Reviews (6)

The Same Lady Sings the Blues
Altho the disk spans 50 years of torch singing, it amazed me how all these ladies sound the same. Only Etta James stands out with some life in her voice, everyone else is so so smooth I lose track of who is singing.

Relax with the Ladies!
This is a very nice cd. The contributions by Norah Jones and Patricia Barber alone are well worth the price. Where is Tierney Sutton?!

nice
Wow these womens voice can sound as deep as the ocean to as high as the everlasting sky. Each song & singer is fantastic!

Excellent Sound Nostalgia
A Great Gift Album. At my tender age of 61 a family member ordered this album. The engineering is as smooth as the music; super sound and super stars. "New" pop, jazz, etc., have nothing to offer compared to those singing pioneers, who just became better and better with age. Anything else is just a mere copy of perfection. There isn't another Peggy Lee, who I heard on stage in the 1960s. She awed everyone with her love of music and a generous performance filled with so many encores for an audience with endless requests. All the Ladies on the album are the best singing so many "best" classics-all blues-of course!

This Lady is no Tramp...
The fire of Etta James, the elegance, clarity and perfect pitch of Ella and the sophomoric verve of newcomer Norah Jones creates an amazing mosaic of the incredible history of women in jazz. I initially found myself trying to find a logical connection between the very diverse tracks and artists but resigned those analytical impulses to the emotion, truth and appeal of the CD. It somehow alludes the discombobulation of typical "best of" CD's but rather delivers a very fluid soundtrack feel. It seems to indirectly chronicle the struggle, tenacity and success of the best women in jazz; excellent production underscores the legendary tracks and voices. ... Read more

Amazon.com

Backed by a rotating roster of jazz stars, Smith's potent delivery made her a peerless star of classic female blues, combining a fiercely independent, almost defiant approach with subtly effective tinges of vulnerability. Early cuts such as "Downhearted Blues," which supposedly saved Columbia records from extinction in 1923, and "T'aint Nobody's Bizness If I Do" feature only Clarence Williams's piano behind her, but it's her work with Louis Armstrong that truly stands out-Satchmo majestically bobs and weaves his cornet around Smith's lines on "St. Louis Blues," "Reckless Blues," "I Ain't Gonna Play No Second Fiddle," and the ragtime chestnut "You've Been a Good Old Wagon." Unfortunately, Columbia offers buyers only two options: this cursory 16-song introduction or an exhaustive five-volume double-CD series. --Marc Greilsamer ... Read more

Reviews (6)

The Collection - Bessie Smith
For the purist. Not digitally remastered so it does not have the same sound quality that we are used to hearing today. For that reason the lyrics will often be unclear and sound like they are being sung from very far off. And they are - the distant past.

A GREAT addition to any quality music collection
This is a great disc. It is my first disc of old blues crooners and I plan to continue exploring the genre. She has so much SOUL!! The old analog sound gives character to the disc but is not too disracting from the music. You can feel the history in the recording but can easily feel and relate to the emotions that Betty is tellin.

Excellent CD
The sound quality is excellent. Bessie Smith the singer is excellent. I've listened to the CD three times and enjoy it more each time I hear it. First rate. I'd give it 6 stars if there were that many available. She has a good voice for blues and she never sings off key. The piano backing is nice too. I look forward to listening to this CD again and again.

Smith "Collection" Blueprint For Great Music, Tragic Endings
"The Collection" is an outstanding introductory set to Bessie Smith's music and legend and to the basics of blues and pop songwriting.

Smith blazed a trail others tragically followed throughout the century: hard-partying, victimized singer (usually female) lays soul bare in the music before dying tragically and mysteriously (Edward Albee's 1959 play and the Band's tribute song "Bessie Smith" play to her legend.) You see the results here in intimate, jazz-tinted blues like "'Taint Nobody's Bizness If I Do," "Empty Bed Blues," "I Ain't Gonna Play No Second Fiddle," and "Nobody Knows You When You're Down And Out" (recorded months before 1929's stock market crash). These were truly "alternative" pop songs years before that term; assertive, angry songs a woman sang less than 10 years after women's suffrage (let alone amidst the racism rampant in 1920s society.)

These songs and Smith's powerful, wailing vocals are still haunting 70 years later. When, in "Young Woman Blues," Smith sings, "Some people call me a hobo, some people call me a bum/nobody knows my name, nobody knows what I've done," she ironically anticipates the legends of Jimmy Rodgers, Billie Holiday, Hank Williams, Janis Joplin, Elvis Presley, Kurt Cobain, and two generations' songwriters and musicians whose personal lonliness and pain, musically stated, comforted and saved many after their deaths.

The restoration from the original metal and shellac masters is extraordinary, especially considering lesser quality on other titles in Columbia's "Jazz Masters" series. Yet despite this, and legendary help from the era's biggest stars (Louis Armstrong, Jack Teegarden, Fletcher Henderson, Benny Goodman) it's Bessie Smith's pain and joy-filled vocals, which root all personal expression in popular music, that makes "Collection" musically enjoyable, historically rich, and exceptionally essential.

The TRAILBLAZER
this set is Very powerful.Bessie Smith is The Real Deal.Everything about Her Music&VIbe is Ground-Breaking.From Billie Holiday to Rap of TOday have Been Influenced by this Lady.you feel the RealNess in Her Voice&Soul.She has so Much Feeling&Expression in Her Work that it still Sounds Fresh Like it came out Yesterday.Bessie Smith is in a Class all unto Herself. ... Read more

Reviews (11)

WHAT A DIFF'RENCE DINAH MAKES!
The irony of the change of lyrics on the title track is just one of many fables that surround the exciting and too short career of one Miss Dinah Washington. (what a diff'rence a day "MAKES" was written "MADE" by Stanley Adams, while transposing this song from its original Spanish form) Dinah is teamed here with Belford Hendricks, who also arranged for Sarah Vaughan and Nat King Cole, among others, and beautifully, just as on these sides) His lazy chorus and strings might take true "old-school" Dinah fans by surprise, but upon further listening, you find them framing the great Dinah sound snugly, if not perfectly. This collection of great ballads, complete with three bonus tracks, contains highlights like the Rodgers & Hart evergreen, "MANHATTAN", Johnny Mercer's classic "I REMEMBER YOU" (complete with oft-skipped lyric), and the newly written (at the time) "NOTHING IN THE WORLD", co-penned by arranger Hendricks, and one Clyde Otis, who also wrote Dinah's hit, the unforgettably beautiful and haunting "THIS BITTER EARTH". Excellent packaging and reproduction of original liner notes earn this fantastic package extra points. In my opinion, this album is in a very hot race for the "must have" variety, with Dinah's "UNFORGETTABLE" disc, (which includes the aforementioned "THIS BITTER EARTH" among other greats, and is also arranged by Hendricks) As a fellow Chicagoan, I'm glad Ruth Jones became Dinah Washington, and recorded this fantastic album of standards!

Classic, but not because of the music!
Although I am great admirer of work of Dinah Washington, at first I wasnt sure what to think about this album.After years in bussines and simply faboulous blues records she made a name with (check out her tribute to Bessie smith!), she turned to pop audience with this album and obviously made lots of money.It sounds very much like "The Platters" of their best-selling records, which could be soft and easy at their best or annoyingly and calculatedly sweet at their worst.Lost in the sea of strings, backed by anonymous female choir, this great voice swims through 12 beautiful ballads just a bit too easy for comfort.If anybody else sings this, I would dismiss it as pop trash of the period but because great Dinah has put so much affections and feelings into material (and because she died soon afterwards, so all her records are precious) I love it.Title song has still power to make me cry after all these years and the sole beauty of Dinah's voice could be the reason for purchasing this album.The influence of Billie Holiday, Dinah's favourite singer, is very obvious in almost every song.

Great singer, great songs, awful arrangements
Dinah was at his best back then. She sang these american standards brilliantly. It's such a shame that the arrangements made this record unbareble. Really, ever since I bought other Dina's Cds (e.g.: Swingin' Ms. D) , I have never returned to this very one. But the most terrible side effect of the comercial success of this recording in 1959, is that for the following years all arrangers have insisted in the same sounding approach. That is why it is very rare to find uptempo swinging tracks among her last recordings, which I personally think it is when she found her best. That is a real shame! ....

Amazing sonsgtress, magnificent musicality of Washington
I think Dinah Washington sounds best vocally in this compilation of ballads and standards. This is a CD where the songs show off the magnificent voice and musicality of Dinah Washington. I have heard her other CD's but for me, this is one CD which I can play in the background as I eat my favorite foods during a quiet and rainy afternoon and think about the day that has passed. Quiet times with a musician of her great artistry mark this CD of Miss Washington... extraordinary voice and delivery.

AN ALBUM OF BALLADS
While FINEST HOUR or ULTIMATE collection are representative of DINAH at her best,WHAT A DIFFERENCE A DAY MAKES shows the many ways she can tackle a ballad.MANHATTAN is sung in a much slower tempo than usual;I REMEMBER YOU it seems was written for her.DINAH indeed has her own ways-like all great singers have- to dissect a song and made it her own.She even dare change the lyric to the title track and it works.Her singing is often poignant,but we got to admit that her own life was somekind of inspiration.DINAH certainly knew what the word lonelyness meant. ... Read more

Amazon.com essential recording

The three albums Etta James made for Island Records in the late 1980s are quirky productions, but this compilation culled from those recordings is a winning alternative. The beauty and righteous anger she evokes in "Damn Your Eyes" is alone worth the price. Her romantic side gets tapped for "A Lover Is Forever" and "Out of the Rain." But the best numbers flex her raw vocal muscle. "Beware," "Feel Like Breakin' Up Somebody's Home," and her redo of "Come to Mama" are all fire-breathing performances, worthy of the still-reigning queen of rhythm & blues. --Ted Drozdowski ... Read more

Reviews (5)

Her masterpiece
I am a blues vocalist so I know a good blues vocalist when I hear one. In addition, I am a fan of Etta James and have all of her material. To call her a good blues vocalist is an understatement and it is incorrect. She is much more than just a good blues vocalist - she is a good vocalist no matter what genre she tackles, blues, R&B, jazz, country (yes, she has done country), or rock. In my opinion, without a doubt, this CD is her masterpiece. It combines an excellent vocalist (at the prime of her vocal capabilities) with excellent material. Add to that winning combination is a back-up band that provides exactly the right sound. I have listened to it HUNDREDS of times and, the more I listen to the CD, the more I like it. My favorite cuts are "Damn Your Eyes" and "The Jealous Kind" but there is not a cut on the CD that I do not like.

In addition to this CD, I would highly recommend her CD, Love's Been Rough On Me. Of all of her work, Seven Year Itch and Love's Been Rough on Me are my first and second favorite CDs, respectively.

etta wow
wow- even makes sexist songs sound sooooo right

Best CD to introduce Etta to a New listener.
Everytime I hear the powerfully melancholy voice of Etta James, it sends chills down my spine. A true legend, she is an absolute must-see live. If you think her coutenance is powerful when recorded, you should treat yourself to an expreience of a lifetime by catching her ever-more difficult to find, live show. You'll be hooked. She radiates of power, passion and pure soul. Whenever I try to spread the music of Etta James to a new blues fan, I always break out this CD first.

A powerhouse recording from an R&B Great.
Rx for the blahs. #1) You've gotta hear this, #2)You've gotta have it in your CD collection, NOW, and #3)Wear it out by repeat playing. (Note: Feel free to buy a couple of copies--I have since it was released in the late 80's). Almost everyone I know loves this album once they hear Etta roar and finesse through classic blues tunes like "Breaking Up Somebody's Home" and the excellent "I'm-in-control-don't-need-anybody-else" song "Damn Your Eyes". There's no one else out there quite like Ms. James. It is, indeed, a joy to hear her, especially, live. This CD and "Life, Love and the Blues" are two of her best releases in recent years and I can hardly wait for her next release...it's like I'm having a 7-year itch!

Can't rave enough
This CD put Ettas James back on the map after a long hiatus. I really, really can't rave enough about this CD. She kind of "sold out" here --- it's a rock 'n roll Cd and she is primarily an old-time R&B artist --- but really it just goes to show how versatile this woman is. This is a "crossover" album. If you like rock 'n roll then this is the Etta James CD for you. But she can do ANYTHING. Blues, girl group stuff, cabaret singer jazz, even COUNTRY, for chrissakes. If you have pop tastes then this is a good place to start. Later you might want to look into some of her other stuff. ... Read more

Reviews (11)

Billie's Middle (Peak?) Period
I agree during this period (1940s) Billie Holiday was at her vocal peak. I feel critics have overrated this collection mostly due to the fact Billie Holiday's voice was still in good shape and the effects of her drug addiction hadn't yet taken effect. When she switched labels, the folks over at Decca were trying to mold and shape her into the next Peggy Lee or Doris Day, making her into a more mainstream model than what she had been in the 1930s. The arrangements (full size orchestras, syrupy strings, background vocals, etc.) don't always work. Sometimes they clash w/ Billie's delicate voice. Billie is still best suited by a trio combo or just a piano. At least the new label was going for a different sound and approach than what she was getting at Columbia. It just didn't work for her. Fortunately for Billie, she overcomes the arrangements w/ wondrous phrasing and choice of great songs, some of them indeliby linked w/ her--God Bless the Child, Good Morning Heartache, Loverman, Ain't Nobody's Business, That Ol Devil Called Love.....

An essential collection, beautifully remastered
I heard my first Billie Holiday recording in college in the 60s. It was a double LP called "The Billie Holiday Story" on the Decca label, in "enhanced stereo". I fell in love with her voice and bought the album, which I proceeded to play so often that the grooves wore down. So it was with extreme pleasure and anticipation that I read of this CD set, which contains all of the tracks from the LPs, as well as all of Billie's other recordings for Decca. The digital remastering is superb, and to hear the songs in their original monaural sound instead of the "re-channeled" stereo of the LPs is a revelation.

At first, I was tempted to program around the numerous alternate tracks, but as time went on, I was very glad that the producers included everything. Listen to the alternate of "No More", rescued from the MCA Japan vaults; despite substandard sound, the power of Billie's voice comes through, with nuances which make it quite different from the recording which was released. It's fascinating to hear the four takes of "Big Stuff", a show tune by Leonard Bernstein, as Billie finally manages to make it her own.

And of course all her truly great recordings from this era are here: "Lover Man," "Solitude", "My Man", and more. The package includes extensive notes and recording information. This is an outstanding and loving tribute to one of the greatest singers of the 20th century.

Powerful stuff
This must really have a label with a warning: this is really heavy stuff. Dont think because this is mostly Billie with her orchestra this would be a conventional pop record. By this time in her career, Billie had transformed the art of singing, she was in a category all by her own. Good morning heartache may be my all time favourite Bilie recording. Essential listening for anyone interested in vocal jazz.

TRULY the BEST of Billie Holliday
No arguments here with any of the other reviewers. I give this set 5 stars because they don't have 6.

This box set truly captures Billie Holliday at the peak of her craft. Her voice never sounds better. Secondly, the arrangements are fantastic and rarely have I heard musical accompaniment that so masterfully compliments and highlights a singer's voice. Finally, the tracks are impeccably mastered and recorded. The original recordings are wonderful and they don't use modern sound technology to clean up the recordings to the point they sound stale and sanitized. The sound quality is rich and truthful; yet no annoying hiss or other imperfections.

I believe Billie was at the height of her popularity during the Decca era and she never gets better musicians to work with or a better selection of songs to "interpret." This is after the "tin pan alley" era and before Billie gets strung out and jazzed out with sparse arrangements and accompaniments.

Simply put, this is the best music ever recorded, by one of the 20th Century's greatest artists.

My favorite Billie! Captures the dark 40's best.
This is my favorite Billie Holiday of them all. It captures the "film noir" feel of the 40's best of dark, smoke-filled rooms, blinking neon signs over cheap hotels. I expect to see Bogie coming thru the fog any moment. Everyone talks about her earlier Columbia work with small groups, which has more of a swing feel. This one is more dramatic with the 40's type orchestra painting a dark picture on great cuts like: Big Stuff, No More, Don't Explain and of course God Bless The Child. There are many fascinating outtakes as well, each one with a different interpretation.The box is classy with detailed dates, personnel, great photos and Billie's life. A wonderful box set. Ideal for overcast days. This is Billie at her emotional best. Definitely a keeper for life. ... Read more

Amazon.com

For the last century and more, the only place in a black American's world safe from the bossman's grasp has been the bedroom. A sense of this freedom in all its audacious raunch and hilarity fairly leaps from this brilliant anthology of bawdy blues recordings from the late 1920s through the 1930s. There are many raw delights to savor, such as Sidney Bechet's thrilling clarinet on "Preachin' Blues"; Tampa Red's Hokum Jazz Band with horny little Frankie Jaxon vamping his lead vocals on "My Daddy Rocks Me with One Steady Roll"; "Don't You Make Me High" by Merline Johnson, the Yas-Yas Girl; and "Get Off with Me" by Coot Grant and Kid Wesley Wilson. The most outrageous gem in the trove is "Winin' Boy" by Jelly Roll Morton, who, in black tie and tails, performed this vulgar masterpiece before unsuspecting governmental dignitaries in the Library of Congress just before World War II. --Alan Greenberg ... Read more

Reviews (4)

Hey there all you Hound Dawgs and Houndettes!
Get your mojo working with this CD from Mojo Records. "The Copulatin' Blues" is bound to put some of ya'll in heat.

This CD contains tracks spanning from 1929-1947. I've only heard of one of the songs before, but there are legendary artists like Jelly Roll Morton, Alberta Hunter, and Sidney Bechet & his New Orchestra.

While the recording quality isn't as good as on "Risqué Rhythms: Nasty 50's R& B", I think it would loose its charm if it was. These songs are rough and gritty. The recording studio did not (or could not) over produce the rawness out of the music so the edges are sharp. These are "race records" being saved from complete obscurity.

The songs offer varying degrees of subtlety from the play-on-words in the song "Yas! Yas! Yas!" by Jimmy Strange, the Yas Yas Yas Man to the explicit version of "Shave 'Em Dry" by Lucille Bogan and the downright X-rated "Winin' Boy" by Mr. Jelly Roll Morton.

"Sissy Man Blues" records the lamentations of a man so hard up for sex, he'll take on a sissy man. And you have to be kin to Hard-Hearted Hannah to pass up Bo Carter's plea in "Please Warm My Weiner." He sounds so pitiful you just want to throw him a bun-or two.

One of my favorite tracks is "New Rubbin' On That Darn Old Thing" by Oscar's Chicago Swingers. It's not as edgy as the other songs, but it gets you be-boppin' to the beat. "Get Off With Me" by Coot Grant and Kid Wesley Wilson wins points not only for being evocative, but for Coot's charming, beguiling voice. She may sound like an innocent girl, but the sailors know better.

Alberta Hunter's "You Can't Tell The Difference After Dark" is the one tune I have heard before. This CD has the original 1935 release and Hunter's torch performance makes me think of Marlene Dietrich. But my first encounter with this song was on "The Glory of Alberta Hunter" album recorded in 1982 a few years before her death when her voice is older and more mature. Lesbian or not, at the time Hunter sounds like a grandmother who knows that there may be snow on the roof but grandpa still keeps the home fires burning. Frankly, I prefer this later version rather than the original on this CD.

Overall there is inconsistency in the CD because of the range of years it covers. You can hear the changes in recording quality and even songwriting ability. "Risqué Rhythms" is a more cohesive compilation because its scope is better defined. But the purpose of this copulatin' blues CD is aptly presented.

Anyway, as a whole "The Copulatin' Blues" is a good investment.

Great Old Blues Album
This is really great material. The lyrics and music are fantastic and really transport you to another time and place. I highly recommend this and related albums including "Reefer Songs" which was also reprinted on this label and anything on the Jass or Stash labels if you can find them.

Raw Blue
A must have for Blues lovers. All the rawness of old blues, celebrating sex or the lack of it, with humor, passion and the sincerity of the true blues singer. Fine audio quality with all the cracks and pops preserverd far behind the vocals. Everything you'd expect from a great label.

It is the Blues
If you like blues I advise you to listen it! They just made it how it must be! ... Read more

Reviews (4)

An Aptly Titled Jazz Album
This is the quintessential collection of the best female voices in jazz. This collection has the songs that made these women famous and/or the songs for which they are most remembered. Every song on the cd is a gem!!! The highlights are Ella's live recording of "It Don't Mean a Thing(If It Ain't Got That Swing)" and Nina Simone's "I Loves You, Porgy." All twelve songs run the gamut of emotions from true bliss to deepest sorrow. These women knew how to sing and these selections are some of the greatest in the american songbook. I highly recommend this cd.

Great old Gems
There is nothing smoother than the voices of these great ladies. Put it in the car and you won't stress about rush hour any more.

great intro!
I bought this CD a few years ago on a whim, never having listened to jazz before. I fell in love with Ella Fitzgerald's voice, she's outstanding. This CD features some great female voices, incredible musicianship and for price, you cannot go wrong!

good cd
this a good cd full of great ladies of jazz (hence the name) singing some of the classic jazz tunes. its a steal at 6 clams. trust me and cough up for it. i'v got not regrets ... Read more

Reviews (6)

Honey Confection of the Highest Order
I am floored everytime I hear the two rollin' pop hits by Dinah and Brook together ("You've Got What It Takes" and "Rockin' Good Way to Fall in Love")---this is pure pop heaven!! I just love rolling down the windows and blasting these two songs in my car on a summer day. Dinah and Brook seem to have really good chemistry together, that is, until you read what REALLY happened in the studio according to the liner notes, but they complement each other well on this CD. His mellow, smooth baritone just hits the spot in contrast to the emotional, dramatic vocals of Dinah. One wishes they had done more duets together. There are some nice individual songs by each on the CD. Dinah really tears at your heartstrings with her achy-breaky version of "Love Walked In". And if that's not enough to get the tear ducts workin', she lays it on with "There Goes My Heart"---a heartbreaker!! She does these songs in the emotional vein that only she knew how. Brook shines equally with his warm, honey-soaked voice. He really could've given Nat King Cole a run for his money. This is a must have for any Dinah Washington fan and you're in for a bonus to hear Brook as well if you haven't already.

one of truly great soul albums of the 60's
In the summer of 1960 there was Brook and Dinah with their sweet, swinging soul duets "Baby, you've got what it takes" and "A rockin'good way" inching their way towards the #1 position occupied by Everly Brothers. Many of the records from that era sound dated today, but this album is immortal. Listen to Brook on "Call me", like honey poured over silk, it is. Or the two of them on "I do". Makes you wanna call that girl from long ago right away again. Buy this record, you won't regret it!

Back to Real Voices
The combination of Brook Benton and Dinah Washington is overpowering. When they do "Baby, You Got What it Takes" I relive an era that has past us but is still alive with their breathtaking recordings. They are right in the area with Sarah Vaugh, Etta James, Ben E. King and I do not know who at the momemt! These are two all time greats!

Buy this, now! You will not be disappointed!
I have and now I wonder what took me so long to 'get into' Dinah and Brook. You will enjoy the heck outta this...

Baby-They've got what it takes!......
It is so wonderful to hear artists "click" when they record togather and to feel the experience of joy and happiness they emote.....THIS is what you get with this superb album....Listen to the banter between them on "You've got what it takes" and "That's a rockin good way" (at the end of this tune Dinah says to Brook as the song ends and they think the're off mike- "baby, you've got what it takes" and they both laugh loudly...the chemistry is heartwarming.....) Brook's "Someone to believe in.." and Dinah's "There goes my Heart" are just so good that I almost cry- You MUST have this LP if your a fan of R&B or either artist....just fantastic.....!!!!!!! ... Read more

Reviews (8)

THIS IS THE A-BOMB!!
This album is the best album I own, and I own a lot of music. If you don't love the emotion, intensity, and power of this than nothing can move you.

The toughest singer you've ever heard.
This album rivals B.B. King Live At The Regal for best live blues album ever. Etta James sings so tough, so ballsy, I cannot think of another singer to compare her to. She almost makes even Wilson Pickett and James Brown sound like wimps. On a couple of songs, she does some scatting you have to hear to believe. Takes my breath away everytime.

Besides the incredible singing, the other thing that makes this album a joy is the audience. Their excitement is palpable. On a couple of songs, Etta gets a thrilling call and response going with them, and their energy seems to feed her. The album is the next best thing to Etta James in person.

One of the best live blues albums ever recorded!
This album rivals B.B. KingÕs Live At The Regal for best live blues album ever. (Although, ironically, I think the weakest cut on the album is Sweet Little Angel, which nobody, not even Etta James can sing with the passion of B.B. King) The high points are Baby What You Want Me To Do and Woke Up This Morning. Her singing is so tough, so ballsy on these songs, I canÕt think of another singer to compare her to. She could make even Wilson Pickett and James Brown sound like wimps. She finishes both songs off with some scatting you have to hear to believe. She just takes my breath away. And several more songs on this album are almost as good.

Besides the incredible singing, the other thing that makes this album a joy is the audience. The excitement is palpable. On a couple of songs, she gets a thrilling call and response going with them, and their excitement seems to feed her. You can actually hear her getting energy from the audience. The album is the next best thing to Etta James in person.

Etta is the best!!!
Etta James is one of the best singers ever! In this cd you hear Etta the way she's supposed to be heard. Live! Her interpretation of lyrics in each song is awe inspiring to listen to. The backing band is also full of good musicians, who have a good groove together and with Etta. There is some great guitar work in "Sweet Little Angel". I am a huge Etta fan but have played this album for many people who are not and don't even really care for the blues. But, everybody so far loves it. This album is beneficial to anyone who likes music in general, and definitely demonstrates the voice actually being used as an instrument. A must have!

speechless
the title says it all, ETTA ROCKS! This one sent chills up through my body. Its lowdown dirty till the sun comes up blues. If you claim to be a fan of the blues, you've got to have this. If you cant afford it, steal it. Just get it. Now! GO! ... Read more

Amazon.com

Why settle for one great female vocalist when you can get three, especially when they're stylish soul diva Irma Thomas, Tracy "Mother Earth" Nelson, and swamp rocker (and roller) Marcia Ball. The talented trio take the Sing It! title seriously, belting all hues of blues with satisfying sass and sincerity. Backed by a fine and funky band of Memphis-soul stalwarts and New Orleans session stars, the ladies shine both individually and as a team. Thomas, the longtime "Soul Queen of New Orleans," struts her stuff on the Bobby "Blue" Bland classic "Yield Not to Temptation," while Ball puts some patented bayou boogie, powered by her slinky piano lines, into her spotlight songs. Nelson repeatedly stops the show with her enormous, wraparound voice, transforming tunes like "In Tears" from simple country-flavored ballads into cathartic emotional experiences. But it's the combined voices that makes the session so special, and the title track, a soulfully scintillating second-line anthem, is the most enjoyable example of the vocal virtuosity of these women. It's a quintessential New Orleans celebration of singing, well worth the purchase price by itself, and it, like the entire album, also serves as an excellent sampler of the multiple talents of the superb song stylists involved. --Michael Point ... Read more

Reviews (12)

Lovely songs, don't miss them!
This was the first CD that I can hear these three great musicians. However, I love it so much and go to bed with this CD almost everyday. Whenever I hear this CD, I always find a passion. If you are a person who hides the passion of love deep in your heart, Dont miss it!

this cd will give you goos bumps
Anything with Tracy Nelson on it is bound to be great and this collaboration with two other wonderful singers is as good as it gets. The funky Memphis sounds are a perfect vehicle for these three strong female voices and to hear Tracy and Marcia Ball wail with Irma Thomas, one of their mentors, is a treat. This CD should be a best seller. All the love and pain these women have shared comes through on every note. check it out. they deserve to be heard.

Good Music, good singing
It's not often you listen to a cd and it's all good. This is a very good collection of songs, sung by three very good singers. I would recomend this cd to a Martian that just landed on earth and wanted to know what "SOUL" music and good singing was. Get this one, you'll be glad you did, it's the best.

These gals are the stuff.
I actually heard these ladies first on Austin City Limits and decided that I needed the CD. Friends take one listen to this CD and fall in love with it just as I did. They like it so much that I am eager to let them take it home. I have bought FOUR copies and sent TWO as gifts. And I don't even have a copy for my own right now. My female friends have shared with me that this CD is highly suitable for listening while taking a candle-lite bath to soak away those "man-trouble" blues and also while trying to shake the road-rage syndrome on the ride home from work (of which I agree). BUY IT. And share it with a friend.

Tracy and Irma great combo.
This was the first I have ever heard of any of these ladies. Tracy and Irma stand out and You don't know nothin'about love, is the most powerful piece on the cd. Tracy is heard all over this cd with power force and beauty. I enjoy her thoroughly and will look for some of her solo stuff in the future. She crosses between gospel and blues with authority and passion. The highlight of this cd is the last song You don't know nothin' about love Great song ... Read more

Amazon.com

Bawdy blues belter Kane reaffirms her role as the 21st-century Bessie Smith with another satisfying collection of smart, sexy, and well-sung discourses on the pleasures and pitfalls of physical love. Despite her sexy mama image Kane is no novelty act; she's a first-class singer with enlightened musical sensibilities and that's why she always attracts high-quality help. Longtime guitarist Jeffrey P. Ross, jazz saxophonist Brandon Fields, the infamous Rev. Billy C. Wirtz, and bluesman Charlie Musselwhite, who adds some harp on "Put It All In There" and guitar and vocals on "What's That Smell," offer expert assistance but it's Kane's sly take on the sexes that carries the show. She kicks off things with a testifying rendition of the Etta James classic "Something's Got a Hold On Me" before romping through several witty originals and unexpected covers. The title track, delivered with grownup glee, is indeed the Led Zeppelin song and once you've heard Kane's rendition the boyish bravado of the original will never sound the same again. "Fit, Fat, and Fine," with jumpish horns helping out, is a swinging feminine update of Willie Dixon's "Three Hundred Pounds of Joy" while "Lion in My House," like Kane herself, is simply something that has to be heard to be believed. --Michael Point ... Read more

Reviews (7)

A very versitile jump blues/R&B set!
Candye Kane has had a following of swing dancers for teh last 5 years in the San diego, OC & LA areas, where she often gigs with her combos. She is a powerful blues shouter, who also has a gentle balald side. She can handle everything from 1920's jazz baby to modern rockin' blues, and she covers all those and more here, including swing and jump blues like "Fit, Fine & Fat", there are also some songs that sound Ruth Brown and John Lee Hooker-ish. Cane handles everything with ease and is a true swingin' jumpin' blues mama!

A very versitile set of blues, jump swing, and R&B!!!
I saw Candye Kane, at Martini Blues in Huntington Beach, CA last night. She was wonderful, bawdy, and fun! She performed several songs from this cd including the vivacious jump swing number "Fine, Fit & Fat", (she calls these types of songs "Fat Woman Glorification Songs"). I liked her so much I bought this cd, and went home and listened to it carefully. She shows tromendous versitality as a blues singer, who also sings Ruth Brown style R&B, as well as swing and jump blues.

She performs on this exellent cd Big Bill Broonzy's "what's that I Smell", backed by acoustic guitar, sounding right out of 1929, Delta Blues! There are several mid 40's sounding jump swing songs(including 27 Times), and even a dixieland flavoured tune, and to end things you get to hear Kane with just piano, on another 1920's sounding tune. She covers modern R&B, blues, jump blues, swing, dixieland, and 1920's Delta Blues on this continually enjoyable disc. All with a sultry voice that sounds like 1920's-50's period. A great set, great singer, and great cd!

An entertaining CD that you won't stop playing
Man, this lady can really belt it out. A couple of months ago I had never heard of her, now I'm a huge fan! Everything about this CD is great, and if you love rock and blues you are gonna flip over this collection. Download the free MP3's and you'll see what I mean, that's what sold me.

One thing that I've got to say is, Candye, you're the best female blues vocalist I've ever heard, and I've heard a lot. I sure hope that you decide to do a blues-only CD someday (Ok, I'm biased, I have more blues CD's than rock CD's). You can really rock the house, but I think that the blues is your strength.

Whole Lotta Talent.
As another reviewer has said, Ms. Kane just seems to keep getting better and better, like a fine wine--or a good whiskey ! While she certainly has an eye-catching appearance--( CD cover of the year ? )--there is a lot of terrific music to go with this formidable--looking woman.

The 13 tracks here are all great, primarily in the blues/R & B vein. Her vocals are strong, and a good sense of humour only adds to her appeal--check out "Put It All in There " and "What's That I Smell ? ", for just a couple of examples. She also has an impressive array of musicians on this disc--Charlie Musselwhite ? Larry Taylor ? This lady has some major-league friends !

This is not one of those CDs that you play once, and file away. Ms. Kane has come up with another winner !

If you don't have fun listening to this disc, call the undertaker--you must have checked out !

A fun rock/blues CD
I had never heard of Candye Kane until satellite radio played some of her songs and I decided to give the CD a chance. What a treat! This CD grabs ahold of you and won't let go. From the ballads like "I Got a Secret" and "Going Back Where I Belong" to the power of "Something's Got A Hold On Me" and "27 Times" I just can't stop listening. The CD is like a good steak dinner, it leaves you satisfied but wanting more. ... Read more

Reviews (1)

Timeless
Johnny Mercer's songs are better today than yesterday...any serious songwriter should study his work. This is a wonderful compilation of material that does justice to some of his best songs. ... Read more

Amazon.com

There's no such thing as a genuine Billie Holiday greatest-hits collection--her career was split among too many labels for that--but this single-disc distillation of the Complete Decca Recordings 2 CD set (recorded between 1944 and 1950) is pretty solid. Holiday's in fine vocal form (though her accompaniment is undistinguished easy-listening stuff; the choir on "God Bless the Child" is a bit frustrating), and the songs are arranged to work as an album rather than chronologically. She transcends the ideas of torch songs, of blues, of ballad singing--her version of "Lover Man" exemplifies erotic despair, tormented and aroused at once--and even the lesser-known tracks here are pleasant surprises, like a Leonard Bernstein song. --Douglas Wolk ... Read more

Reviews (8)

Not even close to her Greatest
Although there are a few good cuts on this collection, despite the generally terrible arrangements, almost any other collection of Billie's is better. If you want a single disc Greatest Hits album, try an obscure Brit import called "Fine and Mellow." The only thing the DECCA CD has going for it is better sound quality, because it was recorded much later than most of her good recordings.

Great sound quality
I've heard many Billie Holiday CDs and this is one of the better ones. The sound quality is fantastic. 19 of her very best hits. I recommend this to both new and old Holiday fans.

An album for those who've never listened to Billie Holiday..
...Like me! True, these songs don't represent the real Billie because they are so short (about 3 minutes each). And there are a lot of added strings in the background in order to fit into what was commercially typical of the day. BUT trust me, after you listen to "Good Morning Heartache" it will sound like REAL music, compared to so much (noise/garbage) that passes for music in the present.

I love this record!

Should be called, "Some of her greatest hits"
While it is true, no one album could contain all of Billie Holiday's greatest hits, it's not a bad start. I you have just discovered Billie Holiday and you want to listen to some of her best renditions then this album isn't a bad place to start. Billie Holiday is so rare a talent that we may never see another like her again. So much of who she was is heard in her voice that it is often feels like an intrusion into the mind of another individual. At the same time, that is what makes Billie Holiday the greatest. So much of what music is today is vapid beyond belief. What with singers that convey no emotion because they have none to offer, lyrics that are as sharp as a butter knife and listeners who get excited over any tripe handed to them in their lethargic ears. In short, Billie Holiday is for everyone, everyone who has a discerning taste for quality. Buying this album is like taking the first bite of a meal that is going to satisfy both your taste buds and your soul.

Lady Day at her heart-breaking, slow-burning best.
This album was my introduction to Lady Day, and what an intro. From the first slowly slinky phrases of 'Easy Living' there's hardly a duff moment. IMHO, the one misguided moment is the inclusion of a version of 'God Bless The Child' with a schmaltzy choir intro. If you can forgive that, there's plenty here to delight and seduce the vocal jazz newbie. 'Solitude' and 'Good Morning, Heartache' are *beyond* torch songs: Holiday's small, wounded-bird cry works its way under your skin and settles into your soul. The leisurely, easy 'You're My Thrill' is seduction by sound, evoking small, smoky, dimly lit nightclubs, a half-empty whisky glass, the scent of Gitanes on someone's hair...pure magic. Holiday's knack of hitting those notes like a human trumpet (a trick which might not sound appealing, but has to be heard to be believed) is showcased brilliantly on 'Them There Eyes'. 'Don't Explain' is an entirely adult love song, love with none of the jagged edges smoothed off, and no shadows to hide the truth in.

All in all, this is an album made for listening to late at night, in semi-darkness, with a summer breeze bearing the sounds of the city drifting through the window. If you can't get that, then try putting it on, shutting your eyes and letting Lady Day take you away. You won't regret it. ... Read more

Reviews (5)

Best of Roulette Is Not Very Best
I wondered why during Dinah's contract to Roulette Records they didn't saw fit to record her in something besides an orchestra or violin strings? I own many of Dinah's stuff (on both CDs and records), and to say the least, this woman is TALENTED. But it's frustrating to hear her in nothing short of constant repetition on this "Best of" collection. Roulette is generous including a whopping 23 tracks on this set, but most of them are the same arrangement and accompaniment. Couldn't they be more creative in the arrangements for Dinah? The best tracks here are taken from her outstanding "Back to the Blues" CD when she sang in a bluesy, gospel-inflected manner, the style that got her the most attention when she started out as a singer. Unfortunately with the pop success that came to Dinah, she repeated the same formula, and most of that is reflected here, track after track of endless strings and unimaginative big band charts. I would recommend bypassing this collection and getting the outstanding "Back to the Blues" set that is also available on Amazon. Dinah's singing there is inspired and blues-singing at its best.

Too Many Missing Hits
After fourteen glorious years with Mercury (see my review of First Issue: The Dinah Washington Story) Dinah closed out her fabulous career with Roulette Records, chalking up no less than nine pop charters that year and adding one more in 1963 before her untimely death later that year.

The biggest among the hits was Where Are You, which peaked at # 36 in June 1962, and this is included here along with You're Nobody Til Somebody Loves You (# 87 in May), For All We Know (# 88 in August), and You're A Sweetheart (# 98 in November).

But where are Tears And Lonely Laughter, her second best pop hit on Roulette which went to # 71 in February, Dream (# 92 in May), I Want To Be Loved and I Wouldn't Know (# 76 & 93 in August), her second crack at Hank Williams' Cold, Cold Heart (she first did it way back in 1951) which went to # 96 in November 1962, and her very last hit, Soulville, which topped out at # 92 in June 1963 - six months before her death.

As far as I'm concerned, very few Dinah Wasahington compilations would ever rate less than 5 stars, and although I was tempted to give this one the maximum, I am upset that Roulette saw fit to leave off six legitimate hit singles. Why?

The Best Of Dinah Washington (The Roulette Years)
The quintessential blues singer of our times! For anyone who's ever had a bad day just listen to her and she'll brighten your day. This album in particular captures her essence. Her vocal power and range rivals that of Billie Holliday and Ella Fitzgerald. For any BLUES fan this album is a must.

Classy and Timeless
her voice is one of a kind.this set showcases her talent.the band the arrangements are top form.her voice is Rich&timeless.she is one of the Greatest female singers ever.you feel the texture of her voice.

Best recordings of Dinah Washington you'll hear.
This CD has great sound. This is Dinah Washington at her best, with the best backup band and recording session she ever had. When you listen to Dinah Washington sing on this album you'll believe that she was as equally talented as Sarah Vaughan and Ella Fitzgerald. ... Read more

Amazon.com

This box set earns the "deluxe" designation not only because of its handsome packaging, insightful essays by Holiday scholars, and testimonials from the likes of Tony Bennett, Sonny Rollins, and Etta James, but also because of the vastly improved remastered sound that makes Lady Day the definitive issue of Billie Holiday's pivotal 1930s and '40s Columbia/Vocalion/Brunswick/OKeh oeuvre. The sides here include epochal collaborations with Count Basie, Benny Goodman, Lester Young, Teddy Wilson, and others. Six-plus discs chronologically present 151 masters, with the rest of the 10 CDs' space given to alternate takes and radio air checks.

It was during the early years of this period, of course, that Holiday quickly developed into one of the 20th century's vocal monuments. Her incisive way with lyric and melody, often deploying playfulness, wit, and pain in a single song, became a model for both many a female singer, as well as Frank Sinatra and Marvin Gaye. These are records to be endlessly replayed for many kinds of appreciation. Played end to end, they introduce ideals of groove and emotional expression that remain fresh and even startling many years on. Lady Day is not only a perfect example of how to reissue key material, but is an album that will stand as a beacon for veteran Holiday fans and for the new ones it will no doubt attract. --Rickey Wright ... Read more

Reviews (17)

Fabulously Packaged Dynamic Sounds
Finally...Columbia Records outdo themselves in the remastering department. You would think that a record company that has made billions of $$$ since its beginnings(first quarter of 1900's)and that has among the finest & best selling artists' catalogues in recording history would have already invested in the most stellar remastering technology to preserve great music. This BILLIE HOLIDAY Box Set is THE Treasure Chest from the "Golden Age Of Jazz". This completes most of my BILLIE Collection...The Legacy Box; Commodore Recordings; The Complete Verve. She's definitely the GREATEST Female Vocalist that ever existed! I love OLD music cos those people sang with a heartfelt soulful passion. Nice packaging; remastering is definitely much better; great artist info included for us younger fans who were born decades later. Thanks Columbia!

In a word...WOW
I have never been able to appreciate Lady Day's Columbia years because of the bad quality and age of the existing sources...UNTIL NOW. Recordings that used to be a challenge to this listener are now remastered to a quality that surpasses what would be typically expected from recordings of this vintage. You can now fully appreciate Holiday's delicacy in her phrasing, the arrangements, all brought back to life. This may be considered a pricey set for some, and one may decide on the highlight disc instead. But to have this whole set and have the songs all in their recorded order is Holiday heaven. You really won't know what you're been missing, some real gems, until you own this set. One track flows so nicely into the next. Repeated takes are all saved for the last discs so there is no disruption in the flow. And the packaging and book are lush and handsomely packaged, most aesthetically pleasing. A most prized and eagerly awaited complete addition to the Holiday catalogue. A treasure.

Just the most essential music of the 20th century
I would need much much more than a thousand words to tell you about my feelings related to this sublime music.How many times I cried listening to some tunes,or was feeling incredibly high and happy listening to other ones.
If you want me to play to the "desert island" game,I would only take this set with me;you don't know how I treasure Monk,Duke,Armstrong,Trane,Bud,Bird,Bill Evans,Bechet,Fats Waller,Hines or Tatum,but I''d surely forget them all to keep these Columbia years of Lady Day with me.Here is the most fantastic music I've ever heard,here are the highest moments of the history of jazz.NOBODY never recorded such a bunch of masterpieces in some eleven years;nobody,even Duke.Here is a colossal set of the most amazing music you'll ever hear.
This is the third time I purchase these sessions:first,I bought them on 33rpm,some 25 years ago;then on separate CDs;then,a friend of mine let me listen to this set,and what a shock!!! The sound is so great that I thought I was discovering tunes I knew for years and years.It seems that Billie and the guys are playing in your room,just in front of you!!!
Now,for those who have no idea of what's in this very beautiful set,let's have a glance at the musicians you'll listen to:the ghotta of jazz is here!!! LESTER YOUNG,Teddy Wilson,Johnny Hodges,Duke Ellington,Count Basie,Benny Goodman,Chu Berry,Jo Jones,Buck Clayton,Roy Eldridge,Ben Webster,Benny Carter,Charlie Shavers,Red Allen,Cootie Williams,Hot Lips Page,Bunny Berigan,Jack Teagarden,Walter Page,Milt Hinton,John Kirby,Cozy Cole,Sid Catlett,Kenny Clarke,Freddie Greene,Dickie Wells,Hary Carney,Harry James,and many more.
About the tunes: masterpieces,masterpieces and masterpieces!!!
It would take some ten pages to describe it.Of course,the most magnificent ones are those in which Lester Young plays.Lester and Billie,Pres and Lady Day;they had the most magical musical complicity of the history of jazz,they really LOVED each other,even if their lives had separate ways;Lester,the Greatest of all jazz saxophone players,was born 1909;Billie,the Baltimore child,was born in 1915;they both died 1959,Lester in March,and Billie in July.The tunes they recorded during these years,the tunes you'll listen to in this set are very simple to describe: it's LOVE.and maybe the most beautiful that ever was.Maybe,these are the most sublime masterpieces in the history of Music."when you're smiling","he's funny that way","travelin' all alone","mean to me","foolin' myself","me,myself and I","born to love","gettin' some fun out of life","I'll never be the same"....I could listen to these tunes a hundred times everyday.This music is magic;it'll make you feel great.And you'll cry sometimes too,because of too much beauty.Here is the very best of Jazz,a music that gave us tons and tons of beauty;Billie's voice is at her most expressive,so young,so fresh,so joyful,and so sexy (and even sometimes,so sexual);Lester 's playing ,even if he only blows short choruses,is the most beautiful one that ever was ("all of me","foolin' myself","born to love","mean to me",...).
Here is sublime music;the most magnificent you'll listen to.I couldn't live without these records.They are my copanions since I was 15 years old;I spent hours and hours listening to them,wether I felt high or bad;and even after 23 years of frequent listening,they seem to me as fresh and new as when I discovered them.
Thanks a million,Lady Day (a nickname Lester gave to Billie),thanks a million for so much beauty.It never happened in the history of Art.

Save money and buy the German set instead!
Don't bother paying a ton of money for the Billie Holiday Columbia box set when you can buy the 10 disc German box set called "Portrait" for a whole lot less.
The American set goes for $150 to $160 where the German set is going for $25 to $35.
I've heard both sets and the German one is MUCH better with far less surface noise without sacrificing the sound.

But I must warn you that the German set does have a touch of stereo reverb added to the recordings, but it's very
tastefully done. I'm usually one of those who hates doctored up old recordings, but this is so well done. It's okay.

The German collection also has more songs which includes great recordings from the other labels Decca and Commodore. For some reason the set is missing four great tracks (Strange Fruit, Yesterdays, Fine And Mellow and
Until The Real Thing Comes Along) but the American set doesn't include Strange Fruit, Yesterdays and
Fine and Mellow either. The American set only deals with the Columbia sides, but does give you lots of
alternate takes, which the set from Germany avoids. But that's alright, I just want the official recording, not
the alternates or outtakes as I call them.

As far as packaging, the American set wins hands down, but the imported German set does have a nice
40 page booklet and is better about protecting your CD's and most importantly...far better sound quality.

5 Stars if you're an early period Billie person, like most
Nothing wrong with the presentation. Me, I'm a late period Billie person. But this gets the job done (to say the least!). ... Read more

Reviews (2)

Exellent r&b music, with a Gospel aftertaste
Although on the cover of this cd, Sister Rosetta Tharpe looks pecularly like Alberta Hunter, but don't let that fool you. This cd is a great one, if you like early wailin' r&b, or swing tinged Gospel. I mean you can jitterbug or lindy hop to most of thsi stuff, and the rest is greta for listening. Christian music today is so commercial souning and pop sounding, back in the 40's, Tharpe made it swing, jump, stomp and wail, adding r&b, and her genious jazz guitar riffs, rock and roll like mad. Her voice is heavenly and if you like r&b divas liek Helen Humes, you'll love Sister Tharpe's unique and always jiving style.

If you thought you didn't liek Gospel music, try this, and it'll change your mind, for Tharpe added r&b(almost rock'n'roll at times), and swing, jazz, and jump blues to her approach. Sometimes singing pop songs, blues, and r&b filled gospel. A exellent cd tah tcover her 1930's to late 40's recordings.

Shout, Sister, Shout!
You know, I really don't care for Sister Rosetta Tharpe's style of singing, but this CD was AWESOME. I was really shocked. This is a well-put-together compilation of her earliest sides. In my personal opinion, I feel that "The Natural Facts" and "Two Little Fish & Five Loaves of Bread" are the best songs on this CD. And even though Sister Tharpe's recording of "Didn't It Rain" is different from Queen Mahalia Jackson's, it's also a favorite on my list.

GREAT CD!!!!!! ... Read more

Amazon.com

The casual setting of this one-day live session produced an uncompromisingly fiery album, here happily augmented by three bonus tracks. Washington rips, roars, and caresses her material, sometimes all at once, while leaving plenty of room for the likes of Clifford Brown, Clark Terry, and Max Roach to shine. The highlight is a "You Go to My Head" that's the very definition of the phrase "a summer with a thousand Julys." --Rickey Wright ... Read more

Reviews (6)

RIVETING!!!
I have had this album for a few years now, and it is absolutely fabulous JAZZ! The title of the album is a bit misleading because in addition to Dinah's wonderfully soulful voice, the album has some awesome personnel in the jam session, including Clifford Brown (trumpet), Max Roach (drums), and Harold Land (piano). The best part is that all of the artists are showcased. It is a wonderful session. Each song is a standout, but my favorites include....

Lover Come Back To Me (Dinah Rocks here)

Summertime (very short, but you will see why Clifford Brown was one of the best ever, even though he lived only 25 years)

Come Rain or Come Shine (not too many people mentioned this one, but like the crowd screaming in the background of the loud recording, I was moved by Dinah's vocals)

Crazy He Calls Me (amazing ballad; similarity between Washington and Esther PHillips amazing here)

Lover Come Back To Me (wow!!!)

BUY IT!!!!!

THE VOICE BABY THE VOICE
You know, for a vocal jazz album with a 10 piece band recorded in 1954, Dinah Jams! has an amazingly clear, crisp, spare, spacious sound. From the pounding opener "Lover, Come Back to Me," you can tell the band has a great amount of restraint, despite the incredible capabilities of some of its personel(check out Clifford Brown's breathtaking solo reading of "Summertime" and you may hear notes you never thought a trumpet could hit.)

This clarity, gives Dinah's powerful, high-pitched blues-wail a great deal of attention, which works to all of her advantages. Rather than coming across as a sappy vocal album, the band comes across as lean and tough, almost like a punk rock band. This album certainly had as much if not more energy and passion as the rock and roll and was blossoming around the same time.

That being said, this album is a stone-cold classic in the world of vocal jazz. Taped in front of a studio audience, it captures a great deal of the ambience of those classic clubs like the Royal Roost and Birdland. You can almost smell the fried chicken, bourbon, and cigarettes as light smoke and steam waft through the air.

This may not be the most accessible of Dinah's albums, but if you've got a predilection for hard driving jazz with a tough, bluesy edge you will love Dinah Jams! And if you are like I was in 10th grade: a punk rock fan looking to branch out into jazz, then this album would be an excellent place to start. For all intents and purposes, this album is just as visceral as any of Elvis Costello's early albums or the Clash's early albums. Plus, it's got Max Roach on drums, and he's as punk as they come.

M-A-S-T-E-R-P-I-E-C-E . An absolute must to have !
Dinah jams.With stars.Which ones? Clifford Brown,Clark Terry,Herb Geller,Harold Land,Junior Mance,Richie Powell (Bud's brother,who died in the same car crash in which Cifford Brown was killed),Keeter Betts,George Morrow and Max Roach.Oh yes,I didn't mentionned Maynard Ferguson among these stars;sorry,but definetely I don't like him.His pyrotechnical effects never reached me.
Dinah's voice,the most emotionnal one after Billie,always was one of my favorites,with Lil Green.Her incredibly sensual,...her magnificent diction and her blues-tinted,popular accent moves me like mad.This very relaxed,jam-session like recording session took place on August 14,1954 in L.A."LOver,come back to me",somptuously recorded by Billie some years before,offers nine minutes and fourty five seconds of pure joy,with great solos by Brownie,Geller,Mance,Clark Terry and the imperial Max Roach."Alone together",a haunting ballad,features Harold Land's underrated tenor sax.Dinah is back for a moving version of "come rain or come shine";her blues and gospel tinted voice marvels.The very rare "No more",a Bob Russell tune was outstandingly recorded by Billie on her Decca sides,at the end of the fourties.Dinah's interpretation can easily match with Lady Day's."I've got you under my skin",Frank Sinatra's anthem,is introduced by Dinah with only Max Roach's african drumming;then comes the bass,then the piano and the rest of the band.What a swing !!! But would it be possible to miss such a beautiful tune ? Clark Terry and Brownie play magnificently,Ferguson doesn't.And he's beaten by the two others,wether the subject is to play very high notes,or to play very quickly."There is no greater love" is another beautiful vocal by Dinah.Then,"you go to my head" is another masterpiece.This very great standard,with magnificent lyrics,which must be extremely difficult to sing (just as Duke Ellington's "Azalea",for example) will be compared to Billie's majestuous version (Verve Records),and surely will match.Eleven minutes of happiness."Crazy he calls me" is another wonderful tune,which was also sung by Billie.I would have loved to be in this recording studio on that day.A very important record by the great Miss Dinah Washington...

Dinah Rocks the House
Who knew what a classic a jam session could produce? I'm sure even the producers didn't know it would turn out so well. Dinah and her elite sidemen were clearly inspired by each other's presence because each song just sizzles. And with a live studio audience in the house(you can hear their appreciative applause), the songstress and her band were clearly pumped by the event. My favorites are Dinah's take-offs of the Billie Holiday classics, "Crazy He Calls Me" "No