Every other week this column highlights lost treasures or unjustly overlooked artists. In my opinion, they don't get more overlooked than soul and jazz chanteuse Randy Crawford. Crawford possesses the rare gift of versatility—her voice can adapt to various musical styles, ranging from blues to jazz to rock and even to folk. She also takes risks in covering standards that many artists would be afraid to touch. Yet she remains unappreciated in the United States, finding more success in Europe. A recent career resurgence will hopefully garner the recognition she deserves. <
According to the All Music Guide, Crawford grew up in Cincinnati, developing her vocal talent in clubs. After singing in a group led by P-Funk's Bootsy Collins, she toured as George Benson's opening act in 1972. Blues legend Cannonball Adderley invited her to sing on his album Big Man. But her greatest musical collaboration turned out to be with jazz pianist Joe Sample, who recruited her to sing lead on his group The Crusaders's single “Street Life.” The 1979 hit deftly combined jazz and disco, and Crawford's memorable lead vocal propelled the song into the top 40 charts as well as the top 20 in the R&B charts. The video below shows Sample and Crawford giving the track a jazz makeover in 2007.
Despite “Street Life's” success and her subsequent tour with The Crusaders, Crawford was unable to score another hit in the United States. The Crusaders even produced her 1980 album Now We May Begin, which spawned classics such as “One Day I'll Fly Away” and “Same Old Story (Same Old Song),” but it experienced only modest success. However, she found fame in Europe, charting with her soulful cover of Bob Dylan's “Knocking on Heaven's Door,” her interpretation of “Rainy Night in Georgia,” and the catchy “Last Night at Danceland.” While she has recorded steadily since 1976, her albums and overall work have gained little airplay in America, although she released a Best of compilation in 1996.
Crawford attracted my attention several years ago. While aimlessly flipping through radio stations, I landed on Chicago's smooth jazz station WNUA. Normally I'd skip over the station, but the song currently playing captured my ear: “Rio de Janiero Blue,” a beautiful samba that allowed her to display her range and ease with various genres. Her distinctive vocals sounded fresh, and her obvious ability to sing jazz as well as R&B greatly impressed me. Subsequently I purchased her Best of collection, and have been hooked ever since.
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