossom Dearie passed away peacefully in her sleep on 7th February 2009.