Customer Reviews

Very Thought of You: Decca Recordings 1951-57

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Jeri Southern's career, as outlined in the liner notes to this compilation, was decidedly an odd one, and its trajectory explains to a large extent why she remains less known than she should be. She had originally wanted to pursue a career as a jazz pianist, the singing only being added to her act at the urging of promoters. Despite her vocal talents, Southern had the misfortune of completely lacking the personality required to be a pop singer: she was extremely shy & was often afflicted with stage fright. She also became discouraged as record companies increasingly tried to foist poor, commercially-oriented material on her. After several unhappy years she retired at the age of 36; she continued to play, teach & compose privately (even writing a string quartet) but never returned to public performance.

This disc suggests that Southern was an important singer, one who should have had a longer & happier career. The compilation is split between a selection of orchestra-backed tracks, and eight small-group tracks. One intriguing track has her singing "When I Fall in Love" in front of an orchestra conducted by the composer, Victor Young. There are fine renditions too of such standards as "My Ship" and "The Very Thought of You". The small-group tracks give one a sample of Jeri's piano-playing and (in the case of "I Don't Know Where to Turn") her composing. Both are excellent; she had an extremely adventurous ear that leads her on very creative excursions (not without one or two harmonic wrong-turns in one solo). Good to hear such an individual player from the period--it's very sad she didn't get more of a chance to record in intimate settings, as it's obvious she felt most comfortable in them.

This is a lovely disc, likely to interest anyone who follows singers from the mid-century. It suggests that Southern's work deserves further reissue, rather than just a "best-of": one can only hope the interest created by this disc will induce the record company to release some more material.

jeri southern was raised to play the piano in omaha, nebraska and had to learn to sing all over again when a well-meaning but misguided high school music teaching nun ruined her voice by overtaxing it with operatic arias which reduced her upper range. she responded by learning to sing in a lower register and softer voice.

thank god for that nun...

jeri's daughter, who put this loving tribute album together, is rooted in classical music and opera. she recognized that, because her shy and stage-frightened mother had retired so long ago, many people were unaware of her existence; she is not even listed in the jazzhound or other artist compendiums, a true injustice, to her and us.

(thank god for that daughter...)

jeri is not the cult figure that blossom dearie is, but only because, in her obscurity, she falls below the cultist's radar screen. she was miles davis's favorite signer (he once told her, in his raspy voice and inimitably, politically incorrect manner, that she "sounded just like a spook"), and she was charles haden's favorite singer as well; he includes her "every time we say goodbye" on his haunted heart album.

jeri does sound like ella at times, but comparisons to legends are not necessary to bootstrap her up to the level she deserves; her diction and phrasing, which she copied from sinatra and nat cole, as well as her trained musicality, are superb. her piano playing and orchestral arrangements on these songs are lush and very reminiscent of the late forties and early fifties -- which is the whole point of why the daughter brought this album out in the first place.

this is a treasure of an album and a must-have for fans of female jazz vocalists of a certain era; it evokes ella, blossom, june christie, jo stafford, maybe julie london -- and in her more plaintive moments, billie. you will find yourself listening to it in the wee, small hours of the morning. buy it; you won't regret it.

a splendid selection of songs by a sadly neglected singer from the fifties.jeri ranks right there with the very best of the jazz-pop vocalists of all time.she has special combination of vulnerability and sophistication in her voice that makes her performances unique and rewarding.my favorites include ALL IN FUN,REMIND ME, MY SHIP,NO MOON AT ALL, LIKE PAGES IN A BOOK.and her own WHO CAN I TURN TO NOW.jeri has to fight through some stilted orchestral arrangements on some of the songs, but her fabulous ennunciation and clear as a bell voice always manages to weather the storm.when given a chance to display her talent as a pianist jeri is first rate there too.if you know and love singers such as blossom dearie,carmen McRae,sylvia sims.the great ella and such treat yourself to THE DECCA YEARS and the incomperable JERI SOUTHERN

When I bought this, my first Jeri Southern album, I wasn't sure what to expect and started to play it as background music. By less than half way through, I had given up what I was doing to give Jeri my full attention, already knowing that I was listening to a very special singer. Now I have studied several of her CD's and I rate Jeri as the finest torch singer I have ever heard (and I've heard a few great ones).

Unlike Peggy Lee and others to whom she is often compared, Jeri could not do the uptempo stuff and did not try, but that's fine by me. Jeri made up for that by recording the best version of any love song she chose to record. Just listen to Jeri's versions of When I fall in love, I remember you and Smoke gets in your eyes, all on this collection. I have heard many excellent versions of these songs, including those by some of my favorite singers of Jeri's generation (such as Doris Day, Margaret Whiting and Jo Stafford, all of whom I have spent many happy hours listening to), but to my ears Jeri was the best of the lot when it came to this type of song.

So what made Jeri so special? The answer was simple - it was her warm, intimate style. On these recordings, Jeri sang and played the piano with the very minimum support from other musicians, so allowing her small but lovely, romantic voice to grab the listener's attention. For those candle-lit dinners, there is no finer music than that made by Jeri.

Later in her career, record companies added a bit more musical backing (thankfully not too much), thinking this would improve her music. It didn't - her early music on Decca (from which this CD is compiled) is the best, although her later Capitol recordings are well worth a listen, once you've sampled her Decca music.

A true story: One afternoon, many years ago, several acquaintances were discussing dating stratagems. Each offered their nominee for best "make-out music." Some of the nominations were a bit odd (The Modern Lovers' first album? Right - if you're trying to land Psycho Girlfriend), when one certified 1977 punk offered up "Dancing on the Ceiling" by Jeri Southern.

Huh?

"Uh, wasn't she some 1950s chick singer?"

We all laughed Mr. Mohawk's suggestion...and then I spent the next 15 years looking for that bloomin' album. Never did find it.

Believe all the reviews that say this is a wonderful disk. Southern was much more than "a chick singer" - she was an extraordinary musician as the small group selections on which she plays piano brilliantly attest.

Do not believe the reviews that say this music is easily available. Southern's music goes in and out of catalog with distressing frequency, and of the disks that I have come across this one is miles away the best. Get it while you can. You won't be disappointed.

And, yes, it will improve your love life.

When first I was introduced to the voice of Jeri Southern she had long since retired; and that introduction came via an album produced by Rod McKuen in the mid-1970s, a reissue of some Decca recordings called You Better Go Now. That led to seeking her original albums in old Record shops. It was something akin to an archeological excavation, coming upon some of those tattered albums with marvellous period covers. Scratchy, occasionally warped, but it mattered not a bit: Jeri Southern had become something of a cult just then. That smoky voice( reminiscent of Nat Cole, it seemed then) was utterly captivating.

To be perfectly honest, it never occured to me that Jeri Southern's music would find a new audience on Compact Disc, nor indeed that any recording company would bother with a singer so apparently obscure. So it was a most pleasant surprise to discover this compilation of the Decca Years. It was produced by Kathryn King, who is Jeri Southern's daughter and who contributed to the liner notes with a fascinating memoir of her mother. Essays by Orrin Keepnews and Gene Lees enrich one's understanding of this distinctive singer.
The songs are indeed the best of the best, so if there is just one Jeri Southern album to take to that desert island, this is it.

Jeri Southern was hardly the almost-unknown snger portrayed in the comments on this site. She was a big seller during her years for Decca and all her albums on that label are available on C.D. Her first album for Roulette, "Coffee, Cigarettes and Memories" gained an international following and her two following albums for the label were solid sellers. She hit her stride with her great Cole Porter and live (actually live in the studio) albums for Capitol. Along the way she had hit singles, did the best night spots and did T.V. (including singing "Lavendar Blue" on "The Mickey Mouse Club" looking like the Blue Fairy from "Pinocchio"). She was hardly a recluse, but she did not feel comfortable dressing up, she could not summon up a sparkling personality as she was reticent by nature, and she wasn't fond of trying to sing amid conversation, drinking and smoking. So she became a music teacher. Our loss. Here is some of Jeri's best work for Decca, nicely sequenced and beautifully packaged. There is more, much more in the vaults. One of Jeri's producers and arrangers told me she was easy to work with, very focused and calm, and an excellent musician. She made wonderful records--many, many of them--and this splendid collection serves as a great introduction to her sweet, angelic voice; rich after vibrato; unique styling and great breath control. You will welcome Jeri Southern into your musical life!

This is a great priced CD for more than 20 tracks from oft-forgotten vocalist and pianist Jeri Southern. Her mellow voice and her spare accompaniment are a delight to hear. She also offers impeccable selections and is backed on 5 of the selections by the Dave Barbour Trio (Peggy Lee's ex-husband). An added bonus is 11 well-written pages of liner notes telling of Southern's influences and her life. This is a nice touch as Southern is seemingly always missing for encyclopedia's of popular music.

This is one of the few items that my family doesn't mind when I play it in the car. (My taste seems to be too old for them. My mother has even ask for a copy.)
Jeri is one of the best kept secrets in music of the twentieth century. Am I overrating her? No. She is magnificent. Listen to her version of "When I Fall in Love", and you'll see the hidden talent that I am talking about. She has a soft vulnerable voice, that is completely hers. She also wonderfully defies this image with "An Occassional Man." As well, she is a fine songwriter "I Don't Know Where to Turn", seems like it was written by a professional. Overall 5 out of 5.

Jeri Southern's era, the 40's and 50's, is not usually to my tase. I have few fond memories of the fifties. But once I discovered this album on Rhapsody, I couldn't get her voice out of my head. She has a sophisticated technique, a wonderful jazz voice and sings with absolute sincerity--the art that conceals art. The prior reviews on Amazon say it all. Get this CD!