Verve Records releases the latest editions in its breakout Great Women of Song series, which pays homage to the ground-breaking work and lasting impact of some of the greatest female vocalists of all time. Like her idol Billie Holiday, Carmen McRae could own a ballad and make it all her own. She could also swing every bit as hard as her other main influence, Ella Fitzgerald. Coming up during the bebop era and under the musical sway of Thelonious Monk, Carmen made a series of recordings for the Decca label that would cement her reputation and launch a career that close to 50 years. Whether in small groups or backed by a studio orchestra, Carmen McRae recorded definitive versions of songs that make up the backbones of jazz and the Great American Songbook.

If you are making a shortlist of the best jazz singers, Carmen McRae had better be right at the top. She had a distinctive voice, able to do heartbreaking and lighthearted equally as thrillingly. She had an unerring sense of melody and her phrasing is a thing of beauty. This collection covers her work in the mid-'50s for Decca both with small groups and larger orchestras. She shines on swinging tracks like "Comes Love," "Falling in Love With Love," and "I'm Putting All My Eggs in One Basket" and won't leave a dry eye in the house with her deeply emotional ballad singing.

Avid Jazz presents four classic Carmen McRae albums including original LP liner notes on a finely re-mastered and low priced double CD. “Torchy”; “After Glow”; “Mad About The Man” and “Birds Of A Feather”. By way of introduction to the release by our latest female artist, Carmen McRae, here is a quote from the original liner notes from “After Glow” the third selection in our four album, 2CD set. “Every so often the public is treated to an entertainer who is in some way special-not merely talented, but delightfully unusual. Lovely Carmen McRea is just such an entertainer. A vocal paradox, Carmen’s extraordinary voice is at once strong and confident, yet soft and tender”.Across these four releases you will witness not only the superb singing of the wonderful Ms. McRae but also her instrumental artistry. All four albums have been digitally re-mastered.

Carmen McRae always had a nice voice (if not on the impossible level of an Ella Fitzgerald or Sarah Vaughan) but it was her behind-the-beat phrasing and ironic interpretations of lyrics that made her most memorable. She studied piano early on and had her first important job singing with Benny Carter's big band (1944), but it would be another decade before her career had really gained much momentum.

Yes, there's a concept on the loose here - all the songs are about birds. Fortunately, there are plenty of good songs on the subject, and it's not so narrow that all the focus hinges on birds themselves. Carmen McRae is supported by a good small group, directed and arranged by Ralph Burns, featuring guitarist Mundell Lowe and many solos for an uncredited "tenorman" (i.e., Ben Webster). Both McRae and Webster do their best on the driving, horn-heavy score for "Bob White (Whatcha Gonna Swing Tonight)." First, Webster follows closely along with trumpeter Irwin "Marky" Markowitz while McRae vocalizes clearly and with some swing, then launches a beautiful solo before McRae returns for the closer. Other highlights include the touching "A Nightingale Sang in Berkeley Square" and a relaxed, pastoral "When the Swallows Come Back to Capistrano."

The Sound of Silence is a 1968 studio album by Carmen McRae, produced by Joel Dorn. Carmen McRae was at her absolute peak when signed to Atlantic Records in the sixties. Every song is tremendous in this classic set featuring the magical voice of Carmen McRae in rich and powerful sublime form with glorious tones, easily making her one of the best of the greatest ever while earning that "Singer's Singer" title.

Ms. Jazz is an album by American jazz vocalist Carmen McRae recorded in 1973 and released on the Groove Merchant label the following year. Carmen McRae always had an intriguing, smoky voice but it was her lithe, behind-the-beat phrasing and ironic interpretations of lyrics that made her most memorable. She studied piano early on and had her first important job singing with Benny Carter's big band (1944), but it would be another decade before her career had really gained much momentum. McRae married and divorced Kenny Clarke in the '40s, worked with Count Basie (briefly) and Mercer Ellington (1946-1947), and became the intermission singer and pianist at several New York clubs. In 1954, she began to record as a leader, and by then she had absorbed the influences of Billie Holiday and bebop into her own style.

Carmen McRae, a good friend of Thelonious Monk, sang 13 of his songs (two of which are also heard in different live versions) on this memorable project. Half of the lyrics are by Jon Hendricks, while the remainder were written by Abbey Lincoln ("Blue Monk"), Bernie Hanighen, Sally Swisher, or Mike Ferro. On all but the two concert performances, McRae is assisted by tenor saxophonist Clifford Jordan, pianist Eric Gunnison, bassist George Mraz, and drummer Al Foster; Mraz's solos are particularly impressive, although everyone is in sensitive form. The live recordings give listeners two more chances to acknowledge the uniqueness of tenor saxophonist Charlie Rouse's tone. As for McRae, her phrasing has rarely sounded better than on this classic set, and it is a particular pleasure to hear her interpret the intelligent lyrics and unusual melodies…

Sublime early work from Carmen McRae - done with backing from pianist Ray Bryant in a small group setting. Carmen's singing in a beautifully fragile mode - with only Ray's piano and a bit of bass and drums to back her up - and it's a real treat to her the McRae vocal approach in such an unfettered format, because even at this earlier age, Carmen had a sense of control, poise, and grace that shines through immediately.

This edition combines several outstanding sessions by Carmen McRae - dating between December 1955 and August 1958 - under the musical direction of the brilliant arranger and conductor Ralph Burns. Armed with an orchestra boasting a 10-piece string section, Burns’ subtle and evocative charts provide a strong yet delicate support that gracefully enhances the vocalist’s talents without ever overpowering her. The addition of guest soloist tenor saxophonist Ben Webster - who for contractual reasons recorded here under the pseudonym "A Tenorman" - brought another dimension to the magical quality of these recordings. His breathy and expressive sound proves the perfect counterpoint to McRae’s versatile and passionate vocal style.

Vibraphonist Cal Tjader's final album (he passed away four months later) found his band mostly accompanying singer Carmen McRae. The album was arranged by pianists Mark Levine and Marshall Otwell. McRae and Tjader did not get on well during the recording, and Tjader later overdubbed his parts without McRae present. McRae chose to sing “Besame Mucho” in its original Spanish language lyrics, and Willie Bobo helped her with the pronunciation.
Heat Wave peaked at 25 on Billboard’s Jazz Albums chart.

Romantic ballads were Carmen McRae's specialty, and her streetwise yet sophisticated phrasing carried just enough world-weariness to suggest that she actually understood what she was singing about (being in love or having been in love doesn't automatically mean you can convincingly sing about it – McRae could, though). This collection of mid- to late-'50s material for Decca Records doubles both as a collection of love songs and as a fine introduction to the singer in her early years – when she still had full control of her upper vocal register.