Bird Call [LP]

Vi Redd began singing in church at the age of five and, after learning piano for a time, blew a C-Melody saxophone given to her by her great-aunt Alma Hightower, a well-known music teacher, when she was 10 years old and still in high school.

In 1948, she began performing at neighborhood events while continuing to study music and majoring in social science. After graduating from L.A. State College in 1954, she played and sang in small local bands, including the Dick Hart Orchestra. At the same time, she discovered the obstacles that explained the rarity of jazz women. "I can't see any advantages to being a female musician. I've found nothing but disadvantages," Vi explained. In 1957, she decided to give up music and only returned to jazz after three years as a social worker.

From March 1962, Vi began performing regularly on Monday evenings at the Red Carpet Room in Los Angeles. What was immediately noticeable about her was that few musicians had a more Bird-like sound or a more grounded blues feel than she did. In addition to her skills on the saxophone, she was a singer with a warm gospel and blues timbre.

Vi's unique sound quickly made her the talk of the town, leading to the recording of her debut album, Bird Call, which showcases her soulful playing and singing accompanied by two groups of prominent jazz musicians. The first group consists of trumpeter Carmell Jones and vibraphonist Roy Ayers, while the second group includes guitarist Herb Ellis. Both rhythm sections are supported by pianist Russ Freeman and Vis' husband Richie Goldberg on drums. On upright bass, Leroy Vinnegar and Bob Whitlock provide the steady groove. The album, which was produced with the support of critic and producer Leonard Feather, received critical acclaim when it was released on the United Artists label.

Following the success of "Bird Call", Vi Redd released a second album entitled "Lady Soul" on Atlantic Records in 1963. Her name quickly became known through frequent appearances at jazz festivals in the USA and internationally as a soloist with Count Basie's orchestra, which toured Europe and Africa. She also performed in various clubs from Copenhagen to Tokyo.

Unfortunately, Miss Redd's reputation could have been more commensurate with her talent if the only two albums she recorded as a leader had not been taken off the market for years. Despite all the obstacles and the fact that she disappeared from the scene at times, Vi Redd persevered and paved the way for many other talented women of jazz throughout her career.