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2 x CD |
Kérjen
árajánlatot! |
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| 1. CD tartalma: |
| 1. | Drinking Again
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| 2. | Destination Moon
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| 3. | Miss You
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| 4. | Is You Is or Is You Ain't My Baby?
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| 5. | You're Nobody Till Somebody Loves You
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| 6. | Red Sails in the Sunset
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| 7. | Coquette
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| 8. | Fly Me to the Moon (In Other Words)
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| 9. | You're a Sweetheart
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| 10. | That's My Desire
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| 11. | Love Is the Sweetest Thing
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| 12. | I Used to Love You
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| 13. | Do Nothin' Till You Hear from Me
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| 14. | These Foolish Things
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| 15. | Baby Won't You Please Come Home
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| 16. | I'll Be Around
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| 17. | Lover Man (Oh Where Can You Be)
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| 18. | The Man That Got Away
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| 19. | Say It Isn't So
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| 20. | On the Street of Regret
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| 2. CD tartalma: |
| 1. | The Blues Ain't Nothing (But a Woman Crying for Her Man)
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| 2. | The Key to the Highway
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| 3. | How Long How Long Blues
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| 4. | Don't Come Running Back to Me
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| 5. | If I Never Get to Heaven
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| 6. | It's a Mean Old Man's World
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| 7. | Me & My Gin
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| 8. | I Wanna Be Around
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| 9. | Make Someone Happy
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| 10. | Take Me in Your Arms
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| 11. | Drown in My Own Tears
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| 12. | I Left My Heart in San Francisco
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| 13. | The Show Must Go On
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| 14. | What Kind of Fool Am I
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| 15. | Call Me Irresponsible
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| 16. | Nobody Knows the Way I Feel This Morning
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| 17. | The Good Life
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| 18. | Stars Over My Shoulder
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| 19. | Icy Stone
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| 20. | A Stranger on Earth
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Jazz / Vocal, Jump Blues, Standards, Traditional Pop, Vocal Jazz
Darren Evans Design
Dave McAleer Liner Notes
Jon Wilson Project Manager
While this two-disc, 40-track collection is not the definitive Dinah Washington, it is certainly more than adequate, covering her career with Roulette over only three years, from 1962-1964. This is Washington the blues and jazz singer with big bands and stellar arrangements. From "Drinking Again" to "Do Nothing 'Til You Hear from Me," from "Red Sails in the Sunset" to her stellar reading of "These Foolish Things." And that's only on the first disc. The second platter contains everything from tough arrangements of Big Bill Broonzy's "Key to the Highway" to Johnny Mercer's "I Wanna Be Around." In addition, there are cuts as diverse as a blues reading of Sammy Cahn's "Call Me Irresponsible" and the scorching heartbreaker "A Stranger on Earth." There isn't a wasted cut here, and there are decent liner notes, to boot, as well as fine sound. ~ Thom Jurek, All Music Guide
Dinah Washington
Active Decades: '40s, '50s and '60s
Born: Aug 29, 1924 in Tuscaloosa, AL
Died: Dec 14, 1963 in Detroit, MI
Genre: Vocal
Styles: Early R&B, Jump Blues, Standards, Traditional Pop, Vocal Jazz
Dinah Washington was at once one of the most beloved and controversial singers of the mid-20th century -- beloved to her fans, devotees, and fellow singers; controversial to critics who still accuse her of selling out her art to commerce and bad taste. Her principal sin, apparently, was to cultivate a distinctive vocal style that was at home in all kinds of music, be it R&B, blues, jazz, middle of the road pop -- and she probably would have made a fine gospel or country singer had she the time. Hers was a gritty, salty, high-pitched voice, marked by absolute clarity of diction and clipped, bluesy phrasing. Washington's personal life was turbulent, with seven marriages behind her, and her interpretations showed it, for she displayed a tough, totally unsentimental, yet still gripping hold on the universal subject of lost love. She has had a huge influence on R&B and jazz singers who have followed in her wake, notably Nancy Wilson, Esther Phillips, and Diane Schuur, and her music is abundantly available nowadays via the huge seven-volume series The Complete Dinah Washington on Mercury.
Born Ruth Lee Jones, she moved to Chicago at age three and was raised in a world of gospel, playing the piano and directing her church choir. At 15, after winning an amateur contest at the Regal Theatre, she began performing in nightclubs as a pianist and singer, opening at the Garrick Bar in 1942. Talent manager Joe Glaser heard her there and recommended her to Lionel Hampton, who asked her to join his band. Hampton says that it was he who gave Ruth Jones the name Dinah Washington, although other sources claim it was Glaser or the manager of the Garrick Bar. In any case, she stayed with Hampton from 1943 to 1946 and made her recording debut for Keynote at the end of 1943 in a blues session organized by Leonard Feather with a sextet drawn from the Hampton band. With Feather's "Evil Gal Blues" as her first hit, the records took off, and by the time she left Hampton to go solo, Washington was already an R&B headliner. Signing with the young Mercury label, Washington produced an enviable string of Top Ten hits on the R&B charts from 1948 to 1955, singing blues, standards, novelties, pop covers, even Hank Williams' "Cold, Cold Heart." She also recorded many straight jazz sessions with big bands and small combos, most memorably with Clifford Brown on Dinah Jams but also with Cannonball Adderley, Clark Terry, Ben Webster, Wynton Kelly, and the young Joe Zawinul (who was her regular accompanist for a couple of years).
In 1959, Washington made a sudden breakthrough into the mainstream pop market with "What a Diff'rence a Day Makes," a revival of a Dorsey Brothers hit set to a Latin American bolero tune. For the rest of her career, she would concentrate on singing ballads backed by lush orchestrations for Mercury and Roulette, a formula similar to that of another R&B-based singer at that time, Ray Charles, and one that drew plenty of fire from critics even though her basic vocal approach had not changed one iota. Although her later records could be as banal as any easy listening dross of the period, there are gems to be found, like Billie Holiday's "Don't Explain," which has a beautiful, bluesy Ernie Wilkins chart conducted by Quincy Jones. Struggling with a weight problem, Washington died of an accidental overdose of diet pills mixed with alcohol at the tragically early age of 39, still in peak voice, still singing the blues in an L.A. club only two weeks before the end.
---Richard S. Ginell, All Music Guide |
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