Meet Betty Carter and Ray Bryant (1955)

This LP featured Betty Carter and pianist Ray Bryant at the beginning of their careers. Carter's 25-year-old voice was already quite recognizable, although the improvising style on her 11 titles here is much more conservative than it would be from the 1970s on. However, Carter's scatting on "Frenesi" (which sounds like a wigged-out Carmen McRae) shows individuality, and her renditions of "Social Call," "I Could Write a Book," and "Moonlight in Vermont" are memorable. A historic and enjoyable set.

Out There (1958)

A dynamic set with Benny Golson, Melba Liston, and Gigi Gryce that's long since been deleted.

The Modern Sound of Betty Carter (1956)

Some spectacular cuts. Find it in used record shops.

Ray Charles and Betty Carter (1961)

This pairing of two totally idiosyncratic vocalists acquired legendary status over the decades in which it had been out of print. But the proof is in the listening, and frankly it doesn't represent either artist's best work. There is certainly a powerful, often sexy rapport between the two -- Charles in his sweet balladeering mode, Carter with her uniquely keening, drifting high register -- and they definitely create sparks in the justly famous rendition of "Baby, It's Cold Outside." The main problem is in Marty Paich's string/choir arrangements, which too often cross over the line into treacle, whereas his charts for big band are far more listenable. Moreover, Charles' sweetness can get a bit cloying too, although some of the old grit emerges on "Takes Two To Tango." On the CD reissue -- remixed by Charles himself -- Dunhill adds the great, rare B-side to the "Unchain My Heart" single, "But On The Other Hand Baby," and two excellent if unrelated album cuts, "I Never See Maggie Alone" (1964) and "I Like To Hear It Sometime" (1966).

Inside Betty Carter (1964)

These recordings can be considered the final ones of Betty Carter's early period for, by the time she next appeared on record (in 1969), the singer was much more adventurous in her improvisations. This CD reissues eight selections from Carter's rather brief 1964 Roulette LP (under 26 minutes), plus it adds seven previously unissued numbers from 1965. On the former date Carter (who is quite memorable on "This Is Always," "Some Other Time," and "Spring Can Really Hang You Up the Most") is accompanied by pianist Harold Mabern, bassist Bob Cranshaw, and drummer Roy McCurdy, while the "new" session ("There Is No Greater Love" and "You're a Sweetheart" are the standouts) features guitarist Kenny Burrell plus an unknown rhythm section in the backup band. Highly recommended to Betty Carter fans and to those listeners who find her later work somewhat forbidding.

Finally, Betty Carter (1969)

The title of this CD reissue probably refers to the fact that this was singer Betty Carter's first released recording in five years; a second CD (Round Midnight) also originated from the same concert. The mature Betty Carter is heard for the first time on this record which finds her taking wild chances on a set mostly dominated by standards. With the alert accompaniment of pianist Norman Simmons, bassist Lisle Atkinson and drummer Al Harewood, Carter sings some ballads very slow while other tunes are taken at rapid tempoes; the music is consistently unpredictable and often fascinating.

At the Village Vanguard (1970)

Betty Carter's remarkable early-'70s LPs were initially available only on her own poorly distributed label. This live date captured Carter when her voice was its most pliable, her delivery in full bloom and her range and power at their peak. She could scat with a fury and rhythmic intensity that were almost magical, then turn a slow tune like "The Sun Died" or "Body and Soul" into a showcase by emphasizing key lyrics, subtly changing each stanza, or increasing the pace at an unexpected moment. This deserves full attention, as it represents Betty Carter still evolving and perfecting her matchless technique.

The Betty Carter Album (1972)

Originally put out by singer Betty Carter on her Bet-Car label, this set from her struggling years has since been reissued on CD by Verve. Joined by either Daniel Mixon or Onaje Alan Gumbs on piano, bassist Buster Wiliams and Louis Hayes or Chip Lyles on drums, Betty Carter really digs into the material (the majority of which are her originals), using unusual tempoes (and sometimes quick changes) and coming up with rather spontaneous and sometimes abstract interpretations; "You're a Sweetheart" (which has remained in Carter's repertoire for years) is a highlight.

The Audience with Betty Carter (1979)

After years of being told what she ought to do by record companies and producers, and then putting up with being ignored thanks to the public's fanatic interest in rock & roll, virtuoso jazz singer Carter started her own label. After getting her feet wet with the first few releases, she came up with this double album, which some fans would consider her masterpiece. Eventually it was licensed to Verve. The set is as faithful as possible; a transcription of her nightclub sets with piano trio backing. Interestingly enough, it is not actually recorded at a nightclub per se, because the Great American Music Hall, formerly one of San Francisco's most posh bordellos, is actually more a small theatre, with the set up just intimate enough to pull off this kind of live recording. A pity that the singer herself had to fund the project, because, in 1980, it was much more expensive and complicated to record live than it would become decades later with new technology. And no doubt Carter had to cut a few corners and make do with the results. So, most listeners will have some quibble with the sound, wishing, for example, for much more piano presence, more clarity from the drums, and so forth. This would have to be the only complaints that could be allowed over this material, recorded over three nights, and no doubt allowing plenty of choice of takes. "Sounds (Movin' On)" is Carter's "Chasin' the Trane": it is a bit more than 25 minutes worth of vocal improvisation, use of the voice as an instrument in interplay with the other musicians, and, above all, sheer energy, which is one thing it definitely has in common with the aforementioned Coltrane performance. Another thing in common with Coltrane would be the pianist, John Hicks, who comes out of McCoy Tyner, the saxophonist's main piano accompanist. Hicks goes just about as far out as his notoriously anti-avant-garde boss will allow in these circumstances. The remaining three sides are a mixture of standards and songs written by Carter. Her songwriting talents are an area that has definitely been overshadowed by her singing chops in terms of critical reception. The fourth side of this set, which consists almost totally of her originals, is a good place for one to explore the beautiful, tough-minded songs she writes. Other high points are the lovely exploration of "Spring Can Really Hang You Up the Most" and, of course, the fast numbers. There is not a singer alive that takes on the tempos Betty Carter does, and it is a good thing, too. Otherwise, the cardiac wards would be full of drummers and there would be no room for anyone else to get treatment. An interesting choice amongst the songs is a version of "Caribbean Sun," written by the under-appreciated saxophonist Carlos Garnett. Carter's original gatefold packaging included a photo of the entire audience.

Whatever Happened to Love? (1982)

A live date recorded at the Bottom Line in New York City, Whatever Happened to Love? features Betty Carter with her trio of the time backed by a 15-piece orchestra (mostly strings) conducted by David Amram. It's an enjoyable set, though not up to the ecstatic heights Ms. Carter often achieved in the '60s and early '70s. The pieces chosen are generally slow and even torchy, with the exception of her classic "With No Words" and, especially when the strings are present, there's a bit too much plushness and too little bite. But when it's only the trio, her unique voice is given a good opportunity to shine, and she digs into the material with obvious relish. Her ability to bend saccharine tunes like Bacharach's "I Cry Alone" or "Cocktails for Two" to her own creative ends is always a joy and on good display here. Overall, not an absolutely essential Carter release, but one that could well turn the heads of listeners either unfamiliar with her or those who have previously shied away.

Look What I Got (1988)

This well-rounded set gives listeners a good look at the adventurous music of Betty Carter. For this CD, she is joined by one of two rhythm sections (with either Benny Green or Stephen Scott on piano) and, on four of the nine songs, tenor saxophonist Don Braden. Carter twists and turns some familiar songs (such as "The Man I Love," "Imagination" and "The Good Life") along with a variety of lesser-known material including two songs of her own. Consistently unpredictable (whether scatting or stretching out ballads) Betty Carter's recordings are always quite stimulating.

Droppin' Things (1990)

Betty Carter's second Verve album solidified her credentials as one of jazz's top singers. Her trio of the period (pianist Marc Cary, bassist Tarus Mateen and drummer Gregory Hutchinson) are joined by trumpeter Freddie Hubbard (shortly before his decline) and tenor saxophonist Craig Handy on four of the seven selections while a medley of "Stardust" and "Memories of You" finds Carter accompanied by pianist Geri Allen.Other highlights include "I Love Music," "What's the Use of Wond'rin'" and "Droppin' Things." With the exception of the Geri Allen medley, this consistently stimulating music was recorded live at the Bottom Line in New York.

It's Not About the Melody (1992)

A song's melody is simply a reference point and a beginning for Carter; she takes words and inverts, probes and extends them, embellishes themes, changes moods and alters rhythms. She's a vocal improviser in a manner few have equaled, and if her voice lacks the clarity and timbre of the all-time greats, she's more than compensated with incredible timing, flexibility and power. Throughout this 11-track effort, Carter's vocals direct and steer the responses of pianist Cyrus Chestnut, bassist Ariel J. Roland and drummer Lewis Nash. It was yet another memorable outing for Betty Carter, an all-time great.

Feed the Fire (1993)

Taken from a live 1993 performance in London, Feed the Fire is an album filled with surprises. Betty Carter is known for her practice of featuring hot new up-and-coming musicians in her bands, but on this recording she is accompanied by established, world-class talent: Geri Allen, Dave Holland, and Jack DeJohnette. Dave Holland demonstrates why he is one of the greatest living bassists with his unerring sense of melody and pitch. Jack DeJohnette, an acknowledged master of the drums for 30 years, is nothing less than explosive, punctuating the solo statements of his bandmates with powerful flurries. Allen's touch is reminiscent of Keith Jarrett's at times, such as on her excellent solo on "Love Notes." Although Carter shares the spotlight unselfishly, her own contributions are clearly the focal point of Feed the Fire. On the fantastic title track, Allen sets up a percolating rhythmic figure, joined by Holland and DeJohnette. Then Carter enters, scatting her way through the changes, eschewing singing in the traditional sense. Her vocal improvisations are on par with any instrumentalists, a claim one cannot make about many singers. On ballads, such as the exquisite "Lover Man," Carter soars, caressing the melodies with a satin touch, dancing around the music with impeccable phrasing, dropping low into her register for punctuation. It is heady, hypnotizing stuff. Feed the Fire is an interesting album, with many wonderful moments, such as the unison ascending figures in "Sometimes I'm Happy" or the Carter/DeJohnette duet of "What Is This Tune?" However, it is not perfect, and tends to drag toward the end. Tracks go on for too long, and, as wonderful as Carter's singing is, and as compelling as it is to listen to the interaction of these four great musicians, the quality of the music itself tends to wander a bit. Nevertheless, it is a strong album, well worth searching out.