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Artist:ODETTA
Speed:33 RPM
Record Label:Riverside
Release Title:ODETTA and The BLUES
Color:Black
Material:Vinyl
Catalog Number:Riverside Records ‎– RLP 417
Type:LP
Format:Record
Record Grading:Excellent (EX)
Sleeve Grading:Very Good Plus (VG+)
Release Year:1962
Record Size:12″
Genre:Blues
Country/Region of Manufacture:United States
Number of Audio Channels:Mono

Odetta Biography by Philip Van Vleck One of the strongest voices in the folk revival and the civil rights movement, Odetta was born on New Year’s Eve 1930 in Birmingham, AL. By the time she was six years old, she had moved with her younger sister and mother to Los Angeles. She showed a keen interest in music from the time she was a child, and when she was about ten years old, somewhere between church and school, her singing voice was discovered. Odetta’s mother began saving money to pay for voice lessons for her, but was advised to wait until her daughter was 13 years old and well into puberty. Thanks to her mother, Odetta began voice lessons when she was 13. She received a classical training, which was interrupted when her mother could no longer afford to pay for the lessons. The puppeteer Harry Burnette interceded and paid for Odetta to continue her voice training. When she was 19 years old, Odetta landed a role in the Los Angeles production of Finian’s Rainbow, which was staged in the summer of 1949 at the Greek Theatre in Los Angeles. It was during the run of this show that she first heard the blues harmonica master Sonny Terry. The following summer, Odetta was again performing in summer stock in California. This time it was a production of Guys and Dolls, staged in San Francisco. Hanging out in North Beach during her days off, Odetta had her first experience with the growing local folk music scene. Following her summer in San Francisco, Odetta returned to Los Angeles, where she worked as a live-in housekeeper. During this time she performed on a show bill with Paul Robeson. The Tin Angel In 1953, Odetta took some time off from her housecleaning chores to travel to New York City and appear at the famed Blue Angel folk club. Pete Seeger and Harry Belafonte had both taken an interest in her career by this time, and her debut album, The Tin Angel, was released in 1954. From this time forward, Odetta worked to expand her repertoire and make full use of what she has always termed her “instrument.” When she began singing, she was considered a coloratura soprano. As she matured, she became more of a mezzo-soprano. Her experience singing folk music led her to discover a vocal range that runs from coloratura to baritone. Odetta at Carnegie Hall Odetta’s most productive decade as a recording artist came in the 1960s, when she released 16 albums, including Odetta at Carnegie Hall, Christmas Spirituals, Odetta and the Blues, It’s a Mighty World, and Odetta Sings Dylan. In 1999 she released her first studio album in 14 years, Blues Everywhere I Go. On September 29, 1999, President Bill Clinton presented Odetta with the National Endowment for the Arts’ Medal of the Arts, a fitting tribute to one of the great treasures of American music. Looking for a Home The next few years found Odetta releasing some new full-length albums, including Livin’ with the Blues and a collection of Leadbelly tunes, Looking for a Home. She toured North America, Latvia, and Scotland and was mentioned in Martin Scorsese’s 2005 documentary, No Direction Home. That same year Odetta released Gonna Let It Shine, which went on to receive a 2007 Grammy nomination for Best Traditional Folk Album. In December 2008, she died of heart disease in New York. Odetta and the Blues Review by Ronnie D. Lankford, Jr. 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. Odetta – Odetta And The Blues Odetta – Odetta And The Blues album cover More images Label: Riverside Records – RLP 417 Format: Vinyl, LP, Album, Mono Country: US Released: 1962 Genre: Blues Style: A1Hard, Oh Lord4:05 A2Believe I’ll Go3:03 A3Oh, Papa3:16 A4How Long Blues2:06 A5Hogan’s Alley2:09 A6Leavin’ This Mornin’2:46 B1Oh, My Babe4:19 B2Yonder Comes The Blues2:48 B3Make Me A Pallet On The Floor3:47 B4Weeping Willow Blues2:35 B5Go Down Sunshine2:17 B6Nobody Knows When You’re Down And Out2:19 Artwork – Ken Deardoff Bass – Ahmed Abdul-Malik Clarinet – Herb Hall Drums – “Shep” Sheppard* Liner Notes – Ed Michel Mastered By – Plaza Sound Studio Photography By [Back-liner] – Charles Stewart* Piano, Arranged By – Dick Wellstood Producer – Orrin Keepnews Recorded By – Ray Fowler Trombone – Vic Dickenson Trumpet – Buck Clayton Vocals – Odetta GOLDMINE GRADING MINT —- It should appear to be perfect. No scuffs or scratches, blotches or stains, labels or writing, tears or splits. Mint means perfect. NEAR MINT —- Otherwise mint but has one or two tiny inconsequential flaws that do not affect play. Covers should be close to perfect with minor signs of wear or age just becoming evident: slight ring-wear, minor denting to a corner, or writing on the cover should all be noted properly. VERY GOOD PLUS —- The record has been handled and played infrequently or very carefully. Not too far from perfect. On a disc, there may be light paper scuffs from sliding in and out of a sleeve or the vinyl or some of the original luster may be lost. A slight scratch that did not affect play would be acceptably VG+ for most collectors. VERY GOOD —- Record displays visible signs of handling and playing, such as loss of vinyl luster, light surface scratches, groove wear and spindle trails. Some audible surface noise, but should not overwhelm the musical experience. Usually a cover is VG when one or two of these problems are evident: ring wear, seam splits, bent corners, loss of gloss, stains, etc. GOOD —- Well played with little luster and significant surface noise. Despite defects, record should still play all the way through without skipping. Several cover flaws will be apparent, but should not obliterate the artwork. POOR —- Any record or cover that does not qualify for the above "Good" grading should be seen as Poor. Several cover flaws.

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