Odetta – Odetta and The Blues (1962)

01. Hard, Oh Lord
02. Believe I'll Go
03. Oh, Papa
04. How Long Blues                               play
05. Hogan's Alley
06. Leavin' This Mornin'
07. Oh, My Babe
08. Yonder Comes the Blues
09. Make Me a Pallet on the Floor
10. Weeping Willow Blues
11. Go Down, Sunshine
12. Nobody Knows You When You're Down and Out    play

Personnel:
Odetta - vocals
Buck Clayton - trumpet
Ahmed Abdul-Malik - bass
Dick Wellstood - piano
Vic Dickenson - trombone
Herb Hall - clarinet
Line Up:
Ahmed Abdul-Malik - bass
Buck Clayton - trumpet
Vic Dickenson - trombone
Odetta - vocals
Dick Wellstood - piano
Herb Hall – clarinet

Origin Year  1962 
Release Date  Feb 17, 1992

Odetta earned her rep singing traditional folk in the mid-'50s before the American folk revival got underway with the Kingston Trio and "Tom Dooley" in 1958. Unlike many of her contemporaries, however, she had a habit of going her own way from time to time. One of Odetta's most interesting deviations from straight folk, and one that caused a bit of contention among her more conservative contemporaries, was Odetta and the Blues, released by Riverside in 1962. Drawing from classic female blues singers like Bessie Smith, Mamie Smith, and Ma Rainy, she traded in her acoustic guitar for a six-piece jazz band featuring trumpeter Buck Clayton, trombonist Vic Dickenson, clarinetist Herb Hall, pianist Dick Wellstood, bassist Ahmed Abdul-Malik, and drummer Shep Shepherd. The results are so convincing that if one didn't know who Odetta was or what time period she sang in, it would be easy to believe she had been a classic blues singer. From the upbeat New Orleans jazz of "Believe I'll Go" to the down-home blues of "Oh, My Babe," Odetta and the Blues is a fun, inspired, and surprising album. Odetta gives full range to her magnificent voice, providing a fresh makeover to old favorites like "Yonder Comes the Blues," while trumpet, trombone, and clarinet work offers lively, vivacious accompaniment. In many ways, Odetta and the Blues isn't the typical Odetta album, but it is an excellent portrait of an artist who refused to be boxed in by the assumed aesthetic of her time. --- Ronnie D. Lankford, Jr.

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