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| 5.313 Ft
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| 1. | Trombone Butter
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| 2. | Send Me to the 'Lectric Chair
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| 3. | Careless Love
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| 4. | Me and My Gin
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| 5. | Jailhouse Blues
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| 6. | You've Been a Good Old Wagon
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| 7. | After You've Gone
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| 8. | Back Water Blues
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| 9. | If I Could Be with You One Hour Tonight
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| 10. | Fine Fat Daddy
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| 11. | Love Is Here to Stay (*)
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| 12. | Show Time (*)
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| 13. | Trouble in Mind (*)
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| 14. | Lover Come Back to Me (*) Live
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| 15. | Crazy Love (*) Live
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| 16. | Send Me to the 'Lectric Chair (*) Live
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| 17. | Me and My Gin (*) Live
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| 18. | Back Water Blues (*) Live
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| 19. | All of Me (*) Live
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Jazz / Vocal, Classic Female Blues, Standards, Traditional Pop, Vocal Jazz
Dinah Washington (vcl) with Eddie Chamblee Orchestra
Tracks #1-3:
Recorded in Chicago, December 30, 1957
Clark Terry, Fip Ricard (tp), Quentin Jackson (tb), Eddie Chamblee (ts), McKinley Easton (bs), James Craig (p), Robare Edmondson (b, arr) and James Slaughter (d).
Tracks #4-7:
Recorded in Chicago, January 7, 1958
Fip Ricard (tp), Julian Priester (tb), Eddie Chamblee (ts), Charles Davis (bs), Jack Wilson (p), Robert Lee Wilson (b) and James Slaughter (d), Robare Edmondson (arrangements), Ernie Wilkins on #7.
Tracks #8-10:
Recorded in Chicago, January 20, 1958
Fip Ricard (tp), Julian Priester (tb), Eddie Chamblee (ts), Charles Davis (bs), Jack Wilson (p), Robert Lee Wilson (b) and James Slaughter (d). Ernie Wilkins (arrangements).
Tracks #11-13:
Same personnel, location and date as #8-10.
Eddie Chamblee, vcl added on #11.
Tracks 14-19: Dinah Washington at the Newport Jazz Festival 1958
Recorded at the Newport Jazz Festival, R.I., July 6, 1958
Tracks #14-18:
Blue Mitchell (tp), Melba Liston (tb, arr), Harold Ousley (ts), Sahib Shihab (bs), Wynton Kelly (p), Paul West (b) and Max Roach (d).
Track #19:
Don Elliott (mellophone), Urbie Green (tb), Terry Gibbs (vib), Wynton Kelly (p), Paul West (b) and Max Roach (d).
Includes extensive booklet with recording details, extensive notes and rare photos.
Dinah Washington's bluesy style was quite different from the legendary Bessie Smith, the "Empress of the Blues” by virtue of her forceful vocal delivery and command of the genre.
Dinah's way had constant, direct reference to gospel singing. Bessie's, of course, did not. However Dinah sings excellently, with respect and understanding, and with that wondrous electric vitality that established her as a peerless blues singer, known as the "Queen of Blues.” This fine set also includes three more tracks recorded during Bessie's last album session, and Dinah's wailing performances on the final night of the 1958 Newport Jazz Festival, with the singer paying deep tribute to Bessie Smith in the most moving fashion.
Tracks #1-10 from the EmArcy album "Dinah Sings Bessie Smith" (MG-36130).
Track #11 not issued on LP.
Tracks #12 & 13 from the Mercury album "The Queen!" (MG-20439).
Tracks #14-19 from the EmArcy album "Newport '58" (MG-36141).
Notes:
The Mercury album "The Queen!" included ten more tracks, seven of them released on the CD "Dinah Washington Sings Fats Waller" (FSRCD-576), and three more recorded during a previous session that had taken place on December 1955.
The Mercury album "Newport '58" also includes two instrumental tracks by the Terry Gibbs Sextet which are not included on this compilation.
Tracks 1-13:
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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"Gifted with a strong, beautiful voice and very precise phrasing, Dinah Washington translated Bessie Smith's irrepressible spirit and flair even better than Billie Holiday, Smith's most famous devotee. For her tribute album, Washington avoided Smith's best-known songs ("'Tain't Nobody's Bizness If I Do," "Nobody Knows You When You're Down and Out," "Baby Won't You Please Come Home"). Instead, she wisely concentrated on the more defiant standards from "The Empress of the Blues," including "Send Me to the 'Lectric Chair," "Jailhouse Blues," and "You've Been a Good Ole Wagon." Washington sounds simply glorious, focused on alternating Smith's phrasing to emphasize her own gospel roots. The accompaniment, by Eddie Chamblee and His Orchestra, emphasizes the vaudeville and Dixieland sound of early-century blues, heavy on the slide trombone, growling trumpet, and skeletal, rickety percussion. Reissued several times (occasionally under the title The Bessie Smith Songbook), Dinah Washington Sings Bessie Smith charts a perfect balance between tribute and genuine artistic statement."
---John Bush -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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