The celebrated English vocal and theater star Cleo Laine died Thursday at 97, but not without first making it clear she wasn’t a jazz singer. Laine, who began performing in jazz circles in 1952, took significant exception to the label, stating in a 1984 interview, “I don’t consider myself a jazz singer now.”
Cleo Laine: A Singer of Songs, Not Just Jazz
Cleo Laine, the versatile English vocalist and actress, passed away at 97, leaving a legacy that defied easy categorization.
- Cleo Laine, who died at 97, insisted she was a “singer of songs,” not a jazz singer.
- Despite her protests, she won a Grammy for Best Jazz Vocal Performance, Female, in 1986.
- Laine also earned accolades for her work in musicals, opera, and classical music.
- Born Clementina Dinah Campbell in 1927, she was influenced by American film musicals.
- She co-founded The Stables arts center in Wavendon, England, with her husband, John Dankworth.
Laine preferred to see herself as simply “a singer of songs.” She explained her distinctive style, noting, “I wasn’t singing like the current singers of the day.” She described herself as a “naive country girl” who sang with an old soul’s depth, possessing a weightier contralto voice that appealed to audiences.
Despite her reservations, Laine achieved a significant milestone in 1986, becoming the first British artist to win a Grammy Award in the Best Jazz Vocal Performance, Female category. The legendary Ella Fitzgerald recognized this achievement, sending Laine roses and a congratulatory note: “Congratulations, gal — it’s about time!”
Laine’s Grammy nominations extended beyond jazz, including nods for Best Classical Vocal Performance and Best Pop Vocal Performance, Female. Her repertoire was remarkably broad, encompassing Tin Pan Alley standards, Gershwin’s “Porgy and Bess,” and challenging compositions by Charles Ives, Arnold Schoenberg, and Robert Schumann.
A Life of Diverse Performances
Born Clementina Dinah Campbell on Oct. 28, 1927, Laine was the daughter of a Jamaican father and an English mother. From childhood, she immersed herself in piano, dance, and vocal lessons, absorbing a wide range of influences. American film musicals were a particular inspiration, fueling her dreams of performing from a young age.
Her professional journey began in 1952 when she joined saxophonist John Dankworth’s band. Laine and Dankworth married in 1958 and remained together until his passing in 2010. Reflecting on her early days with Dankworth’s group, Laine admitted, “It was intimidating in a way.” She described herself as “clumsy and gawky” but found her footing through her musical partnership with Dankworth.
Beyond her recording career, Laine excelled in theater, earning acclaim for her roles on stages in London and on Broadway. In 1986, she received a Tony Award nomination for her portrayal of Princess Puffer in “The Mystery of Edwin Drood.” She later played the Witch in a 1989 touring production of Stephen Sondheim’s “Into the Woods.”
Laine’s performances, often alongside her husband, graced prestigious venues worldwide, including Carnegie Hall, the Hollywood Bowl, London’s Royal Albert Hall, and San Diego’s Balboa Theater. Her collaborations spanned genres, featuring artists like Ray Charles, James Galway, the London Symphony Orchestra, John Williams, and the Duke Ellington Orchestra.
In 1997, Laine was honored as a Dame, the female equivalent of a knight, making her the first British jazz artist to receive this distinction. She continued to perform actively until at least age 90, with a well-received performance at London’s Royal Festival Hall in May 2018.
Founding The Stables
Laine and Dankworth were also dedicated patrons of the arts. In 1970, they established The Stables, an arts center in Wavendon, England. This venue included a 300-seat theater that played host to significant musical events. Notably, in 2001, The Zombies’ Rod Argent and Colin Blunstone reunited on stage there, an event that paved the way for the band’s full reunion in 2004.
No cause of death has been publicly disclosed for Laine.
A Lifelong Pursuit of Musical Expression
In a 1984 interview, Laine elaborated on her unique approach to music. She emphasized her refusal to be confined by genre, stating, “I never, ever lost sight of going on the stage, no matter what.” Her early ambition was simply to perform, a drive that stemmed from her childhood fascination with American film musicals.
“The biggest influence at that time in my life was American film musicals,” she recalled. “I went to every one that came to England… every singer and dancer — from Fred Astaire to Louie Armstrong — I adored.” She admitted to dreaming of performing as she sat in darkened theaters, realizing later that diligent practice was the key to opportunity.
Laine’s career breakthrough came in 1964 with the album “Shakespeare and All That Jazz,” which garnered a five-star review and opened new doors. This success led to more stage work and opportunities like appearing in “The Seven Deadly Sins” at the Edinburgh Festival, resulting in a hit pop record and concurrent work at London’s Sadler’s Wells opera theater. “So, really, from the ‘Shakespeare’ album, I started leap-frogging from one thing to another and enjoying a very happy, eclectic life.”
When asked about transitioning between musical styles, Laine dismissed the idea that classical training posed a barrier, saying, “Not really. I was never trained as a classical singer. I didn’t want to be.” She deliberately avoided a “produced” voice, valuing clarity of lyrics over overly stylized enunciation.
Working with her husband, John Dankworth, offered significant advantages, particularly on tour. “When you’re on the road touring, it can be extremely lonely,” she noted, highlighting his role not just as a musical director but as a companion.
The couple’s commitment to musical education led to the founding of the Wavendon All-music Project (WAP). “We started the WAP 14 years ago to break down the barriers between all kinds of music,” Laine explained. Their philosophy was that “there is really only one kind of music — good music,” aiming to encourage young musicians to explore diverse genres.
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