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Few singers have a story as long and varied as that of Alberta Hunter, whose career spanned most of the 20th century. From the dawn of the classic blues era, through two world wars, a long hiatus, and a fresh start shortly before her death in 1984, Hunter stuck to the rich vocals, full expression, and classical style. Although this recording was made during her 80s, when she came out of retirement to sing at the Cookery in Greenwich Village, her voice, having lessened some in power, had lost none of its charm. The woman who counted such legends as Bessie Smith, Mamie Smith, and Ma Rainey among her contemporaries, and who wrote Bessie Smith's classic hit "Downhearted Blues," here delivers an appealing set of classic blues, including a stunning rendition of "I Got Rhythm." --Genevieve Williams ... Read more

Reviews (3)

Can I give 6 stars?
Alberta Hunter may actually have amazed the world with her return to the stages after 80 years old. I have attempt to buy whatever is available from her late years, including tapes, DVD's, LP's, CD's and the like.
Would you want to recieve and injection of motivation, happiness, deep sense of wisdom at full age? ... Please acquire all tapes available (there is only one DVD, which cannot be compared to the VHS's - those are much better)
One of greatest singer of our times, surely joining a handfull of others like Ella, Sarah, etc.
However, nobody I know could transmit - from 80 to 83 years old, so much kindness, beauty, wonderness and ectasy like Alberta. I am privileged to have seen her live, in Brazil, many years ago. And I will never forget!
A must have, together with anything recorded from 1980 to 1984.

Alberta Hunter at her best!
If you like the blues you will love this collection. The live recording from the Cookery in New York is great. Hunter works the songs as well as the listeners with her abilities and sense of humor. This is a must have for the collector. "Two fisted hard working Rough and ready man" should be the anthem of every one looknig for a mate. I bought 3 copies and have given them to friends.

Alberta - Sweet & Hot!
I think seeing Alberta Hunter at the Cookery changed my perception of what REAL entertainers do in front of an audience. Not only was she the shimmying blues queen of the 20's, but she was also an international chanteuse and jazz singer without equal. Since Sony / Columbia is being so stingy about releasing on CD her great later recordings, this live performance is truly a Godsend. What a thrill to relive her artistry! During performance, Alberta would yell out to the musicians "Lay it on me!". Lay this one on yourself and relish one of the greatest cabaret performers of the 20th Century! This is hot stuff... ... Read more

Reviews (3)

OUR HOMETOWN GIRL
Irma's rendition of "It's Raining" is worth the price of the entire CD. I've always liked her friendly, smoky voice and the selection of songs is pretty good too, especially the aforementioned "It's Raining" and the too-funny "You Can Have My Husband (But Please Don't Take My Man)."

Huge disappointment.
Lousy sound quality. Irma has strained her voice beyond recognition. Irma should give her voice a rest and recover her famous timbre. Musically Irma is wonderful, but she is going the way of Maria Callas.

Irma Thomas is an underappreciated treasure
If you do not know Irma, then choose this live set to get acquainted. This is one of the best live performances I've ever heard on a recording; she smokes, sparkles and stuns the listener into giving it up and having a good time. Just listen. Only Aretha and Irma are the real Soul Queens. ... Read more

Reviews (11)

Blues Royalty
Queen Koko rules in Royal Blue. She is joined by other royalty the King, that is B.B. at the palace in Blues Hotel, new crown princes Keb Mo on the Man Next Door and Kenny Wayne Shepherd on the cover of Melissa Ethridge's Bring Me Some Water, and Duke of the blues piano Johnnie Johnson on Hittin' On Me.

What Koko does so well is sing songs about relationships. Koko is a woman who stands strong and who should be taken seriously because she is an old woman in a young woman's body.

Her exuberance and power reverberates in every song.

Koko Taylor Royal Blue
This long awaited new Koko release was well worth the wait. It is classic Koko with a new twist her cover of Melissa Etheridge tune Bring Me Some Water was a little surprising but covered well.Fuel To Burn is a fun song that put you in the mood to ride all night long and ranks at the top of my list. I think my favorite song is Ernestine and song that was written by KOKO herself this song lets Ernestine know who the queen is for sure. Keep your Boody Out Of My Bed has that Koko sound by way of Chris Johnson's guitar work and that thumping bass from Kenny Hampton just makes me wanta smack somebody. Blues Hotel with guest BB King sounds like what it is two blues legends getting together and having a party and inviting the world . The Man Next Door with guest Keb Mo takes us right back to the root of the blues and Koko delivery on this song once again proves while she remains the Queen of the Blues.Be sure to listen for Keb Mo to cough up some blues noise of own. I Am A Old Woman built on A Young Womans Frame. This song just rocks the horn work is outstanding and really keeps it rocking from start to end Keep Your Mouth Shut and Your Eyes Open is a lesson from the queen on how to keep your man in line. The worst part of the CD is that it only has 12 songs and it is so good that it leaves you wanting more. KoKo please don't wait so long to give us more great music.

A GREAT cd, Kok has gained a quality in her vocie!!!
For the emty headed bozo who wrote the ignorant review "Not a member of the 'mutual admiration society'", 1st of all there isn't a mutual admiratio nsociety, and blues reviewers, at leats professional ones liek me, are nOT getting paid to plug cd's, only hateful and vengeful idiots would even think that. It's just that with blues artists, it's not liek reviewing pop music, because blues is not or at least it shouldn't be commercial, it's art, so no, there are not too many bad releases, and Koko has if anything gained something in her voice, that makes it become more appeallign each year.

I would leave a bad review for one of the Fabulous Thunderbirds cd's because they saold out to pop music, but if ther eis a alck of bad reviews in blues magazines, it's because of two things. 1) there's a lack of HATEFUL idiots like the one who wrote the "Not a member of the 'mutual admiration society'" review, so there are no spitefu lreviews. 2)There are not too many truly bad blues performances, not many artists sell out, like some of BB's rock collaboration cd's, or Cyrus cd's, or Fab. Thunderbirds.

In any case thsi is a fine effort, from koko, and she is still in fine voice, it may be a bit overproduced with too many guests, but still it's fine, and in her typically joyous fashion of shouting in her rhaspy and juke jointish vocals.

Great cd, worth pciking up.

Bottom line, another great blues cd, among the thousands of good ones out there.

Good rough blues
Koko Taylor showed her real rough side in the song Ernestine.She attracts new generations of my kind.Koko has a way of singing the blues on this album.I reccomend this be a nice gift for someone.This is a good Blues album.

KOKO DELIVERS!
I really enjoy this album and Im not a member of the Blues industry or a mutual appreciation society, but I am a guy who loves this disc because it's damn good. Just listen to the sound clips above and if you like what you hear then you certainly wont be disappointed with the rest of the CD. I rate music based on how much I enjoy it and this is a 5 star disc. ... Read more

Reviews (1)

Sing! Sister Sing!
Excellent! A well-pieced together collection of one of the saints of gospel music's best work! ... Read more

Reviews (2)

just fabulous
Irma Thomas, what a voice! I love this CD, it never gets old. Once upon a time, music had melody, and this is one of the best soul CD's I have. Irma is largely overlooked today, but one listen will tell you what she was all about. If you like this music, then pick up anything else you can get by Betty Harris or
Bessie Bankns, two other forgotten soul singers from the 60's. This CD has all of the old stuff produced by Allen Touissant on Minit records, as well as the studio stuff from L.A. One listen to the original "Time Is On My Side" and you will never want to hear the Rolling Stones version ever again ( as well as Bobby Womack's "It's All Over Now" )................

The Voice
For my money, the two most soulful female voices of the sixties belonged to Irma Thomas and Aretha Franklin, and Thomas (whose voice is so naturally powerful that anyone foolish enough to compare with her would probably go back to whatever it is failed soul singers do) had recorded all her classics before Franklin had hit her stride. Consequently, anyone interested in sixties Soul (as well as New Orleans music), needs to own an Irma Thomas collection.

Unfortunately, there is no definitive collection available on Thomas. Her first song, "(You Can Have My Husband But) Don't Mess with My Man," available on a Ron Records various artists CD, is a spunky little masterpiece essential to her story that is routinely left off of her hits packages. Her early sixties songs, produced by Allen Toussaint in New Orleans for Minit Records, are perfect capsules of the sound Toussaint was employing to great effect at the time. In addition to producing, Toussaint wrote many of the songs Thomas recorded during those early years, and the enduring brilliance of these recordings exemplifies what happens when two great talents who are sensitive to each others' gifts get together. (The Minit recordings are documented more extensively on "Ruler of Hearts," an out of print collection on the Charly label). This collection only includes five of those songs, instead focusing more on Thomas' work for Imperial Records in Los Angeles, all of which is equally as strong as her earlier recordings, if a little more streamlined and pop-oriented. No one, though, can argue with "Break-a-way," her original version of "Time Is On My Side," "The Hurt's All Gone," "Take a Look," or "While the City Sleeps". Even without the slightly later hits, this CD is worth owning for those five songs from the Minit sessions and what is arguably her best song, "Wish Somone Would Care," written by Thomas herself and recorded at one of her first sessions in L.A. Great lyrics with genuine emotional resonance and Thomas' knowing, world-weary delivery (while only in her early twenties at the time, she had already accumulated plenty of adversity) put it in the rare company of Sam Cooke's "A Change is Gonna Come." Truly remarkable.

Those interested would do well to begin with this CD or EMI's "Time Is On My Side" (which duplicates a lot of what's here) and then make the effort to find the rest of Thomas' early sixties recordings. They'll very likely be on hard to find LPs, but the search is worthwhile. ... Read more

Amazon.com

True to her billing ("plays guitar like a man"), Minnie held her own in a genre dominated by male artists. She had a gutsy voice and a no-nonsense guitar style. These 20 prime cuts were done in Chicago for the Vocalion and ARC labels. Recorded in the late '30s, many contain small band accompaniment that included Charlie McCoy's dynamic mandolin as well as legendary pianists Blind John Davis and Black Bob. Two cuts, "Please Don't Stop Him" and "I'm Going Don't You Know," feature Arnett Nelson's smooth clarinet work. Although Minnie would continue to record for several more decades, she would never be better than she was during these sessions. --Lars Gandil ... Read more

Reviews (1)

Essential country blues record.
This is an absolute must have for any serious blues collector and any fan of music. I have approximately 100 blues CDs, many from this era and this is easily one of the best 5. Anyone looking to begin a blues collection would be well advised to purchase these great early Memphis Minnie recordings. Her guitar playing may well surpass even the great Tampa Red and her vocals have a more startling and rhythmic quality than female contemporary Bessie Smith. ... Read more

Reviews (2)

A nice compilation
Charming songs, sung by a variety of talented performers. The audio quality is excellent, just as it is for every Verve CD that I own. This is a nice compilation, suitable both as an introduction to Kern and the various singers and as a compilation to play at a party.

Not what the composer intended
In his lifetime,Kern despised jazz versions of his songs. Many of the versions on this disc and on the two companion discs in this series are just that. Verve has reached for, it would seem, the lowest common denominator for its selections. In fact, some of the tracks have no vocals at all, which is strange considering this is a "songbook"! It is better than no Kern at all, but you will find more authenticity in KIRI SINGS KERN on EMI that anywhere on this or the other two discs. Sorry, but pass this one up if you are a purist. ... Read more

Reviews (4)

Overrated singer
Bessie Smith is victim of a great deal of overheated praise by a small circle of devoted fans. When enough people yell, "Fire!" I want to check it out to see if I am missing out on some great music. Well, I have listened to these recordings and was unmoved. I find the blues musically repetitious - three chords, a seventh chord here and there, the same structure over and over and over. This pattern becomes easy to mock because every blues song sounds like every other blues song. The complex innovations and inventiveness of Jazz and better rock melody composers (Lennon/McCartney, etc) are totally missing here. Bessie could sing loudly but I don't think that she could sing well. Her brassiness and vulgarity might be appropriate in a brothel but I am not interested in hearing a woman singing how she wants a "hot dog in her roll." Keep your urges in the bedroom, Ms. Smith, if you please. Sex is the absolute lowest common denominator in humanity and unless you can present it in a refreshingly witty and elegant way (Hello, Cole Porter), I don't want to hear or see you in heat. I can watch my dog act the same way for free.
Monotonic, dreary, wailing and screeching: welcome to Bessie Smith.

A TRUE EMPRESS
This album is a good foundation for anyone who is falling under the "Bessie Smith" spell. All of the songs display a different aspect of her true style. From spiritual, to coy, to soulfull... Bessie is a true Diva!!!

powerful
i agree that she &Mahalia Jackson aren't that far apart.Gospel&blues are family like all other styles of music.i was floored by Bessie Smith and her on point style.in fact many rappers could&should be able to relate to her words.they are very honest.also country artists should vibe as well.the real ones in both fields not the studio phonys.her subject matter was very wide.her talent and storytelling is pure genius.very powerful.

Some essential songs are missing!
Whoever decided to make this compilation, for some reason has left some of the most important Bessie Smith songs out!How can this be essential without her first hit "Downhearted blues" and such a gems as "Empty Bed Blues" or "My Sweetie Went Away"? Sound strange, but single CD titled "Colection" offers much better overview of her career than this double, 36 track collection! If you still want to purchase this, what remained in this CD are beautiful and moving songs recorded between 1923 and 1933, all of them glowing with Bessie Smith passion.The liner notes are written by her biographer Chris Albertson who find interesting comparation between her and todays rappers (mentality, not music wise!).To understand her art, its neccesary to listen great Ma Rainey who started singing the blues first and even teach young Bessie some tricks.While Ma Rainey style was more country blues (she had a raugh voice, highly emotional but not pretty as Bessie), Bessie was more concentrated on city audience and if death didnt stop her in a car crash, she would probably continued to work in swing era.Her passion is very similar to one of Mahalia Jackson and Im sure that Im not the only one who feels that blues and gospel are very close not only in music but in emotional involment as well - to feel both types of music listener has to feel something inside.There are two great albums recorded as tribute to Bessie Smith, by Dinah Washington and LaVern Baker, both highly reccomended - I heard them first and then wanted to hear the originals, but you may try the other way around! ... Read more

Amazon.com essential recording

You can't have too much Etta James. Really. This long-overdue collection of the singer's Chess recordings includes much of her best work. Three CDs' worth. 72 tracks. Shivers abound just thinking about it. Of course, all the songs you'd expect are here: "I Just Want to Make Love to You," "Spoonful," "Something's Got a Hold on Me," "Tell Mama," and, naturally, "At Last," among many, many others. But you don't need me to convince you why Etta James is worth hearing; what you want to know is, is this box set worth the price? Well, it's got almost everything you'd find on At Last, James's first studio album and widely considered her best, and it includes the same material as Her Best, which up to now was hands-down the best introduction to the glory that is Etta James. But say you've already got that stuff, why would you want this? Well, first of all, the packaging is stellar. A 40-page booklet comes in a handsomely presented box, which contains a wealth of pictures, quotes, and perspectives that do much to illuminate what made James's 16-year period at Chess Records so special. There are definitely a few musical chestnuts here; several previously unreleased tracks, as well as a few that were released as singles only. Notable inclusions are a previously unreleased version of "You Lost That Lovin' Feelin'" and a live version of "At Last."Whether or not it's possible to distill the work of a singer like Etta James down to three CDs, this is a very strong collection and an admirable effort to get the best of Etta all in one place. --Genevieve Williams ... Read more

Reviews (9)

Easily eans its 5 stars! What a woman! Grrrrrrrr!
A woman renamed Etta James hit the R&B charts at age 16, when she forged her mother's signature (who was in jail at the time) to allow her to tour and made a living performing where ever she could when soul fell from mass favor. The key to her endurance, as she is still singing, is her versatility and ability to hit home runs with great songs and work around the less than stellar songs.

On early Chess singles the ballad "My Dearest Darling" and the more raunchy "I Just Want to Make Love to You," James coos and growls like a tigress. There is the inside glance at her personal life on duets with a man she had a huge crush on, Harvey Fuqua. Though the young love was apparently unrequited, there is an intimacy inherent in their version of "If I Can't Have You," while a smoldering sexuality pervades "Spoonful." The first CD also has a song that introduced me to James a few years back. You have heard of a little tune called "At Last." I am obviously kidding about "little tune" as that song is on fire.

The second CD introduced me to a mostly unknown (at least to me) R&B singer Sugar Pie DeSanto who duets with James on the screaming party tune "In the Basement" and the sweet and soulful "Do I Make Myself Clear." These women should have recorded together more often as they make a raging fire. Ett a also tackles country with her signature approach and the result may have to get a new name. I suggest "Soultry"."I Prefer You" and "Tell Mama" are scorching.

James began covering rock songs in the late '60s, and both the successful and the not-so-great are included in the third CD of this box set. Although this is the least potent CD of the 3, it has some surprises including the fire-causing "Let's Burn Down The Cornfield," which has to be one of the sexiest songs ever.

The insert is informative as it tells you about Etta's life and has some great pictures. It nothing out of this world, so buy this for the music and although its pricey, I think that it's worth every dime and then some.

The 72 songs on this box set are placed chronologically, and it's rather astonishing how strong all these recordings are, from her terrific vocals to the songs themselves. Her producers weren't sure what to do with the big, bold voice of a woman-child, but she did her thing while they tried to figure out what to do with her. I for one I am glad that they never quite figured it out as it makes for a great victory for song interpretation.

This is a must have release and it easily earns the highest rating possible, independently that some of the songs are not as good as the singer. This set can at times give you a window to the history of rock/soul. May Etta sing until her last breath. I feel very fortunate to have discovered this woman. By the way, my "discovery" only occurred due to the good people at Amazon.com who take the time to rate everything from their favorites and those almost universally panned. This forum is great because it is truly democratic and by being able to read why people give the ratings that they do, I can learn a lot about potential purchases. Thank you guys and enjoy Etta!

Choose your favourite disc,if you can!
One of the most satisfactory CD-Boxes I ever stumbled upon,this 3 Cd collection folows Etta James rise from her early 1960's violin-backed ballads to her glorious Memphis days and funk in 1970's.Of course,she recorded prior to "Chess" and afterwards,but these were her golden years and this carefully compiled Box shows what amazing singer she was in her prime.Those unfamiliar with her start (or with a music climate in early 1960's) would be surprised with some choices,but for me having Etta ballad/jazz/pop/country/soul/funk/philly-sound/blues songs all at one place means hours of pleasure without being bored with just one music style.What all these songs have in common is her big,powerful voice and whatever she sings,she is 100% into it - check her "St.Louis Blues" or previously unreleased (!)"You've Lost That Loving Feeling".Althought is hard to select favourite disc (and chart-wise,disc 1. was her best-selling period),last disc which follows her less commercial early 1970's period is absolute brilliant.The Box closes with breathtaking "Loving Arms" which moves me to tears,often sung country ballad that James sings while falling to pieces.

The Chess Box captures and gives the best of Etta James
You'll be more than pleased with this 3 CD set in The Chess Box! Let the voice of Etta James capture your soul with 72 spectacular songs! Fantastic! I've gotten nothing but pure heart touching pleasure from listening to them all!

For the Etta James Purist
The "Chess Box" Set is a three C.D. set containing Etta James' Chess recordings from 1960-74. She has always been one of my favorite female singers and to the Etta James purist (which I don't consider myself to be), this would be an invaluable addition to your collection. I found most of the songs on the C.D.s to be somewhat dated (which they are). I am more of an Etta James 1974-2000 fan so this set of C.D.s was not inline with what I was used to but it is of historical value. Many songs use strings and being a fan not familiar with Etta and strings, I was thrown a curve when I heard the Nashville sound behind her. I will always be a fan of Etta's but still prefer her last two and one-half decades rather than her Chess decade and a half.

A MUST!
Etta James Ropes Circles Around Many of Todays So-Called Singers.SHe has Passion,Drive,Edge,Pain&Honesty in her work.this Overdue set Showcases that&More.Hearing these SOngs&Reading her book are Both Deep&Essential.SHe is a Very Unique Artist.A True Pioneer. ... Read more

Reviews (4)

This is not the blues
Yes, these are great ladies but they are not singing the Blues. They are singing Jazz. As far as a Jazz album goes, I rate this 5 STARS.
As a Blues musician, I was truely disappointed that the producer of this CD listed it as a Blues album. There's not a Blues lick on this album.
If you're looking for great ladies to sing the Blues, don't look here. If you're looking for great ladies to sing slow sad Jazz, you found it.
There are those people that will disagree with me on this CD. I have read the previous reviews. I'll state again, as far as a Jazz CD, absolutely wonderful. I highly recommend. As far as a Blues CD, no way.
Seeing as I am not a big fan of Jazz, I have listed my copy of this CD on Amazon.com to sell as "Like new." Someone out there will enjoy this CD.

Getting Into It
For someone who has always liked the blues, but doesn't quite know why, this CD helps make it clear. It's because of the way it makes you FEEL. The sultry, beautiful release it gives you, with all the female greats (plus Louis!), makes cooking, gardening, even paying bills a treat. Your hips will sway. You will bellow out along with them. Go for it.

Mesmerizing
Morgana King's "I Know How It Feels To Be Lonely" alone is worth the price of this brilliant CD. This collection possesses an etheral quaility that presents Blues at its quintessential best. Sara Vaughn and Nina Simone also shine like bright and radiant stars.

these ladies are indeed great
my favs would have to be "cry a river" and "i know how it feels to be lonely". this cd is packed with the best voices and puts you in another place...there are an abunance of other songs that coul dhave been included or substituted, but because there was a vast selection, the ones presented made an overall statement. if you have never explored this genre then this is a good one to get your feet wet ... Read more

Reviews (15)

Etta Rocks
Being a big Billie Holiday fan, I admit to listening to this CD with some skepticism. There have been many Billie tribute CD's over the years, few ever equalling her soulfulness and artistry, but after listening to this CD, Etta really opens my eyes and ears. I wouldn't expect someone primarily known as a soul-R&B singer to nail down these songs in an entirely new blues-soul context yet retaining its jazz structure. She doesn't really have Billie's fragility of phrasing, but shows the same X factor of emotional and gut-wrenching elements in her interpretations, though on a grander scale. She adds some of her ever-present feistiness as well, which of course Billie never had, but it never detracts from the jazz feel of this CD. Feistiness is, after all, what makes her Etta James. She shows remarkable restraint when she needs to be in this jazz context. Congrats to a brave Etta in tackling these songs so identified with Billie. You pulled it off, girl!

One and Only
That question about being trapped on an island and only having one CD: This is it. I've all but worshiped Billie Holiday for a long time, but as hard as it is to admit, Etta may well have bested Lady Day here. In her voice, strength, courage, fragility, and tenderness all come through at the same time. Not muddling, but feeding off one another. She brings depth to these timeless songs that even the great Holiday seldom delivered.

"Ghost of a Chance" left me trembling. "How Deep is the Ocean" has never been deeper. And this is by far the best interpretation of "I'll Be Seeing You" ever recorded...in my less than humble opinion. Do yourself a favor and buy it today.

Wonderful, Simply Wonderful
I was surprised that I would love this CD so much because I had heard of Etta James but I didn't know to much about her or her music (she was a little before my time). I have to say this CD is timeless. I love the words of the songs and the richness of her voice. Etta truly makes me wish I could have been around to hear Billie do the honors herself.

The only woman to do Lady Day some justice...
'Ya heard? I'm'a make this as short as possible. Etta James has one'a the mos' passionate an' wrenching voices in all blues n' soul music an' when she takes on THESE numbers, you hear that an' them some. As a big fan'a Billie Holiday not many singer could give much credibility to performin' the songs that she made famous. But this jus' works. Ms. James, rather than adopting the ballads with her own style, jus' adopted a DIFFERENT style than she normally does so that she can sing 'The Man I Love', 'Embraceable You', an' 'The Very Thought of You' with all the relaxed subtlety that Lady Day did. With a nice jazz backing section, she lays the loveliness on thick. Strictly fans'a her work only may not be as enthralled by this set, but if your musical tastes cover the whole spectrum from blues to soul to this ol' traditional-style jazz, then definitely check this out. This is one'a the most earnest, sincere, an' well-done tribute albums of all time. Ms. Billie would be proud.

A jazz legend paying tribute to another jazz legend..
Etta james finally wona Grammy for this album which is shocking cause hello she's etta james what in the world took the grammy's so long...
this is a great cd ..that has a living legend pay tribute to another departed legend of jazz Billy holiday..
her range is incredible...considering she is a true barritone...amazing...one of her best albums.. ... Read more

Amazon.com

The classic blues belter had been singing for two decades before she ever put her voice on record, and it shows on these recordings from the mid- to late '20s. The archetypal blues shouter, Rainey had a voice whose depth and strength is startling and sometimes alarming, even on these scratchy old recordings--one can only imagine what she must have sounded like in real life. Her backup musicians include such notables as pianist Fletcher Henderson, trombonist Charlie Green, guitarist Tampa Red, and trombonist Kid Ory, all performing fairly straightforward 12-bar blues. It's not the material here that's notable, so much as Rainey's voice, a voice that has informed the work of female blues singers ever since. --Genevieve Williams ... Read more

Reviews (7)

The cream of Ma Rainey's crop
Gertrude 'Ma' Rainey was billed by her record company as the "Mother of the Blues" (something which pleased her greatly), and although there was blues and blues singers even before her, she was certainly one of the genres most important trailblazers.

"Ma Rainey's Black Bottom" is a fine collection of 14 of Ma Rainey's best songs recorded between 1924 and 1928. She was a powerful and expressive singer, and she is backed here by various brass- and/or string bands (Kid Ory, Coleman Hawkins and Tom Dorsey being credited among the musicians).

The sound quality on these recordings, of which some are almost 80 years old, is surprisingly good, and among the highlights are "Shave 'Em Dry Blues", "Yonder Come The Blues" and the title track.
This is highly recommendable to anyone with an interest in early blues, or even jazz.

Ma Rainey Should Sing Forever
Here is a hot CD! Ma Rainey is recaptured in all her richness. What a great listening experience, especially for those who love to hear the African American sound the way it was! No wonder August Wilson found such a wonderful tapestry on which to draw his play -- the music on this CD wants to be heard again and again.

Roaring Twenties Personified
Gertrude Malissa Pridgett, born in 1886, was THE pioneer blues belter, taking the stage name Ma Rainey following her marriage to vaudevillian William "Pa" Rainey. Everyone who followed - from Bessie Smith on down - owed their success to her paving the way.

Her life [she died on December 22, 1939 at age 53] inspired the 1985 Broadway musical "Ma Rainey's Black Bottom" - currently being revived with Whoopi Goldberg in the starring role.

If there's a fault with this 1990 CD from Yazoo Records it's the lack of liner notes and the omission of her one popular charted hit, the immortal, classic See See Rider Blues [# 14 in February 1925] which she did for the Paramount label with Louis Armstrong on coronet and Fletcher Henderson at the piano.

According to the insert, liner notes are credited to Stephen Calt but, rather than providing any background information on Ma Rainey, these are confined to merely a listing of some of the musicians who accompanied her on each track. Immortals in their own right, these include Henderson, guitarist Tampa Red, Kid Ory on trombone, Charlie Dixon on banjo, drummer Kaiser Marshall, and clarinetist Artie Starks.

Given today's technology and computer ability to eliminate the old crackle, hiss and pop, we should soon see more of Ma Rainey's "cleaned up" hits re-released [along with others of that era]. I can't wait. In the meantime, this is how your grandparents or great-grandparents would have heard them

Ma Rainey is rare!
Ma Rainey was a classic blues singer, whose many songs are over 70 years old, but still highly beautiful and entertaining. This collection shows it all. If you are just starting to listen to the blues, I recommend you to get this!

Hooray for Gertrude "Ma" Rainey's Black Bottom!!!
Usually compilation CD's are not up to par, for collectors standards, however this is an excellent sampler of Gertrude "Ma" Rainey's finest sessions put out by surprisingly a US label Yazoo Records. Lovie Austin & Her Serenaders are featured here backing Rainey, as well as many other 20's jazz musicians. Ma Rainey was perhaphs the finest blues singer to emerge from the "blues craze" of the roarin' 20's. Rainey who was Bessie Smith's vocal coach, was singing the blues yaers before the 20's "blues craze," Rainey who was a popular vaudeville entertainer would always include blues numbers in her act long before, Mamie Smith started the 20's blues craze with "Crazy Blues." Rainey sings some blues and some popular jazz from the era like "Ma Rainey's Black Bottom" and "The Georgia Cakewalk." There is also a dirty blues "Shave Em' Dry." Some other classics are "Oh Papa", "Blues Oh Blues" and "Don't Fish In My Sea" are essential. Every song on this CD is a classic, making this set essential for beginners as well as the collector who will want all the goodies on one CD. Heck I already have her complete chronological series on the European Ducument label and I still recommend this gem.

Also if you already are a fan of Ma Rainey, go see a newer artist by the name of Big Mama Sue, who sings(and is very influenced by Ma Rainey) and plays washboard in the 20's blues and dixieland tradition, she's often at Dixieland Festivals, listen to her and find out where she's playing at Bigmamasue.com ... Read more

Reviews (2)

Mildred Bailey , Jazz, and Political Correctness
Let's be clear from the start---Mildred Bailey was a white jazz singer whose career streched from the mid-1920s through the WWII era. Mildred Bailey was also the first female jazz singer to front a band, and she was arguably the greatest female jazz singer whoever lived. No qualification necessary here. Again, Mildred was white, and I emphasize this point only becaue Ken Burns and other white jazz historians seem to think that they're doing the African American community some favor by pretending that only blacks in jazz really mattered. Bailey sang jazz just as Bix Beiderbecke (who was also white) played jazz and few, if any---black or white---did it better. Bailey sang with such a clear, bell-like tone, impeccable phrasing, and a natural swinging syncopation that every subsequent female jazz singer from Connee Boswell and Billie Holiday to Ella Fitzgerald and Peggy Lee were simply variations on the Bailey model. It has become rather annoying that every time an accolade is written about a great white jazz singer or jazz musician the author feels compelled to "qualify" his praise of that artist by mentioning that he or she was indeed "white." The implication being that he or she was great only as far as white jazz artists are concerned. There is no need for such mushy left wing, politically correct, vacuous apologetics. There has been an unjustifiable neglect of a long, rich white jazz tradition that stretches as far back as the 1880s in cities like New Orleans, and to admit this is not taking anything away from a similarly long and great black jazz tradition. It is simply that the dawn of jazz was as populated by great Italian-Americans, Jewish-Americans and other ethnic Americans as it was by African Americans. There were great black jazz artists and there were great white jazz artists. The first great jazz band to actually record a jazz record was The Original New Orleans Jazz Band which was headed by Nick La Rocca (who was white), and he composed that first popular jazz recording, "Tiger Rag." Somehow Mr. Burns seemed to miss that rather substantial slice of jazz history in his documentary. No one need qualify that the greatest coronet player in Jazz history is Bix Beiderbecke, who was white. Similarly, the greatest trumpet player in all of jazz was Louis Armstrong, who was black. Who could argue with that?Among the greatest jazz drummers are Louis Belson and Buddy Rich, who were white, but also Elvin Jones and Cozy Cole, who were black. The greatest jazz violinist was Joe Venuti, who was white. The greatest jazz guitarists included Charlie Christian and Wes Montgomery, who were black, but also Django Reinhardt and Eddie Lang who were white. The greatest jazz pianist-composer was Fats Waller, who was black. The point is, black Americans don't own jazz anymore than Woody Guthrie owns folk music. This is the same ignorance that allows nitwits to proclaim that Elvis Presley was the King of Rock and Roll when Little Richard, Joe Turner, Wynonie Harris, Carl Perkins, and Chuck Berry were doing it far earlier and far better. Whether it is simply a genuine ignorance of jazz history or a misplaced allegiance to the social disease known as political correctness (probably both), it is about time that both white and black jazz artists get their fair recognition. It is a sad but true fact that past racial discrimination against African-Americans was rampant, immoral, and abominable. For years the great early black jazz performers like King Oliver were cruely underappreciated, if not totally neglected. But pretending that all of Jazz was solely a black cultural phenomena and that all documentaries on the history of Jazz must focus exclusively on black artists in order to compensate for past discrimination is as deranged and as delusional as white racism was horrific. In the case of Mildred Bailey, enough is enough. Bailey was a great singer, plain and simple. She happened to be quite overweight and so she never attracted a popular following similar to that of a young Billie Holliday, Lena Horne, Peggy Lee or Doris Day, all of whom were attractive. But singers should be evaluated not by their bust, waist, and hip measurements but rather by their voices. Music critics realized this, and they recognized the brilliance of Baily's unique vocalizing. Bailey was around in the 1920s, long before Holliday or Fitzgerlad. She had a sweeter and much less warbly voice than Holliday. (Some fans find Holliday's warble appealing, I don't. That's a matter of taste). In fact, Bailey had perfect pitch and intonation. To my mind, both Bailey and Fitzgerald were superior jazz vocalists to Holliday (and note, Bailey is white, Fitzgerald black). Mildred introduced so many classics it would take pages to list them, but among them are "Ghost of A Chance," "I've Got My Love To Keep Me Warm," "Georgia On My Mind," and "Rock'n Chair." Whether an uptempo swing tune or a smokey ballad, Mildred put a song over with musical brilliance. Obese, ill, and impoverished, Mildred Bailey died in relative obscuirty in 1951 and has since been largely forgotten. No movies or books about her life. Jazz collections advertised on TV invariably exclude her. Just as Bessie Smith and Ma Rainey helped pioneer female blues singing back in the 1920s, Mildred Bailey did the same for jazz. She should be remembered and this collection is a step in rekindling her memory for true lovers of jazz---of all races, colors, and creeds. We need to replace political correctness with historical correctness.

GREAT MILDRED BAILEY COMPILATION
Mildred Bailey, initially heavily influenced by Bessie Smith and Ethel Waters, chose not to follow either the blues style or the melodic ballad method they each had made their own. In fact, when Mildred recorded her first songs in 1929, she could claim to be the first successful white female jazz vocalist, having taken a similar route as Billie Holiday who she admired. However, their voices were dissimilar, with Mildred's having a high bell-like quality enabled by perfect diction, and the ability to interpret lyrics in a believable way which heightened any song's sentiments. Both she and Billie had careers which were beset with personal problems and resulted in their early deaths - in Mildred's case at age 48. Compared with Billie, Mildred's recording career has received less attention, and this four CD set containing 100 tracks from the initial 1929 recording session follows through the years until 1942. Fortunately, Mildred was usually backed by the very best musicians and she recorded with husband Red Norvo's Orchestra, as well as under her own name when they recorded for different record companies. There were also odd sessions with the Dorsey Brothers and Benny Goodman. Apart from featuring songs of the day which did not become standards, there are those which did like HEAT WAVE, PLEASE BE KIND, and PRISONER OF LOVE. She also had her own popular hits, ROCKIN' CHAIR, LAZY BONES and SMALL FRY for which she is particularly remembered. What is clear is the sheer variety of material Mildred recorded, with all songs stamped with her individual style and effort. This collection, together with its excellent career over-view and discography, is certainly one which should help bring her name back into popularity, ensuring she finds her place as one of the great early vocalists ... Read more

Amazon.com

Though Odetta hasn't exactly been inactive, Blues Everywhere I Go is her first studio recording in 14 years. It's been worth the wait--this is an incredibly strong album, from one of the most gorgeous folk-blues voices ever. Odetta's voice has aged well, acquiring a depth of maturity without losing one whit of emotional expression. Among the album's highlights are "Oh Papa," a slow, bittersweet work of art, and a take on "Careless Love" that must rival the best versions of this often-covered song. What's frequently astonishing is how Odetta breathes new life into old material, giving it new relevance; this is especially evident on "TB Blues" and "Homeless Blues." Liner notes from blues writer Robert Gordon add a bit of history and interpretation to the material. --Genevieve Williams ... Read more

Reviews (7)

Odetta : Not just a Folk Singer!
The years have not diminished the powerful voice of the Great Odetta. I am often suprised how many people haven't even heard of her! She an American Treasure! This album features her with a superb back-up band and Odetta is as great singing the Blues as she is singing Folk. I have some of Odetta's live albums and I absolutely love how she can merge several songs into a "Suite" rather than a show biz medley. This is a different Odetta for me to hear and I am extremely pleased with this album. Whether she is recorded live or in the studio and whether she is singing folk or blues, Odetta is a truly great artist. I do recommend this album highly! One feels as if they are there in person. There is an intimate feeling to this Blues album which only adds to how fine it is. It got me snapping my fingers and moving to the music. Oh, Odetta is such a fine singer,so, so fine. ***** Five Stars for "Blues Everywhere I Go"!

Odetta's return
This Grammy nominated cd is amazing. Odetta's voice is still as powerful and unique as it ever was. Odetta is downright incredible on Dink's Blues and Blues Everywhere I Go. And evokes raw emotion on WPA Blues and You Aughta Know. I am very happy to see Odetta back with new material. She is one of best vocalists of all time and seems to carry her legendary status into the new millenium.

Absolutely fabulous.
I won't try to add to the superlatives that the other reviewers have written. This has rapidly become one of my favorite albums. I do have to say that I think the author of the liner notes missed the joke on "Can't Afford To Leave My Man."

Odetta is truly the Queen of American Folk Music
I had the distinct pleasure of hearing Odetta perform at my school. She has a warm and beautiful presence, and it comes through entirely in her wonderful voice. I don't love blues music, but I love Odetta! I very highly recommend this most recent collection of her songs.

You've gotta get this! It will blow you away.
I was browsing the culture section of the Utne Reader when I ran across a review of Odetta's newest in years--the review was entitled "15 More Minutes" and it raved about "Blues Everywhere I Go", so I went out and got it. Guess what? It's every bit deserving of Utne's rave review, Amazon.com's double 5-star rating, and my humble "It will blow you away". Odetta's is in fine, though at times, weary voice, but that suits certain tunes well--just how long and in how many voices can the call to better mankind be, without showing some weariness, I ask you? Poignant, indeed, are the cuts, "TB Blues" and "Oh Papa". Welcome back, Odetta. ... Read more

Reviews (4)

relaxing
dinah washington is the voice of the decade!!!!. I can go shopping in grocery store & I'll hear that voice!!!

Everyone over 25 yrs of age have heard her voice they don't know who it is.,but they know they have heard her on commercials,pop stations their mothers have albums,grandma's too...I'm a fan .

A Tornado in Heat
This CD gets better with every listen! Dinah recorded these songs just over a year before her untimely death (age 39!). Though her voice sounds rough around the edges on some selections here, it all works to her advantage because it only adds to the down-home, blues-beltin' mama that many listeners associate Dinah with. Arrangements are usually a large orchestra with occasional strings added in but it's very much Dinah's voice that takes center stage here. Dinah knew her critics were blasting her for leaving the blues world for pop a few years back, so this was her way to make peace with them. But the listeners are the ones who win out because her rich, knowing voice goes thru 15 songs here like a tornado in heat.

Diva of Diva's
I bought this CD (and Ultimate Dinah Washington CD - 16 songs) after the play, Dinah Was. I have approx. 100 CDs (different Artist/Music), but I do not have CDs as the above-mentioned -- 31 total songs -- there is not one song that you would not replay! She was the greatest.

DINAH SINGS TO YOUR SOUL !
This cd takes you places some jazz artist just wish they could find! Blues and Jazz fans will enter the dark, sad, smokey world of Dinah when she belts out the lyrics of "Its a mean old man's world" and if you don't "see" the world a little differently when she tells you "Nobody knows how I feel this morning" then you are truly a blessed person. If you've ever loved and lost or had a broken heart then Dinah knows your pain and she sure does sing to your heart. This is truly one of the best blues cd's I've heard in many years. That sweet voice will leave you wanting more and more and more. ... Read more

Reviews (2)

The best of early Irma Thomas - but check the rest!!!
Early 1960's were most commercially visible times for then-young Irma Thomas whose voice I found irresistible,but as this compilation shows,she actually just got better and better though the years.From the start Thomas had a certain earthiness about her and while other,better-selling names used vocal histrionics as their trade-marks,Thomas sound like real person who cries and cracks jokes.Her original "Time Is On My Side" sounds so much better than later-covered "Rolling Stones" hit and there are many gems here to be found,but her early singles were just embrio of future Thomas: check "Look Up" on which Allen Toussaint ferocious piano in background actually eclipses the singer.As good as this compilation of her early music is,Irma Thomas singing showed much more depth throught the next 30 years and while she never got close to succes of "Breakaway" (1963.),her recent albums are real Irma Thomas at her artistic peak.Woman frozen in time on this CD was a young,fresh-voiced talented singer who had big hits back then but her voice sounds much much better today - and no hits anymore.

One Of The Great Mysteries
Why Irma Thomas never had more charted hits is simply beyond comprehension. Sure, one can use the excuse assigned to many artists of that era - the ignominious British Invasion. But that really doesn't explain it either because some of her finest uncharted efforts came before that time.

Listen, for example, to the bluesy It's Raining, done in 1962 for the Minit label, and 1963's Ruler Of My Heart, which the great Otis Redding used as the basis for Pain In My Heart that year, and then tell me why these failed to dent either the R&B or pop charts. Like I say, one of the great mysteries of the time.

Born Irma Lee on February 18, 1941 in Ponchatoula, Louisiana, she had her first charter in 1960 on the Ron label with Don't Mess With My Man which, b/w Set Me Free, made it to # 22 R&B. Not in this set, it can be found in the CD Rhythm & Blues From The New Orleans Ladies.

After failing to chart from 1961 through 1963, she re-emerged on the Imperial label in the spring of 1964 with Wish Someone Would Care b/w Break-A-Way, a # 17 R&B/pop entry. That summer she was back with Anyone Who Knows What Love Is (Will Understand) that topped out at # 52 R&B/pop. The flipside, Time Is On My Side, is, in my humble opinion, one of the best blues ballads ever, and why it didn't chart as well is just one more mystery among many when it comes to Irma Thomas.

She finished off 1964 with two more hits, taking Times Have Changed to # 98 R&B/pop. The B-side of this, Moments To Remember, is on the CD Soul Queen Of New Orleans, as is her last charter with Imperial, He's My Guy, a # 63 R&B/pop in December 1964. The B-side, (I Want A) True, True Love is in this compilation.

Blanked for another three years, Irma came back in 1968 on the Chess label with an Otis Redding-penned hit Good To Me which, b/w We Got Something Good, peaked at # 42 R&B in March.

You cannot miss with an Irma Thomas CD. ... Read more