The Swingin' Miss 'd'

Descripción

DESCRIPCIÓN DEL PRODUCTO DESCRIPCIÓN DEL PRODUCTO This release contains the complete classic album The Swingin' Miss 'D', reuniting Dinah's superb vocals with the arranging talents of Quincy Jones. As a bonus, we have added all of the other tunes from the same sessions (tracks 12 to 14), as well as seven jazz standards from one of their 1955 dates (tracks 15 to 21). Included here are Dinah's wonderful renditions of Blue Gardenia and I'll Close My Eyes, both selected by Clint Eastwood for the soundtrack of his movie The Bridges of Madison County. Dinah Washington (voc), Quincy Jones, conductor on all tracks, plus a big Band including: Clark Terry, Charlie Shavers (tp), Jimmy Cleveland, Urbie Green, Quentin Jackson (tb), Lucky Thompson, Budd Johnson, Jerome Richardson (ts), Wynton Kelly (p), Barry Galbraith (g), Milt Hinton (b), Osie Johnson and Jimmy Cobb (d), among others. All arrangements by Quincy Jones, except [4-5] (Ernie Wilkins) & [8] (Benny Golson) [1-11] The Swingin' Miss 'D' [1-2] & [4-5] New York, December 5, 1956. [3, 8, & 10] New York, December 6, 1956. [6-7], [9 & 11] New York, December 4, 1956. Bonus Tracks: [12-13] Same date as 6-7, 9 & 11. [14] Same date as 3, 8 & 10. [15] New York, March 17, 1955. [16-21] New York, March 15, 1955. Total Time: 74:12 Includes 12-Page Booklet OPINIÓN 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 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. [For the 1998 reissue, Verve added seven bonus tracks recorded around the same time and with much the same personnel, though they were intended as singles and thus are inferior contemporary tunes. Often, however, Washington sounds more comfortable and enthusiastic on these pop and R&B songs than she does on the standards.] EDITOR RATING: 4,5 STARS --All Music Guide