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The Swingin' Miss "D" [Essential Jazz]
Dinah Washington, Quincy Jones & His Orchestra, Quincy Jones
spanyol
első megjelenés éve: 1956
75 perc
(2009)

CD
Kérjen
árajánlatot!
TÖRÖLT!
Kosaramba teszem
1.  They Don't Believe Me
2.  You're Crying
3.  Makin' Whoopee
4.  Ev'ry Time We Say Goodbye
5.  But Not For Me
6.  Caravan
7.  Perdido
8.  Never Let Me Go
9.  Is You or Is You Ain't My Baby?
10.  I'll Close My Eyes
11.  Somebody Loves Me
12.  I'll Drown In My Tears [*]
13.  You let My Love Grow Cold [*]
14.  Bargain Day [*]
15.  If I Had You [*]
16.  I Could Write a Book [*]
17.  You Don't Know What Love Is [*]
18.  My Old Flame [*]
19.  Easy Living [*]
20.  I Get a Kick Out of You [*]
21.  Blue Gardenia [*]
Jazz / Vocal, Classic Female Blues, Standards, Traditional Pop, Vocal Jazz

Recorded: New York
Tracks #6-7, 9 & 11-13: December 4, 1956
Tracks #1-2 & 4-5: December 5, 1956
Tracks #3, 8, 10 & 14: December 6, 1956
Track #15: March 17, 1955
Tracks #16-21: March 15, 1955

Dinah Washington (vcl)
Quincy Jones (arranger & conductor of all tracks), plus a big band including: Clark Terry, Charlie Shavers, Nick Travis, Ernie Royal, Joe Wilder (tp), Jimmy Cleveland, Urbie Green, Quentin Jackson (tb), Lucky Thompson, Budd Johnson, Jerome Richardson (ts), Hal McKusick (as, fl), Anthony Ortega (as), Danny Bank (bs), Wynton Kelly (p), Barry Galbraith (g), Milt Hinton (b), Osie Johnson and Jimmy Cobb (d), among others

Tracks #1-11 originally issued in LP as EmArcy MG 36104.

This release contains the complete classic album The Swingin' Miss "D", reuniting Dinah's superb vocals with the arranging talents of Quincy Jones.

Cut in 1956 with an all-star octet that included Clark Terry, Lucky Thompson and Wynton Kelly, the album explores the full range of the singer's talents, from ballads to blues. As Quincy Jones said "Once she put her soulful trademark on a song, she owned it and it was never the same".

As a bonus, other tunes from the same sessions, as well as seven jazz standards from one of their 1955 dates. Included here are Dinah's wonderful renditions of 'Blue Gardenia' and 'I’ll Close My Eyes', which, years later, appeared on the soundtrack of the Clint Eastwood movie "The Bridges of Madison County"


"Dinah Washington was accompanied by an orchestra organized and conducted by Quincy Jones on this original 1957 album, and she was singing to arrangements mostly written by the young bandleader, swing charts of pop standards by the likes of Cole Porter, George Gershwin, and Duke Ellington. The result had much in common with the swing albums of Frank Sinatra in the same period, especially because Jones's arrangements were heavily influenced by Billy May and Nelson Riddle. Sinatra's records were regarded as "pop" of course, and Washington's, at least when released on the EmArcy subsidiary of Mercury Records, as "jazz" but her precise articulation and attention to lyrical meaning left little room for improvisation, and while Jones allowed for brief solos from a band that included Charlie Shavers, Clark Terry, Urbie Green, and Milt Hinton, the jazz categorization was actually arbitrary. Whatever musical genre you assign it to, however, this is an excellent Washington album."
---William Ruhlmann -All Music Guide

"Dinah had a voice that was like the pipes of life. She could take any melody in her hand, hold it like an egg, crack it open, fry it, let it sizzle, reconstruct it, put the egg back in the box and back in the refrigerator, and you would’ve still understood every single syllable of every single word she sang. Every single melody she sang she made hers. Once she put her soulful trademark on a song, she owned it and it was never the same."
---Quincy Jones



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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