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| The Complete Dinah Washington on Mercury, Vol. 4 1954-1956 (3CD) |
| Dinah Washington |
első megjelenés éve: 1990
205 perc |
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3 x CD |
Kérjen
árajánlatot! |
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| 1. CD tartalma: |
| 1. | Wishing Well
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| 2. | Teach Me Tonight
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| 3. | I Just Couldn't Stand It No More
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| 4. | Remember Me (I'm the One Who Loves You)
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| 5. | That's All I Want from You
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| 6. | You Stay on My Mind
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| 7. | A Cottage for Sale
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| 8. | I Concentrate on You
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| 9. | I Could Write a Book
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| 10. | Make the Man Love Me
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| 11. | Blue Gardenia
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| 12. | You Don't Know What Love Is
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| 13. | My Old Flame
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| 14. | Easy Living
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| 15. | I Get a Kick Out of You
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| 16. | This Can't Be Love
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| 2. CD tartalma: |
| 1. | If I Had You
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| 2. | I Diddle
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| 3. | I Diddle
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| 4. | Wasn't It
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| 5. | No! (You Can't Have Him)
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| 6. | Ask a Woman Who Knows
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| 7. | I Hear Those Bells
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| 8. | Not Without You
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| 9. | Let's Get Busy
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| 10. | The Cheat
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| 11. | You Might Have Told Me
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| 12. | I'm Lost Without You Tonight
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| 13. | Let's Go Around Together
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| 14. | Dinah Tells a Joke
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| 15. | It's Hard to Be Good
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| 16. | Goodbye
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| 17. | The Show Must Go On
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| 18. | Smoke Gets in Your Eyes
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| 19. | Look to the Rainbow
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| 20. | Birth of the Blues
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| 21. | What Is This Thing Called Love?
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| 22. | There'll Be Some Changes Made
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| 23. | I Could Have Told You
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| 3. CD tartalma: |
| 1. | More Than You Know
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| 2. | Make Me a Present of You
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| 3. | Ill Wind
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| 4. | Willow Weep for Me
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| 5. | All of Me
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| 6. | Accent on Youth
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| 7. | I Thought About You
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| 8. | Lingering
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| 9. | A Sunday Kind of Love
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| 10. | Come on Home
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| 11. | Let's Do It (Let's Fall in Love)
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| 12. | There'll Be a Jubilee
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| 13. | On the Sunny Side of the Street
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| 14. | If I Were a Bell
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| 15. | I've Got a Crush on You
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| 16. | Love Is Here to Stay
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| 17. | Sometimes I'm Happy
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| 18. | Nothing Ever Changes My Love for You
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| 19. | What'll I Tell My Heart
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| 20. | Let Me Love You
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| 21. | Say It Isn't So
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| 22. | My Ideal
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| 23. | Cat on a Hot Tin Roof
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| 24. | The First Time
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Jazz / Vocal, Classic Female Blues, Standards, Traditional Pop, Vocal Jazz
Dinah Washington - Vocals
The fourth of seven three-CD sets in Mercury's Complete series alternates between strong swinging jazz with the likes of trumpeter Clark Terry, tenor saxophonist Paul Quinichette, pianist Wynton Kelly, and altoist Cannonball Adderley, and middle-of-the-road pop performances with studio orchestras. The third volume is the strongest in this series but the first five sets all contain more than enough jazz to justify their purchase. Vol. 4 really attests to Dinah Washington's versatility. ~ Scott Yanow, 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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