By Johnny Ray Huston
SFBG When was the first time you saw Blossom live on stage? What impressions or favorite memories do you have from her performances?
Jacqui Naylor I first saw Blossom with my vocal teacher, Faith Winthrop, in 1997 in San Francisco at the Great American Music Hall. I fell in love with her unmistakably sweet voice, quirky delivery and unmatched style.
Blossom’s voice was small and large at the same time and she used her nice range to tell the story of a song with sincerity, rather than over singing it, sometimes with a little sweet vibrato at the top and sometimes with an almost speaking quality in her middle and lower register. I appreciated that she made the most of every lyric, especially with such a diverse repertoire, everything from lovingly sung ballads to wit-filled swing tunes and songs that she wrote. I was also struck by the fact that she was selling her CDs herself and taking the time to sign them for people. I have a few that I cherish from that evening. She is the only artist from whom I’ve felt compelled to get a signature.
SFBG Did you know Blossom?
JN I saw Blossom on a number of occasions in New York and met her through my distributor, John Nustvold, from Ryko/Warner. He is also a big fan of her work and was hopeful to get her music out to more people. We dreamed that maybe there were even some unreleased tracks that we could help bring to market.
I should say here that Blossom not only inspired me musically but also in her business savvy, since she was one of the first artists to own her own label, Daffodil Records. It was great to meet her and tell her how much she had affected me, inspiring my own Ruby Star Records and my determination to find a sound that was uniquely mine. It is because of her that I stopped worrying about whether I sounded like a traditional jazz singer and instead focused on telling the stories of the songs I chose to sing in a ways that felt true to me. Because of her, I also began to imagine bringing humor to my music and shows by reinterpreting the idea of modern cabaret songs, and by writing songs that might inspire people. Many of the songs Blossom chose to sing touted words of spring, birds, love, flight, and yes, blossoms. And even when she sang the most cruel and humorous cabaret song, she did so with a sense of compassion, humility and good fun. Famous for refusing to sing unless her audience was quiet, Blossom did so politely and without malice. A true talent with a lot of grace and charm.
Blossom Dearie sings “Surrey With the Fringe on Top”
After the jump: Schoolhouse Rock, grape-peeling appeal, great live clips, “Blossom’s Blues” and Dearie’s musicianship,