American jazz vocalist and pianist who from an early emulation of vocalist Billie Holiday (Holiday, Billie) grew to become a distinctive stylist, known for her smoky voice and her melodic variations on jazz standards. Her scat improvisations were innovative, complex, and elegant.

McRae studied classical piano as a child, worked with bandleaders Benny Carter (Carter, Benny) and Count Basie (Basie, Count) in the mid-1940s, and made her recording debut as Carmen Clarke (she was at the time married to jazz drummer Kenny Clarke (Clarke, Kenny)) with Mercer Ellington's orchestra in 1946–47. She spent several years as an intermission pianist and singer at Minton's Playhouse in New York City until successfully recording in 1953 and 1954. From the mid-1950s, she toured extensively (being particularly popular in Japan), recorded frequently, and appeared in many musical contexts.

McRae recorded with several jazz notables, including Louis Armstrong (Armstrong, Louis), Dave Brubeck (Brubeck, Dave), Joe Pass, and George Shearing. Her outstanding recordings include Here to Stay, a collection of sides from the late 1950s; Lover Man (1962); and The Great American Songbook (1972). In later years, McRae issued a series of highly regarded albums that paid tribute to other jazz artists, such as Nat King Cole (Cole, Nat King), Billie Holiday (Holiday, Billie), Thelonious Monk (Monk, Thelonious), and Sarah Vaughan (Vaughan, Sarah). McRae is remembered for her elegance and her ability to invest herself emotionally and intellectually in a song's lyrics. Jazz critic Ralph Gleason described a McRae song as an “exercise in dramatic art.”