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Dinah Washington Dinah 63 (LP)

Dinah 63 (LP)
 
 
 
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catalog number: LPROU1014

weight in Kg 0,300

 

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$29.19 *
 
 

Dinah Washington: Dinah 63 (LP)

Video von Dinah Washington - Dinah 63 (LP)

(EMI UK) 12 tracks - Re-issue of the original 1963 'Roulette' LP album - Rare and hard-to-find pressing

Here is a quality that marks a great singer out from all the others. It's not just a matter of musicianship, of the T way the voice finds its way around a song. It has something to do with the projecti;m of personality, with the crea-tion of a magnetic link between performer and audience. Dinah Washington was a singer who certainly possessed this quality in abundance. It is one reason why her perfonnances have always been so electric, so filled with vitality. Unlike the heroine of the Twenties' song, this particular Dinah did not come from 'the state of Carolina'. She was, in fact, born in Alabama, although she grew up much farther north, in Chicago. At the age of 15 she won an amateur talent contest at Chicago's Regal Theatre. Almost immediately afterwards, ZiggyJohnson, owner of the Flame Show Bar, gave her a job singing in his club. A little later on, while ivorking at the Garrick Grill, she was heard by for Glaser, the well-known artists' agent, who recommended her to Lionel Hampton, the vibes-playing leader of one of the most turbulent and exciting big bands in jazz history. For quite a few years Dinah Washington was involved almost exclusively within the world of jazz. She was, for example, often billed as 'Queen of the Blues'. But after she had taken the plunge and gone out on her own as a single act, she began to widen the scope of her singing. "I sing everything" she once said, "anything at all.

I sing blues, pops, even gospel music." She did, in fact, attempt everything short of classics and opera. "And I've even tried them" she con-fided to a journalist. Part of the secret of Dinah Washington's success was her knack of turning a song into something really personal and meaningful. "I like to get inside a song and make it mean something to the people that listen," she told a reporter. "Something more than just a set of lyrics and a familiar tune." It was this sense of involvement, this creation of a special intimacy between singer and listener, which gave a singular freshnsess to any song that Dinah Igtshington performed It was like having the melody and lyrics composed all over again. The performances on this LP demonstrate Dinah once more working her special kind of magic. The songs are drawn from a wide field, including current and comparatively recent 'hits', as well as a couple of vintage numbers from the tune-ful Twenties. Both, as it happens, are by Jerome Kem. "Why Was I Born?" is one of the numbers he wrote for the Broadway show 'Sweet Adeline', while "BILL" is notable for being part of the score of that phenomenally success-ful musical, 'Show Boat, and also for possessing a lyric corium by P.C. Wodehouse, that prince of humorous authors. Fred Norman, who has written scores for several of Dinah Washington's earlier LPs, was once again on hand to provide exactly the right kind of setting. Each song became the basis of a very individual orchestration. The result is a collabora-tion that has produced an LP of quite exceptional quality. Its also a record that demonstrates Dinah's great versatility, her ability to drive along through a hard-swinging routine as well as to explore else emotional scope of a ballad. But then, as we said at the very beginning, Dinah Washington was no ordinary singer.

 

Songs

Dinah Washington - Dinah 63 (LP) Medium 1
1: I Wanna Be Around
2: Make Someone Happy
3: Rags To Riches
4: Take Me In Your Arms
5: Drown In My Own Tears
6: Why Was I Born  
7: I Left My Heart In San Francisco  
8: The Show Must Go On  
9: I'm Glad For Your Sake  
10: There Must Be A Way  
11: What Kind Of Fool Am I  
12: Bill  

 

Artikeleigenschaften von Dinah Washington: Dinah 63 (LP)

  • Interpret: Dinah Washington

  • Albumtitel: Dinah 63 (LP)

  • Format LP
  • Genre R&B, Soul

  • Title Dinah 63 (LP)
  • Vinyl size LP (12 Inch)
  • Speed / RPM 33 U/min
  • Record Grading Mint (M)
  • Sleeve Grading Mint (M)
  • Release date 1990
  • Label EMI UK

  • SubGenre Jazz - General

  • EAN: 0077779457618

  • weight in Kg 0.300
 
 

Artist description "Washington, Dinah"

Dinah Washington

What A Diff'rence A Day Makes

Dinah Washington

What A Diff'rence A Day Makes

(G“Dinah was the reason they wanted me to take over Mercury’s New York office,” said Clyde Otis. “They introduced me to her, and I said, 'I respect what you do so much, I'm afraid to even suggest a change in direction, but I have this idea for you to do “What A Diff'rence A Day Makes.” Have you ever heard it?' She said she had, and she asked me if I wrote it [Otis’ predilection for his own songs was legendary in the business]. I said I hadn't, but I told her if she recorded it, it could be very successful for her. She said, 'You do huh, motherfucker.' That was how she talked. She said, 'I'll give you one take, motherfucker.' I knew she meant one take, too. On the session, she was getting her shit together in the bathroom, and I told Belford Hendricks the arranger to get all the kinks out of the arrangement. She came back, she said. 'Ready?' One take, and we got it.

I went to a product meeting [at Mercury HQ] in Chicago, and played them ‘What A Diff'rence.’ They hated it. Meantime, Arnold Shaw [professional manager at the music publisher E.B. Marks] heard it and thought it was a monster. Arnold said, 'I'll take this song on the road, and I believe we can get the dee-jays to support it.' He went out three months, and when he came back it was a hit.”  In his book, Honkers And Shouters, Shaw adds that he actually brought the song to Otis. “When I suggested to Mercury executives that Dinah could sell pop, they patted me on the head and told me not to waste my company’s promotional budget,” wrote Shaw. “I was so excited when Clyde Otis cut [the song] that even though field promotion was the province of other members of staff, I went on the road. I spent nine weeks visiting disc-jockeys. Not R&B, but pop.”  

Dinah changed the song’s tense. Originally written in Spanish circa 1934 by Maria Grever as Cuando Vuelva A Tu Lado, it was rendered into English that year by veteran Broadway tunesmith Stanley Adams as What A Diff’rence A Day MADE. It hadn’t been an especially big hit in 1934, although it was interpolated into the 1955 Kirk Douglas movie, 'The Racer'. In 1959, it became Dinah’s first pop hit of the rock ‘n’ roll era, and it was, by any criterion, an exquisite performance. In 1975, Esther Phillips took what was essentially Dinah and Belford Hendricks’ arrangement of the song back into the pop Top 20. By then, Dinah was twelve years dead.

 

Various - Blowing The Fuse 1959

Classics That Rocked The Jukebox


Read more at: https://www.bear-family.de/various-blowing-the-fuse-1959-classics-that-rocked-the-jukebox.html
Copyright © Bear Family Records

 
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