Chicago, Illinois, August 14, 1929
Los Angeles, California, May 22, 2001
[… ]. The best is yet to come and babe, won’t it be fine?
You think you’ve seen the sun, but you ain’t never, never seen it shine
A-wait till the warm-up’s underway
Wait till our lips have met
And wait till you find that sunshine day
You ain’t seen nothin’ yet… […].
[…] Il meglio deve ancora venire e tesoro, non sarà meraviglioso?
Pensi di aver già visto il sole, ma non l’hai ancora visto brillare
Attendi, la temperatura si sta alzando
Attendi finché le nostre labbra non si saranno incontrate
E aspetta finché non avrai vissuto quel giorno di sole
Per il momento, non hai ancora visto niente… […].
Her most celebrated albums
A resolute and brilliant voice delivers this promise of joy in one of her most famous albums, Alexandria the Great, released by Impulse! Records in 1964. The song in question, The Best Is Yet to Come (written by Cy Coleman and Carolyn Leigh), is perhaps best remembered for Frank Sinatra’s version, recorded the same year with Count Basie’s orchestra. For fans of the Star Trek television series, the song might sound familiar, as it was sung by the actors in an episode of Star Trek: Deep Space Nine in February 1999. However, the power of these wonderful American songs, symbols of an era, certainly does not end there.
Dolorez “Lorez” Alexandria Turner, a jazz singer from Chicago, signs this promise of anticipation with the same Sinatra-esque notes, fulfilling it with all her exquisite jazz interpretations. The elegance, lyricism, and finesse of her voice can be compared to those of “colleagues” like Sarah Vaughan or Ella Fitzgerald, yet her unique musicality affirms that each artist is one of a kind. She showcases how the human voice contributes to the genre that has made originality and improvisation its defining features—jazz.
On the album Alexandria the Great, Lorez performs three major jazz standards: I’ve Never Been in Love Before and My One and Only Love, two ballads by Frank Loesser and Guy Wood, respectively, and Satin Doll, the famous Billy Strayhorn and Duke Ellington composition with lyrics by Johnny Mercer. In Satin Doll, Lorez stands out for her dynamic interaction with the piano, guitar, and saxophone, concluding with a scat phrase—an approach she usually only hints at briefly in her recordings. This highlights what she excels at throughout her career: a finely improvised phrasing that weaves through the lyrics.
The musical accompaniment is enriched by instruments such as Bud Shank’s flute and Victor Feldman’s vibraphone, in addition to jazz rhythm section greats like Jimmy Cobb on drums, Wynton Kelly on piano, Al McKibbon and Paul Chambers on bass, Ray Crawford on guitar, and Paul Horn on alto sax.
The vocalist also demonstrates great versatility in musical theater gems like Over the Rainbow and Get Me to the Church on Time, the latter delivered with a solemn orchestral atmosphere. In this version, her vocal technique reveals a trait seen in another singer just a little younger than her—Nancy Wilson—who was equally devoted to jazz and American popular music, rhythm and blues, soul, and cabaret. This trait is the depth and spatiality of her voice, which aligns with the soul music style: a genre that literally translates to “music of the soul,” blending jazz nuances with pop and rock influences, characterized by powerful and raw vocal performances.
Another stylistic similarity between Lorez and Nancy Wilson emerges in their blues-infused atmosphere, particularly in ballads. Their interpretations slow down, filled with pathos, creating a mood similar to pure blues compositions.
However, when comparing Lorez’s voice to that of other jazz singers like Billie Holiday or Sarah Vaughan, one notices that the melancholic, sorrowful, and sentimental tone is less pronounced in her delivery. In Holiday’s case, above all, the pain of her life is fully absorbed into her voice, making it immediately perceptible to the listener. In contrast, Lorez’s sound alternates between relaxed swing and more vibrant moments, symbolizing a more serene and stable lifestyle—unlike many jazz greats whose turbulent stories inevitably seeped into their music.
Now, let’s listen to The Best Is Yet to Come (Cy Coleman, Carolyn Leigh) from the album Lorez Alexandria the Great…
Lorez’s musical debut
Little is known about Lorez’s origins, her family, and childhood, as well as her later private life. Artistically, she debuted as a teenager, singing gospel in church. Before launching her solo career, she was part of a touring a cappella choir, traveling from her hometown throughout the Midwest. She later found work in various Chicago venues (such as the Cloister Inn and the Brass Rail) and began recording her first works for independent record labels.
Her debut album, This is Lorez, was released in 1957 on King Records, accompanied by pianist and composer Walter “King” Fleming’s group.
The following year, she paid tribute to the great saxophonist Lester Young with Lorez Sings Pres: A Tribute to Lester Young, featuring several songs associated with Billie Holiday, Young’s dear friend and collaborator. On this album, her scat singing becomes more prominent and fluid, recalling the legendary Ella Fitzgerald, a master of vocal improvisation.
Lorez’s admiration for Billie Holiday is evident in her own words. In 1965, while listening to Holiday’s Violets for Your Furs, she remarked:
“There’s not too much left to say about Billie Holiday. How is it possible for a woman to be this great? This comes from a period when she wasn’t supposed to be singing too well […]. She always got the message across. She never failed.”
…To be continued…
Stay tuned for the next article to discover more curiosities about Lorez’s life and music!
