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| Joe Williams' Finest Hour |
| Joe Williams |
| első megjelenés éve: 1990 |
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| (2007)
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CD |
| 4.041 Ft
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| 1. | All Right, Okay, You Win
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| 2. | Teach Me Tonight
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| 3. | Smack Dab In The Middle
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| 4. | Roll 'Em Pete
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| 5. | Jimmy's Blues
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| 6. | I Want A Little Girl
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| 7. | Party Blues
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| 8. | Louella
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| 9. | I Don't Like You No More
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| 10. | The Comback
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| 11. | Too Good To Be True
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| 12. | Ev'ry Day (I Fall In Love)
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| 13. | Winter Wonderland
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| 14. | Is You Or Is You Ain't My Baby?
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| 15. | Now You Tell Me
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| 16. | Every Day I Have The Blues
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Jazz / Vocal
Vocal Jazz
Swing
Boogie-Woogie
Big Band
Jump Blues
Traditional Pop
Recorded: Dec 2, 1946-1990
Joe Williams (vocals); Shirley Horn (vocals, piano); Ella Fitzgerald, Marlena Shaw (vocals); Marshall Royal (alto saxophone, clarinet); Bill Graham, Joe Evans (alto saxophone); Frank Wess (tenor saxophone, flute); Frank Foster, Eddie "Lockjaw" Davis, Jimmy Forrest (tenor saxophone); Charlie Fowlkes (baritone saxophone, bass clarinet); Wendell Culley, Reunald Jones, Thad Jones, Joe Newman, John Lynch, Fip Ricard (trumpet); Henry Coker, Bill Hughes, Benny Powell, Bob Murray, Waymon Richardson, Milton Robinson, Henry Wells (trombone); Count Basie, Norman Simmons, Hank Jones (piano); Kenny Burrell (acoustic guitar); Freddie Green, Henry Johnson, Floyd Smith (guitar); Eddie Jones, Bob Badgley (bass); Sonny Payne, Ben Thigpen (drums)
This is basically the budget version of the more comprehensive Every Day: The Best of the Verve Years anthology. While Verve could have easily compiled a better 60 minutes by sticking to Williams' '50s recordings with Count Basie, Joe Williams' Finest Hour shoots for the broader picture, from Williams' pre-Basie big-band work from the late '40s to his swingin'-senior-citizen days of the '80s and '90s. (Still, this is not exactly a retrospective, as there's a 30-year gap between Williams' last Verve session with Basie and the next record he cut for the label, 1987's Every Night). Overall, Finest Hour is a decent sampling of Williams' many stylistic hats -- swinging, scatting, balladeering, and blues-shouting. On half of the tracks, he fronts a big band (either Basie's or Andy Kirk's); on the other half, he sings slow blues or pop ballads (ranging from sublime to syrupy) with a small combo. Not a bad "finest hour," but if you're looking for a finer one, try Blue Note's The Best of Joe Williams.
---Ken Chang, allmusic
Includes liner notes by Brian Priestley |
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