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Jazz
Tracks 1 and 3 recorded May 12, 1961. Tracks 2 and 4 recorded February 13, 1960. Tracks 5, 6 and 8 recorded June 7, 1956. Track 7 recorded April 14, 1954. Track 9 recorded July 7, 1958. Track 10 recorded December 16, 1954. Track 11 recorded April 2, 1954. Track 12 recorded April 1, 1956. Track 13 recorded Ocrober 6, 1969. Track 14 recorded August 1959. Track 15 recorded December 4, 1961. Track 16 recorded February 19, 1959.
Ella Fitzgerald, Billie Holiday, Sarah Vaughan, Dinah Washington (vocals); Ernie Wilkins (conductor, arranger); Paul Quinichette, Zoot Sims (tenor saxophone); Charlie Shavers, Clifford Brown (trumpet); Herbie Mann (flute); Tony Scott (clarinet); Lou Levy, Paul Smith, Wynton Kelly, Oscar Peterson, Jimmy Jones, John Malachi (piano); Herb Ellis, Jim Hall, Kenny Burrell (guitar); Wilfred Middlebrooks, Aaron Bell, Ray Brown, Joe Benjamin (bass); Gus Johnson, Lennie McBrowne, Ed Shaughnessy, Roy Haynes (drums); The Quincy Jones Orchestra; The Hal Mooney Orchestra; The Belford Hendricks Orchestra
There was a time, decades ago, when jazz singers occasionally had hits - not just nightclub showstoppers or deejay favorites, but chart-topping singles that spun in jukeboxes and even made the hit parade. For black artists such as Billie Holiday, Ella Fitzgerald, Sarah Vaughan, and Dinah Washington, those songs opened the door to a mainstream acceptance that might never have happened otherwise. Whatever they recorded, though, these singers' personalities leap off the discs. "I can sing anything - anything at all," declared Washington. "I sing blues, pop, and if I have to I can go to church." On Four by Four, Lady, Ella, Sassy, and Miss D do all the above and more.
All tracks have been digitally remastered.
This unique and thoughtful compilation brings together four of the best tunes by four of the greatest female jazz singers in history. As a result, listeners may compare and contrast the exhuberant joy of Ella Fitzgerald's "A Tisket, A Tasket" and her virtuoso scat showcase "How High the Moon" with the roughened ache of Billie Holiday's voice in these mid-50s small-band versions of her signature tunes "God Bless the Child" and "Strange Fruit." Sarah Vaughan's diplays equal ease with plush orchestras ("Lush Life," "Misty") and stripped-down bop ("Lover Man," "Lullaby of Birdland") can be measured against Dinah Washington's apparent ability to sing beautifully in any style thrown at her. This is a wonderful introduction to some of the best singers in jazz history
Includes liner notes by James Gavin. |
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