JERI SOUTHERN — The Southern Style (review)

JERI SOUTHERN — The Southern Style album cover Album · 1955 · Vocal Jazz Buy this album from MMA partners
3.5/5 ·
Matti P
Nebraska-born granddaughter of a German immigrant JERI SOUTHERN (1926-1991) was vocalist and pianist who recorded her discography mainly in 1954-1960. First I'd like to cite Finnish writer Harri Kalha from his book on early generation female jazz singers:

"Southern sings quietly and with a tender articulation, a bit like singing to a child; you get an image she's talking personally to you. Restricted 'talk singing' was a new thing, suitable for an ordinary voice with shades of grey and beige. The voice filled with warmth and intelligence belongs to the series of 'motherly wise' voices. Or actually it's a sisterly voice, since she quitted singing at the age of 34."

I quite agree on my countryman's description, although one must not take the 'quietness' too literally. Indeed Jeri articulates very accurately and the tenderness is definitely closer to a motherly affection than to the seductive sensualism of the likes of Julie London.

The Southern Style is Jeri's second album. Being primarily a pianist with classical studies, she uses a small amount of backing musicians; the rhythm section is not present on each track. The song material leans on the Great American Songbook composers such as Hammerstein, Arlen and Porter, but happily the 12-track set avoids feeling too worn-out or often heard.

'I'll Take Romance' is a romantic slow-tempo ballad and 'Let's Fall in Love' a lively tune. On both styles Jeri is completely at home as a pianist, and why not as a singer too. The latter contains a lengthy piano solo with a groovy rhythm backing. 'One Day I Wrote His Name Upon the Sand' is an interesting track especially for the arrangement. The bongos add dynamics, and there's also, like on several tracks, either the upright bass played with a bow or an uncredited cello.

The set keeps on shifting between slow ballads (the majority) and faster songs such as 'The Gypsy in My Soul'. I prefer the slower ones, they are not too sweet and perhaps they better demonstrate Jeri's nuanced finesse as a musician. On the final track 'Scarlet Ribbons' Jeri's vocals are accompanied by acoustic guitar only. Now, this was my very first listening of her. Not necessarily a major personal discovery to dwell deeper into, but a relatively positive acquaintance anyway.
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