Swinin Miss D (with Quincy Jones and his Ochestra) = 180g vinyl LP =
1 x LP
(1956) -2018 EU reissue on 180g vinyl LP= One certainly couldn't say that Ruth Jones had a velvety, smoochy voice. But in jazz history that's never been of prime importance.
Release date: 06-01-2018(Originally released in 1956)
2018 EU reissue on 180g HQ virgin= One certainly couldn't say that Ruth Jones had a velvety, smoochy voice. But in jazz history that's never been of prime importance.
Dinah Washington, the name she used at her debut in 1942, became the Queen of rhythm 'n blues but was also an excellent big-band singer under bandleaders Lionel Hampton and Quincy Jones. She asked the latter (as well as Benny Golson and Ernie Wilkins) to write arrangements for her in December 1956 and borrowed his band for 11 classic numbers.
In the ensemble were such top-notch soloists as Clark Terry, Quentin Jackson, Anthony Ortega and Lucky Thompson – and the band swings along right from the very first to last note. This EmArcy LP is one of the Queen's best, and even 50 years after its first release the quality is still totally satisfying.
A1 They Didn't Believe Me
A2 You're Crying
A3 Makin' Whoopee
A4 Every Time We Say Goodbye
A5 But Not For Me
A7 I'll Drown In My Tears(bonus track)
B2 Never Let Me Go
B3 Is You Is Or Is You Ain't My Baby
B4 I'll Close My Eyes
B5 Somebody Loves Me
B6 You Let My Love Grow Cold(bonus track)
B7 Bargain Day(bonus track)
Dinah Washington voc
Quincy Jones arr cond
Hal McKusick as
Jerome Richardson ts
Danny Bank bs
Jimmy Maxwell Ernie Royal Clark Terry tr
Urbie Green Quentin Jackson tb
Don Elliott tp vib perc
Sleepy Anderson p
Barry Galbraith g
Milton Hinton b
Osie Johnson dr ao
Recorded December 1956 in New York City
Dinah Washington was accompanied by an orchestra organized and conducted by Quincy Jones on this 1957 album, and she was singing to arrangements mostly written by the young bandleader, swing charts of pop standards by the likes of Cole Porter, George Gershwin, and Duke Ellington. The result had much in common with the swing albums of Frank Sinatra in the same period, especially because Jones' arrangements were heavily influenced by Billy May and Nelson Riddle. Sinatra's records were regarded as "pop, " of course, and Washington's, at least when released on the EmArcy subsidiary of Mercury Records, as "jazz, " but her precise articulation and attention to lyrical meaning left little room for improvisation, and while Jones allowed for brief solos from a band that included Charlie Shavers, Clark Terry, Urbie Green, and Milt Hinton, the jazz categorization was actually arbitrary. Whatever musical genre you assign it to, however, this is an excellent Washington album.
Label: Jazz Wax
Originally released: 1956
This release: 2018