Long before Linda Ronstadt or Natalie Cole delved into the Great American Songbook, Diana Ross took the plunge during her Oscar-nominated turn as Billie Holiday in the 1972 film Lady Sings the Blues. Her vocal interpretations on the soundtrack amply proved that, despite her pop beginnings, the former Supreme had a genuine feel for jazz. Though she went on to record this follow-up album, Blue languished in a vault for 30 years. (Rumors abound that Motown chief Berry Gordy, then Ross's paramour, felt she was straying too far from her Top 40 roots and shelved the project.) Accompanied by many of the same musicians who'd played alongside Holiday, including trumpeter Harry "Sweets" Edison, Ross's singing on Blue subtly swings, whether she's infusing sly seduction into a string-caressed reading of Cole Porter's "Let's Do It" or affecting a slight growl amid the swanky arrangements of "T'Ain't Nobody's Bizness if I Do." And when she's not darting amid the vibes dotting a snappy rendition of "Love Is Here to Stay," Ross's yearning phrasing helps to conjure romantic images of a late-night rendezvous on the Benny Green-flavored guitar peppering "Can't Get Started with You." Blue is as relevant today as when it was recorded, and shows how multifaceted this dynamic diva really is.