Her analyst told her
That she was right out of her head
The way he described it
He said she’d be better dead than alive
She didn’t listen to his jive
She knew all along
That he was all wrong
And she knew that he thought
She  was crazy but she’s not
Oh no? Oh no!

Most Baby Boomers first heard this song via Joni Mitchell’s version on 1974’s “Court & Spark” album, but it was written and sung by the Jazz volcalese singer Annie Ross.

“Twisted” is a whimsical account of the protagonist’s insanity that satirises psychoanalysis. In 1952, Ross met Prestige Records owner Bob Weinstock, who asked her to write lyrics to a jazz solo, in a practice that would later be known as vocalese. The next day, she presented him with “Twisted”, a treatment of saxophonist Wardell Gray’s 1949 composition of the same name, a classic example of the genre.

Annie was a member of the  premier jazz vocal act of all time, Lambert, Hendricks & Ross, who  revolutionized vocal music during the late ’50s and early ’60s by turning away from the increasingly crossover slant of the pop world to embrace the sheer musicianship inherent in vocal jazz. Applying the concepts of bop harmonies to swinging vocal music, the trio transformed dozens of instrumental jazz classics into their own songs, taking scat solos and trading off licks and riffs in precisely the same fashion as their favorite improvising musicians. Vocal arranger Dave Lambert wrote dense clusters of vocal lines for each voice that, while only distantly related, came together splendidly. Jon Hendricks wrote clever, witty lyrics to jazz standards like “Summertime,” “Moanin’,” and “Twisted,” and Annie Ross  proved to be one of the strongest, most dexterous female voices in the history of jazz vocals. Together Lambert, Hendricks & Ross  paved the way for vocal groups like Manhattan Transfer while earning respect from vocalists and jazz musicians alike.

The act grew out of apartment jam sessions by Lambert, a pioneering arranger and bop vocalist who had appeared in groups led by Gene Krupa and Buddy Stewart– though he had also gained infamy leading a vocal choir on the disastrous “Charlie Parker with Voices” session recorded for Clef in 1953. That same year, Lambert met  Jon Hendricks, who had similar vocal specialties that extended to lyrical changes. The pair debuted with a radically reworked version of “Four Brothers,” which featured lyrics by Hendricks  and note-for-note duplications of the original solos by Al Cohen, Zoot Sims, Stan Getz and Woody Herman. They recorded a few other sides but were unsuccessful until a chance meeting with solo vocalist Annie Ross hit pay dirt.

The first LP by Lambert, Hendricks & Ross was 1957’s Sing a Song of Basie Though the trio originally intended to hire a complete vocal choir to supplement their voices, the general incompetence of the studio voices led them to multitrack their own voices. The results were excellent, incredible vocal re-creations of complete solos from Basie classics like “One O’clock Jump,” “Down for Double,” and “Avenue C” with added lyrics by Hendricks. The next year’s follow-up, Sing Along with Basie, featured the bandleader himself and his group in a supporting role.

Perhaps realizing that multi-tracking was a bit of a gimmick, Lambert, Hendricks & Ross then recruited a straight rhythm trio and began touring and recording that way. The first studio effort, 1959’s The Swingers’, represented a leap in quality and musicianship, leading to a contract with Columbia later that year. The trio recorded three albums for the label during the next two years, including a tribute to Duke Ellington.

All three had pursued separate solo projects during the trio’s run.

During her time with Lambert, Hendricks & Ross, she became addicted to Heroin,  and in the late 1950s had an affair with the comedian Lenny Bruce, who was also having drug problems. By 1960, Carol Sloane was regularly substituting for her on tour. After a performance by the trio in London in May 1962, she stayed there to kick the habit. After constant touring began to wear her out, Ross  left the group in 1962.

Lambert and Hendricks replaced her with Yolande Bavan, and continued recording for RCA. However, it was nearly impossible to replace a singer of Ross’ caliber, and the three albums  Lambert, Hendricks, & Bavan recorded between 1962 and 1964 were decidedly below par. The group broke up in 1964, and  Dave Lambert’s death in a traffic accident just two years later quashed any hopes of a reunion. Both Jon Hendricks and Annie Ross continued to perform and record, with Ross doing much theater and film work as well.

 

 

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