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.