Iliad Merrill

Helen Merrill dates are always something special. This set for Metrojazz, which has been reissued as a Verve CD, matches the cool-toned yet inwardly heated singer with an all-star sextet arranged by Quincy Jones and featuring solos by trumpeter Kenny Dorham and either Frank Wess or Jerome Richardson on flute and tenor. The repertoire includes versions of "You Go to My Head" and "Just Squeeze Me" sung in French, a couple of numbers by producer Leonard Feather, Duke Ellington's "The Blues From Black, Brown and Beige," and a haunting rendition of "The Thrill Is Gone."

Helen Merrill's first American record since 1968 (she had spent much time in Japan) is mostly a duet set with pianist John Lewis; three songs also have flutist Hubert Laws, bassist Richard Davis and drummer Connie Kay. The emphasis is on ballads, with all of the nine songs (other than the pianist's "The Singer") being quite well-known. The obvious empathy between Merrill and Lewis is well displayed on such numbers as "Django" (which has rarely been sung), "Angel Eyes," "Alone Together" and "Mad About the Boy." An introspective set full of subtle creativity.

With her cool, expressive singing style and carefully crafted song selection, Helen Merrill has secured a special place in the hearts of fans and other musicians. From intimate ballads to full-band swingers, this collection, drawn from her 1950s Verve recordings, provides a solid showcase for her emotional, sensual vocal performances.

With her cool, expressive singing style and carefully crafted song selection, Helen Merrill has secured a special place in the hearts of fans and other musicians. From intimate ballads to full-band swingers, this collection, drawn from her 1950s Verve recordings, provides a solid showcase for her emotional, sensual vocal performances.

«…I tried to fit into the situation created by Vassiliev in the most organic way, so that the music would become an inseparable part of this situation. Nonetheless, I believe that the music to The Iliad is capable of an independent existence. This is greatly enhanced by the remarkable performance skills of the chorus of The Iliad, obtained in collaboration work with Andrei Kotov, Svetlana Anistratova and Tatiana Grindenko – the latter should be especially credited for the majority of innovations in terms of acoustics and articulation, which have become a hallmark of the present recording…» Vladimir Martynov