Dinah Washington - Swinin Miss D

Kenmerken

Conditie: Nieuw

Genre: Jazz

Beschrijving

Originally released in 1956 - 2007 German Speakers Corner reissue on 180g HQ virgin analogue pressing = One certainly couldn't say that Ruth Jones had a velvety, smoochy voice. But in jazz history that's never been of prime importance. Dinah Washin...
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  Release date: 06-05-2007(Originally released in 1956)

2007 German Speakers Corner reissue on 180g HQ virgin analogue pressing = One certainly couldn't say that Ruth Jones had a velvety, smoochy voice. But in jazz history that's never been of prime importance.

Dinah Washington, the name she used at her debut in 1942, became the Queen of rhythm 'n blues but was also an excellent big-band singer under bandleaders Lionel Hampton and Quincy Jones. She asked the latter (as well as Benny Golson and Ernie Wilkins) to write arrangements for her in December 1956 and borrowed his band for 11 classic numbers.

In the ensemble were such top-notch soloists as Clark Terry, Quentin Jackson, Anthony Ortega and Lucky Thompson – and the band swings along right from the very first to last note. This EmArcy LP is one of the Queen's best, and even 50 years after its first release the quality is still totally satisfying.

Tracks:
A1     They Didn't Believe Me
A2     You're Crying
A3     Makin' Whoopee
A4     Every Time We Say Goodbye
A5     But Not For Me
A6     Caravan

B1     Perdido
B2     Never Let Me Go
B3     Is You Is Or Is You Ain't My Baby
B4     I'll Close My Eyes
B5     Somebody Loves Me

Personnel
Dinah Washington voc Quincy Jones arr cond Hal McKusick as Jerome Richardson ts Danny Bank bs Jimmy Maxwell Ernie Royal Clark Terry tr Urbie Green Quentin Jackson tb Don Elliott tp vib perc Sleepy Anderson p Barry Galbraith g Milton Hinton b Osie Johnson dr ao

Recorded December 1956 in New York City

 Dinah Washington was accompanied by an orchestra organized and conducted by Quincy Jones on this 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' 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.


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