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| 5.313 Ft
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| 1. | Honeysuckle Rose
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| 2. | Ain't Misbehavin' (I'm Saving My Love for You)
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| 3. | I've Got a Feeling I'm Falling
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| 4. | Keepin' Out of Mischief Now
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| 5. | Everybody Loves My Baby
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| 6. | Black and Blue
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| 7. | Christopher Columbus
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| 8. | T'ain't Nobody's Bizness If I Do
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| 9. | Someone's Rocking My Dreamboat
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| 10. | Jitterbug Waltz
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| 11. | Ain't Cha Glad?
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| 12. | Squeeze Me
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| 13. | Blues Down Home
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| 14. | I Remember Clifford
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| 15. | Bad Luck
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| 16. | Honky Tonk
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| 17. | All Of Me
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| 18. | Light
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| 19. | Somewhere Along the Line
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| 20. | Make Me a Present of You
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| 21. | Back Water Blues
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Jazz
Dinah Washington (vcl) with Ernie Wilkins Orchestra
Tracks #1-2:
Recorded at Fine Recording Studios, New York City, October 1, 1957
Johnny Coles, Reunald Jones, Joe Newman, Ernie Royal (tp), Julian Priester, Melba Liston, Chauncey Welsh (tb), Rod Levitt (b-tb), Jerome Richardson (fl, as), Sahib Shihab, Frank Wess (fl, ts), Benny Golson (ts), Eddie Chamblee (ts, vcl on #1), Charles Davis (bs), Patti Bown, Jack Wilson (p), Freddy Green (g), Richard Evans (b) and Charlie Persip (d). Ernie Wilkins (arrangements).
Tracks #3-4: Same band but Clark Terry (tp), replaces Renauld Jones.
Recorded at Fine Recording Studios, New York City, October 2, 1957.
Tracks #5-6:
Recorded at Fine Recording Studios, New York City, November 20, 1957
Johnny Coles, Joe Newman, Ernie Royal (tp), Julian Priester, Melba Liston, Sonny Russo (tb), Rod Levitt (b-tb), Jerome Richardson (fl, as), Sahib Shihab (as), Frank Wess (fl, ts), Benny Golson (ts), Eddie Chamblee (ts, vcl on #5), Charles Davis (bs), Jack Wilson (p), Freddy Green (g), Richard Evans (b) and Charlie Persip (d). Ernie Wilkins (arrangements).
Recorded at Fine Recording Studios, New York City, October 4, 1957.
Tracks #7-12: Reunald Jones, Charlie Shavers, Ray Copeland, Doc Severinsen (tp), Julian Priester, Chauncey Welsh, Jimmy Cleveland (tb), Rod Levitt (b-tb), Jerome Richardson (fl, as), Hal McKusick (as), Benny Golson, Eddie Chamblee (ts), Charles Davis (bs), Jack Wilson (p), Sebastian Muro (g), Richard Evans (b) and Charlie Persip (d). Ernie Wilkins (arrangements).
Tracks #13-14:
Same personnel and location as in the October 4, 1957 session.
Dinah Washington (vcl) with Eddie Chamblee Orchestra
Tracks #15-21:
Recorded at Universal Studios, Chicago, October-November 1957
Reunald Jones, Charlie Shavers, Doc Severinsen, Clark Terry, Ernie Royal, Ray Copeland (tp), Julian Priester, Jimmy Cleveland, Sonny Russo, Rod Levitt (tb), Jerome Richardson (fl, as), Sahib Shihab (as), Benny Golson, Frank Wess, Eddie Chamblee (ts), Charles Davis (bs), Jack Wilson (p), Richard Davis (b) and Charlie Persip (d). Ernie Wilkins (arrangements).
Includes extensive booklet with recording details, extensive notes and rare photos.
This collection of songs mainly associated with Fats Waller (#1-12), presents Dinah Washington backed by a powerhouse band playing Ernie Wilkins' arrangements. On all tracks the band kicks like mad, with good soloing by Charlie Shavers, Eddie Chamblee. Frank Wess, Jimmy Cleveland, Jerome Richardson and Julian Priester heighten the jazz interest throughout. Dinah belts the songs powerfully and holds her place in the foreground, singing with a swinging drive thanks to her dynamic style.
Tracks #1-12 originally issued in LP as "Dinah Sings Fats Waller" (EmArcy MG-36119).
Track #13 originally issued on the Mercury 45 rpm single 71220.
Tracks #14-15, 17-21 originally issued in LP as "The Queen!" (Mercury MG-20439).
Track #16 originally issued on the Mercury 45 rpm single 71389.
Musical Recording director: Hal Money
Original recordings produced by Bob Shad.
Produced for CD release by Jordi Pujol and "Beethoven" (jean-Michel Reisser).
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"This is one of the finest, if not most obscure titles in the Verve/Emarcy Songbook series. Long out of print, 1957's Fats Waller Songbook appropriately brings together Waller's vivacious songs and Dinah Washington's demonstrative vocal talents. The jazz diva effortlessly handles Waller classics like "Keeping out of Mischief Now," "Just Squeeze Me," and "Ain't Mibehavin'," while turning in particularly emotive renditions of "'Tain't Noboby's Biz-Ness If I Do" (actually a Clarence Williams tune), and "Jitterbug Waltz" (this last cut featuring Washington's keen and signature blend of blues vocal power and streamlined diction). Adding nice variety to the already strong set, Washington's husband at the time, saxophonist Eddie Chamblee, joins the singer for playful duets on "Honeysuckle Rose" and "Everybody Loves My Baby" (ironically, the love sentiments of both songs were not to stick, as the couple called it quits after just a year of marriage). In addition to "Everybody Loves My Baby" and "'Tain't Noboby's Biz-Ness If I Do," Washington covers other songs associated with Waller, but not penned by him, including "Christopher Columbus" and the highlight of the set, "Somebody's Rocking My Dreamboat." Topped off with solidly swinging charts by Ernie Wilkins and fine backing by an all-star band, the Fats Waller Songbook registers as one of Dinah Washington's best and most enjoyable records."
---Stephen Cook -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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