It really is difficult to acquire relevant information regarding Lillie Delk Christian because just about any historian or music critic that has discussed her thought it essential to vent his personal bias while complaining on the subject of her voice as well as ridiculing her for not sounding plenty of as an “authentic” jazz vocalist. Curiously, no such criticism appears to have been leveled at her light-skinned contemporaries Ruth Etting and Annette Hanshaw. All three sang inside a similar jazz-pop design, using feminine warmness and a sprinkling of sugars to infuse every melody with an agreeable candor that evidently violates certain behaviour about how exactly jazz was likely to have already been sung through the past due ’20s. If from the three performers “girl nearby” Hanshaw shipped the most regularly high quality shows and “gangster’s moll” Etting preserved a theatrically saccharine superficial poise, Lillie Delk Christian sang carefully and sweetly, having a gentle parlor vibrato that properly suited a lot of her pop-oriented repertoire. Through the years 1927 and 1928 she trim a lot more than 15 game titles for the favorite Okeh label. Few cynical objections to her tidy technique appear to have been around in evidence in the past, plus some of Chicago’s best jazz musicians had been pleased to back again her in the documenting studio room. Certainly she was sufficient for cornetist Louis Armstrong, clarinetist Jimmie Noone, and pianists Richard M. Jones, and Earl Hines. The eight edges she trim with Armstrong’s Scorching Four really place her in the traditional map and also have since made certain her inclusion in various early jazz compilations. The very best of her Okehs, “As well Busy!” is certainly valued for Satchmo’s scat performing, but it’s worthy of noting the fact that less jazzy quantities (specifically the critically vilified but magnificently arcane waltz “Was It a Wish?”) allow Lillie to take pleasure from the melodic contours while glowing with her very own light.