Many a snowy-haired gent will drift off into reflective distraction at the mere mention of Peggy Lee. Whether in thrall to her coquettish charm or bowled over by the size and scope of her talent, serious jazz buffs and fans of the fluffier stuff all agree on one thing: Lee was a helluva singer.
A product of the big-band era, Lee is remembered as much for her discipline and dedication as a composer, lyricist, arranger, actress and businesswoman as she is for hits such as Fever, Manana and Lover.
Learning the ropes first as a lounge singer and then as replacement for Helen Forrest in Benny Goodman's band, Lee mastered the art of tailoring her act to fit the circumstance.
Realising that she'd never out-sing a loud and chatty dinner crowd, she'd drop into a seductive coo and bring the hubbub down to her level. When the big band needed her to belt out a snappy swing-time showstopper, she would do that, too.
Her first solo album, which followed a series of successful 45s and 78s with her long-time label Capitol Records, came with a temporary shift to Decca Records. First released as an eight-song 10-inch in 1953, Black Coffee was reissued as an expanded 12-track LP in 1956.
The album captures Lee in finest cocktail-hour form, turning in a performance that blends something of Billie Holiday's aching melancholia with her own more naturally beguiling style. The selection of songs, most of which deal with heartache or the agony of infatuation, are delivered in neatly arranged small-band format, putting the focus squarely on Lee's warm, breathy vocals.
Lee's skilful timing and nuanced delivery shine in this setting. From the slinky title track to the swinging Love Me Or Leave Me, slow-burning takes on Easy Living and Woman Alone With The Blues and immaculately paced versions of I Didn't Know What Time It Was and You're My Thrill, the effect is intoxicating.
