Reviews (1)

A great introduction to these wonderful jazz vamps...
I acquired this CD mainly for the one song "There Must Be A Way" sung by Connie Boswell(I am a big Boswell fan), also I wanted to hear Lee Wiley's "You've Got Me Crying Again" in "Digital Stereo." And I had to have the cover photograph of gorgeous Lee Wiley in color laying on a couch smoking a cigerette. The Boswell track was great and so were all of the tracks on this finely remastered CD, though the digital stereo is just a slight echo to create the effect, however Billie Holiday singing "Am I Blue" makes her sound like she's in the room singing live. Some great and under-rated vocalists are here such as Ellington's canarie Ivie Anderson, the blackest white blues singer I've ever heard is Teddy Grace heard here moanin' "Love Me Or Leave Me" or as she pernounces "Love Me Oh Leave Me," and Jo Stafford who sings two heart wrenching torch songs... all of these females(aside from Billie Holiday) are now forgotten, and were all truly great jazz vocalists. Lee Wiley perhaphs one of the best jazz singers of the 30's, and of course Connee Boswell(sometimes spelled Connie) with her sensious new Orleans accent, as she would say HONEY CHILE, YOU'RE GONNA LOVE THIS, YHEA SUH, YHEA SUH! Highly Recommended, with great liner notes and bios on all the gals, with pics inside of all these lovely jazz vampires. If you love jazz or are a collector this is especially essential. ... Read more

Reviews (2)

Raunchy Songs, Fine Singing!
Ethel Waters is best remembered now as an actress, but in the 1920s she was second only to Bessie Smith as the most popular African - American woman singer. Where as Smith was primarily a blues singer (and even when she performed up - tempo vaudeville numbers her renditions were still blues - drenched), Waters was more at home with the popular song genre. Her voice was lighter than Smith's electrifying contralto, but she had great timing and a raunchy sense of humour (see "Take your Black Bottom Outside" and "My Special Friend Is Back In Town).

Of all her recordings, this CD is my favourite, thanks to the four outstanding 1928 tracks (15 - 18) Waters cut with the great jazz pianist James P. Johnson. Johnson, who also recorded extensively with Smith, was an outstanding accompanist, and these tracks are effectively vocal / piano duets. Johnson's characteristically driving two handed piano style is seen to best advantage on "Guess Who's in Town", where his solo is simply sensational. Wonderful double entendre lyrics by Andy Razaf delivered with enormous gusto by Waters make these among her finest recordings.

Just to demonstrate how great Johnson was, the next four tracks (19 -22) are accompanied by the jazz publisher, dubious entrepreneur and mediocre pianist Clarence Williams. Once described as playing piano as if he was wearing mittens, his pedestrian renditions contrast embarrassingly with Johnson's virtuosity.

Recommended!

Classic jazz from the Great Depression
Jazz singer Waters on the edge of widespread stardom. She takes odd chances on a few songs -- her phrasing on "One Sweet Letter From You" and a couple of other tunes is simply distracting and bizarre, although you get the sense that she was trying to push at the boundaries of her craft, and have to admire her for the attempt. Other songs are closer to her blues roots, and a series of smutty blues sessions recorded with the likes of James P. Johnson and Clarence Williams yield a several gems. Her version of "My Handy Man" is a triumph of the genre, while "Get Up Off Your Knees" is positively scandalous. A few other milder hokum tunes are more reserved, but similarly enjoyable. Recommended! ... Read more

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A Wonderful Lady and Voice
I first heard of Irma Thomas in a Jimmy Buffett song. He talked about Sweet Irma Thomas. I hadn't heard of her. Then I saw her on Austin City Limits. As soon as the show was over, I ran to buy a CD of hers. This was the first one I bought. It blew me away. Now I own a number of her CDs. I have given this one to my sister and a client. They both loved it as well. If you love R&B, Blues, or New Orleans music. You MUST have this in your collection. ... Read more

Reviews (1)

Classic, but mannered jazz performances
This volume, gathering music from the years of Ethel Water's greatest commercial success, features her working with some of the top talent of the day, from Duke Ellington and Bunny Berigan to up-and-coming white swingsters like Benny Goodman and the Dorsey Brothers (who were still working mainly as session players...)Although she hits some sweet grooves on several songs, for the most part Waters sounds mannered and intentionally camp on most tracks, with plenty ofodd vocal swoops and exaggerated, haughty-taughty enunciation.She covers a lot of great songs of the day, such as "I Can't Give You Anything But Love," "Stormy Weather" and an early version of "Heat Wave."But generally speaking, she doesn't exactly cut loose on the material the way other singers would.Humorous classy/crude contrasts were her schtick, but sound pretty dated now.Unless you're in the mood for kitschy, antiquated performances and old-fashioned Gramophone ambience, this disc may be hard to get into.Her jibes at Mae West in the break of "Come Up And See Me Sometime" are pretty funny, though. ... Read more

Reviews (1)

No accounting for tastes....
This is the first review of this particular SACD. It is a Sony release in 2002 and has 11 tracks compared with the 1999 SACD of the same title which has 17 tracks. I've not heard the 1999 SACD.

I just bought a SACD player and this is a disc I wanted to try since I like Billie Holiday's previous releases on CD. When the first track started I thought.."Uh oh...", her voice sounds tired, strained, and the timbre was shakey. As I listened to the disc through to the end I found the music touched me on some level that I can't explain. I've now played it through 5 or 6 times and it gets better each time. I thoroughly enjoy it.

Every track is listenable and enjoyable. Besides the uniqueness of Billie's voice the Ellis ensemble is terrific. Some wonderful horn work at the end of #3-You Don't Know What Love Is. Track #5-For All We Know, is sooo sweet. The Ellis ensemble includes strings, harp, and vocal choir.

Billie had to know, during and after recording this, that her voice simply did not have the pure strong tone that it did during the late 1930's. Yet, she indicates this is her favorite recording. Why? Give it a listen and you'll see that she pours her soul into each song. She just strips herself bare (metaphorically speaking) for all to see. Maybe she knew she was nearing the end of her life, she died only 17 months after completing LIS.

I read the reviews from the 1999 SACD and some have said listening to Billie at this point in her life is like watching a train wreck, you just can't turn away. I humbly disagree. Maybe because I am a big fan of the blues. She puts her heart and soul into singing with Ray Ellis' ensemble. Another reviewer said that it is "morbid" to react positively to this SACD. Well, all music (thankfully) is not happy, happy. Give this disc a listen several times and make your own call.

As Ray Ellis says in his new annotation to this particular SACD of Lady in Satin "After we finished the album...I must admit I was unhappy with her performance, but I was just listening musically instead of emotionally. It wasn't until I heard the final mix a few weeks later that I realized how great her performance really was."

Regarding the quality of the SACD, I feel it is very good. Of course I am new to SACD but I have had a low end audiophile system for years so I can pretty much tell good from bad. Remember too that when SACD's are produced a significant part of how good the quality will be is based on how the original recording was mastered. Considering this recording was mastered in February of 1958 the SACD quality is crystal clear on my system (Marantz DVD/SACD combo player, Sun tube preamp, B&W Nautilus speakers, and (appropriately) a 40 year old MacIntosh tube amp (MC-240).

The SACD has excellent separation and soundstage with fine stereo imaging. I think this disc also has surround capability but I prefer plain two-channel stereo for listening to good music. The instruments and voice are reproduced faithfully and with crystal clarity. I consider it a true audiophile recording. Absolutely no background hisses, pops, or other distractions.

Give this one a spin if you like blues or jazz, I think most people will be pleased with their purchase. All of the tracks are outstanding. Highly recommended.

Also, if you like listening to a woman pour her soul into her singing you might want to check out Cesaria Evora. Not SACD but still fine music. Recommended discs: "Miss Perfumado", "Voz D'Amor", and " The Very Best of Cesaria Evora." ... Read more

Reviews (1)

Great for fans of boogie and blues.
Camille Howard is pretty much unknown, and that's a shame. It's rare to find a blues woman who can sing AND play (piano) AND write--and do them all well. Very smooth vocals mixed with great boogie riffs make this an album to warm up a cold night. I bought the first volume of this set at a local record chain and was immediately hooked. This album is more of the same--but this set seems to represent her entire solo career, unfortunately. What happened to her? The liner notes tell the story. ... Read more

Reviews (1)

An awesome collection
In my view, Rodgers and Hart have always outclassed Rodgers and Hammerstein, and this is proof positive of that fact. Many frisky recordings are served up by a spectacular list of vocasits from the present and past. Best of all, this recording introduced me to the adorable Blossom Dearie and the unbelievable Anita O'Day. Probably the best album that I own. ... Read more

Amazon.com

Okay, the recording quality is not the best, but what can you expect from something recorded in the early 1920s? Regardless, this collection of Mamie Smith's early work is well worth hearing; along with the classic "Crazy Blues," there's "That Thing Called Love," "What Have I Done?," "Sax-O-Phoney Blues," and the hilarious "I Want a Jazzy Kiss." Several instrumental tracks highlight Smith's backing band as well. If her voice doesn't come through as strongly today as does Empress Bessie's, it's still got a clear, clean tone that's a pleasure to hear. --Genevieve Williams ... Read more

Reviews (2)

Good idea...BUT too long!
From the point of view of modern listener,this CD is something like test of endurance.As much as I respect the whole legend about early quens of the blues,and fascinated as I am with the whole story,"Document" CD's aree simply too much for me.Instead of having ALL of Mamie's (Ida's,Alberta's,Sippie's or whoever) recordings,I would prefer to have SELECTED compilation,simply because this songs were recorded long before idea of LP,so they do sound very much alike.I know Mamie Smith was very important singer who started blues recordings,I love her strong voice and she must be interesting personality,but I never managed to listen this CD until the end.Quitte a few instrumentals dont make much difference,I must say its simply too long.

MAMIE SMITH WAS THE 1ST PERSON TO RECORD A BLUES
MAMIE SMITH MAY HAVE NOT BEEN THE FIRST PERSON TO HAVE EVER SANG A BLUES, BUT SHE'LL GO DOWN IN HISTORY AS BEING THE FIRST PERSON TO RECORD A BLUES. IN 1920 SMITH RECORDED THE 1ST BLUES EVER, "CRAZY BLUES", WHICH SOLD OVER A MILLION COPIES IN THE 1ST 6 MONTHS OF IT'S RELEASE. SHE PAVED THE WAY FOR THE 20'S BLUES CRAZE, AND RECORD PRODUCERS WERE REALIZING THAT WHITE PEOPLE WERE BUYING THESE "RACE RECORDS." MAMIE SMITH PAVED THE WAY FOR MANY ENTERTAINERS LIKE BILLIE HOLIDAY, BESSIE SMITH, AND COLEMAN HAWKINS(WHO PERFORMED WITH HER GROUP THE JAZZ HOUNDS). SMITH'S RECORDING CAREER WAS QUITE ACCIDENTAL, SOPHIE TUCKER WAS SUPPOSED TO RECORD SOME SONGS, BUT DUE TO A BUSY SCHEDULE SHE RECOMMENDED SMITH, WHICH EVENTUALLY LED TO THE HISTORICAL "CRAZY BLUES" ALTHOUGH SMITH HERSELF WAS MORE OF A VAUDEVILLE PERFORMER THAN A BLUES SHOUTER,SHE HAD A CLEAR AND DICTY VOICE. THE MUSIC ON THIS IMPORTED DOCUMENT CD IS QUITE HISTORICAL, THESE ARE HER EARLIEST SESSIONS IN CHRONOLOGICAL ORDER. HIGHLIGHTS OF THE DISC ARE THE HISTORICAL "CRAZY BLUES" AS WELL AS SOME MARVELOUS INSTRUMENTAL TRACKS BY HER JAZZ HOUNDS(FEATURING COLEMAN HAWKINS AND MANY OTHER JAZZ ALL STARS). OVERALL THIS IS A HISTORICAL AND HIGHLY ENJOYABLE SET. HIGHLY RECOMMENDED TO CLASSIC JAZZ AND BLUES COLLECTORS AS WELL AS THE NOVICE. ... Read more

Reviews (1)

Dinah with Strings, Ray Coniff Style
Not sure if recording Dinah Washington with a full set of violin strings was a good idea, but any doubts is mostly put to rest when Dinah starts to sing. Any syrupy goo is mostly swiped away by the urgency and biting clarity of Ms. Washington's singing. On some selections, Dinah's interpretations are so on-target that the listener is left in amazement. She retains the great jazz elements of timing, control and phrasing that leave a lot of pretenders in the dust. Despite critical bashing Dinah took for "forsaking" her blues roots when she made these sides, her artistry remains intact. The blues-tinged flavor very much pervades numbers such as "These Foolish Things" "Me and the One I Love" and my favorite, "If It's the Last Thing I Do". Still, on some songs the overwhelming power of the violins is too much. One wish the producers of this record has included more variety in the arrangements besides the typical Ray Coniff style that was popular at the time. But Dinah's voice makes this CD almost a 5-star rating, but not quite. ... Read more

Reviews (2)

Another Classic under Her Belt
Recently discovered Billie's early stuff from the 1930s. Now I know why critics have refered to Billie's work from that decade as her golden era, it is such a joy listening to her from that time. I've started buying the Quintessential CDs and have yet to be disappointed. Just when I thought volumes #4 and #5 couldn't be equalled, along comes #3 and it's right up there. It comes as a shock at first hearing Billie swing with a lot of spunk and she does it differently than Ella. The way Billie swings sounds unconventional like she's improvising to the beat and tempo of the band; also the way she stretches certain words and notes, but always in tune to the beat. It's hard to describe it, you have to listen to these recordings to experience what I'm describing. Great tracks pop up here. My favorites are "I Can't Give You Anything But Love" (about as far from Judy Garland's version as you can get), "Pennies from Heaven" "Why Was I Born" "I Must Have That Man" and "You Showed Me the Way". "You Showed Me..." was penned by none other than Billie's peer and fellow rival---Ella Fitzgerald. It's beautifully written and performed. Only gripe is sound quality could be better. I've said it before that Sony should start remastering these Quintessential volume CDs. They're too good and valuable to let stand as it is.

Billie Holiday & Her Orchestra
A third volume in priceless "Columbia" quintessential program follows young and vibrant Billie Holiday through 1936. when she was "discovered" by John Hammond (who later discovered Aretha Franklin,Bob Dylan and Bruce Springsteen).On this CD we can hear for the first time not just vocal chorus by Billie (as before) but songs were recorded under "Billie Holiday and Her Orchestra" which was the first step to stardom she achieved later on.Benny Goodman,Lester Young,Ben Webster,Teddy Wilson and Buck Clayton are just some of the jazz giants here - highlits are "Pennies From Heaven","This Year's Kisses" and wonderful,loving tribute to Louis Armstrong,"I Cant Give You Anything But Love".Strangely that in his usualy perfect liner notes Michael Brooks didnt mention that song "You showed Me The Way" was written by another young singer,Ella Fitzgerald.On Billie's first studio recordings Ethel Waters bitterly remarked that young singer sounds like her shoes are hurting,and in the meantime she developed beautiful,relaxed style that made her name immortal while hardly anyone remebers Ethel Waters anymore. ... Read more

Reviews (2)

One of those things that....
if people gave it half a chance, they'd thoroughly enjoy it. The voices and music are raw, soulful....defiant almost. Tunes about tough times, especially for a woman, sung by obviously tough ladies. Likewise, tough, raw, emotional voices. Some of these tunes are incandescent with intensity: St. Louis Bessie's "Meat Cutter Blues" is as confident in its dreams of illicit sex and Lucille Bogan's "Sloppy Drunk Blues" is sad in its loneliness and alcoholism.

Give these tunes whatever spin you like....but the basic notion is that these tunes will touch something in you....and you'll tap your foot at the same time.

Marvelous
Yazoo continues it's line of priceless collections made from nearly extinct 78's with this stunning set of sensual, deep soul sides. The sound quality has been masterfully restored - no easy feat considering the rarity and age of these finds. The intimacy of these piano masseurs - Pinetop Sparks, Roosevelt Sykes, and Cow Cow Davenport - and their women gives me goosebumps sometimes, sometimes it just makes me sigh. Sexy, warm, unbelievably artful - this music will make you wonder what the hell happened to music and why it hasn't been THIS good in fifty years. Great late night listening, makes drinking alone a very desirable thing. ... Read more

Reviews (1)

Bessie, the queen of blues, lives on in this fabulous box se
Bessie, the Queen of blues lives on in this box set. The complete recordings is indeed a must have for any true fan of early blues or jazz. She is the icon of a music lost to the ears of many contemporary music lovers. The entire bos set is a thrill to own, and I recommomend it. ... Read more

Reviews (2)

Where Are You
All you Dinah fans out there must have heard her sing this song. I have been trying for years to find an album, or a CD with this record? Do any of you out there know what I am talking about. If so, please respond. Thank You.

Simply The Best
This is my very favorite cd. Ivery , highly recommend this cdfor anyone that want to hear avery well put together Dinah Washington cd. I play this a lot. You can`t get tired of hearing it because it shows in so many ways the variations ofDinah`s rare talent. If you everwonder whether any cd is worth the money spent, this one has nodoubt of being her best or oneof the best. It`s a must have.You definitely won`t be sorry you purchased it. You will enjoy it! ... Read more

Reviews (2)

Discover the jazz singer KAY STARR...
These red hot jazz sides by Kay Starr were recorded in the 30's & 40's before she became a pop star, here she is a true jazz singer singing jazz and swing standards backed by some great small groups... This is pre WHEEL A FORTUNE Kay Starr, swingin', improvising, and having fun with the likes of Barney Bigard, Wingy Manone, Bob Crosby and many other hot musicians. Highly recommended. GREAT SOUND QUALITY

Responsible and sensitive restoration of Starr's jazz side
I was drawn to look up Kay Starr when reading Gary Giddin's A STARR IS REBORN in READING JAZZ (ed. R. Gottlieb) Pantheon Books,NY,1996 which I recommend as one of the great compilations of jazz writing bar none. I vaguely recalled her from the 50's with hits such as "Wheel of Fortune". Of course, that was music which was very unhip to a teenager exploring the whole gamut of great American jazz from Wingy Manone to Dizzy Gillespie. But at Mr Giddin's recommendation I took the plunge and my investigations dug up this gem of a CD. There is some truth in the dictum that one can often judge an artist by the company she keeps. Some of Ms Starr's company on this CD includes Barney Bigard (18 tracks) Bob Crosby, Irving Fazola, Wingy Manone, Charlie Barnet, Barney Kessel(7 tracks)all of them respective masters. Highlights on the CD, and there are many, include a vocal duet with Wingy Manone on "If I could BeWith You"; "I Can't Get Started" which I swear rivals that of Bunny Berigan;"All of Me", which has backing by Barney Bigard and Vic Dickenson on trombone(mute); and "Where of When", where Ms Starr reveals her sensitive poignant side backed by the beautiful chalumeau sound of Mr Bigard's clarinet. Ms Starr brings to life with great interpretations some of the best of the American Songbook backed by some of the best jazz musicians in the business at the time. Geat value for money CD. ... Read more