About

“Although she was one of the most powerful and moving of the jazz singers, Dinah Washington suffered more than most from unimaginative and erratic backings. Many of her EmArcy recordings, notably those with Clifford Brown or Clark Terry on trumpet, had outstanding performances, but her collections were compromised by unsuitable accompaniment. This set of 12 blues gives a lop-sided picture in that it doesn't include any of her ballad performances. However, the basic big band settings allow the power and verve of her singing to come through, and confirm her as the best of the women singers with blues material.

During the 1950s she had been regarded as an R&B performer but arranger and band-leader Fred Norman wrote these fine 1962 jazz settings for her shortly before her death. The material is strong and Washington soars and swings, her voice reaching many of the potent climaxes for which she was so highly regarded. The material runs through much of the traditional repertoire — Big Bill Broonzy, Leroy Carr and Lil Green being represented — and there is a nine-minute "Nobody Knows The Way I Feel This Morning" that is unique in her discography.” – Acoustic Sounds

Musicians:

• Dinah Washington - vocals
• Illinois Jacquet, Eddie Chamblee - tenor saxophone
• Jack Wilson, Patti Bown - piano
• Jimmy Sigler - organ
• Everett Barksdale, Billy Butler - guitar
• George Duvivier - bass
• Jimmy Thomas, Osie Johnson - drums

About Dinah Washington:

Dinah Washington (born Ruth Lee Jones; 1924 – 1963), was an American singer and pianist, who has been cited as "the most popular black female recording artist of the '50s". Primarily a jazz vocalist, she performed and recorded in a wide variety of styles including blues, R&B, and traditional pop music, and gave herself the title of "Queen of the Blues". She was a 1986 inductee of the Alabama Jazz Hall of Fame, and was inducted into the Rock and Roll Hall of Fame in 1993.

According to Richard S. Ginell at AllMusic:

"[Washington] was at once one of the most beloved and controversial singers of the mid-20th century – beloved to her fans, devotees, and fellow singers; controversial to critics who still accuse her of selling out her art to commerce and bad taste. Her principal sin, apparently, was to cultivate a distinctive vocal style that was at home in all kinds of music, be it R&B, blues, jazz, middle of the road pop – and she probably would have made a fine gospel or country singer had she the time. Hers was a gritty, salty, high-pitched voice, marked by absolute clarity of diction and clipped, bluesy phrasing..."

Source: Wiki

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