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After Hours With Miss D

performed by Dinah Washington, 1924-1963, Clarence Anderson, 1924-1971, Keter Betts, Cándido de Guerra Camero, 1921-, Eddie Davis, 1922-1986, Julian 'Junior' Mance, 1928-, Paul Quinichette, 1916-1983, Clark Terry, 1920-2015 and Ed Thigpen, 1930-2010 (Verve Records, 2004), 51 mins

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Any self-respecting jazz musician would leap at the chance to record an afterhours session with Dinah Washington. One of the finest musician's singers, Washington demanded respect from her band and paid in return by giving her fellow players plenty of room for solos, on record or in concert. Her Dinah Jams LP from 1954 isn't just one of the finest jazz-meets-vocals dates, it's one of the best jam sessions ever released. One year earlier, she bega... Any self-respecting jazz musician would leap at the chance to record an afterhours session with Dinah Washington. One of the finest musician's singers, Washington demanded respect from her band and paid in return by giving her fellow players plenty of room for solos, on record or in concert. Her Dinah Jams LP from 1954 isn't just one of the finest jazz-meets-vocals dates, it's one of the best jam sessions ever released. One year earlier, she began recording the songs heard on After Hours With Miss D, a date sparked (as the original liner notes explained) by her enjoyment of the time after a standard recording date, those late hours when she could sing what she wanted, stretch out and treasure her notes while her musicians relaxed the rhythm. (The record also helped feed the appetite of many record-buyers, who would only after the fact hear tales of unmissable sessions at neglected clubs.) Listeners expecting a record of narcoleptic torch songs, however, may well be shocked by the dynamic range of this date, comprising ebullient stormers as well as slow blues. (Just because the band relaxes the rhythm certainly doesn't mean they have to slow it down.) The results of three sessions recorded one year apart, After Hours With Miss D featured a hand-picked band -- including Clark Terry on trumpet and Eddie "Lockjaw" Davis or Paul Quinichette on tenor, plus Washington's rock-solid rhythm section of bassist Keter Betts, drummer Ed Thigpen, and usually pianist Junior Mance (who made his debut with Dinah on the first of these dates). The first two selections are the best, the opener "Blue Skies" a studied introduction for all the principals (each of them heard in extended form on the eight-minute track), and the second a runaway train with Clark Terry's hyper-inflated trumpet as the conductor and the rest of the band carried along for the ride. Organist Jackie Davis leads the group into traditional afterhours territory, setting into a bluesy groove for "Am I Blue?" and "Pennies From Heaven." Washington meanwhile is at her interpretive best, whether tormented ("Love for Sale") or reflective ("A Foggy Day") or tranquil ("Pennies From Heaven"). Everyone gets to solo, as it should be, and the controlled environment makes this session a tighter display of finesse than the live-in-the-studio, completely frenetic Dinah Jams LP. ~ John Bush, All Music Guide Show more Show less

Tracks

4. Our Love Is Here To Stay, 3 mins

5. A Foggy Day, 8 mins

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The Commodore Story (US Release)

performed by Eddie Condon, 1905-1973, Billie Holiday, 1915-1959, Fats Waller, 1904-1943, Don Byas, 1912-1972, Sidney Bechet, 1897-1959, Lester Young, 1909-1959, Lee Wiley, 1908-1975, Ben Webster, 1909-1973, Teddy Wilson, 1912-1986, Roy Eldridge, 1911-1989, Benny Carter, 1907-2003, Benny Goodman, 1909-1986, 'Wild' Bill Davison, 1906-1989, Sidney de Paris, Jack Teagarden, 1905-1964, George Clarence Brunies, 1902-1974, Pee Wee Russell, 1906-1969, Joe Sullivan, 1906-1971, Ralph Sutton, 1922-2000, Slam Stewart, 1914-1987, Coleman Hawkins, 1904-1969 and Art Tatum, 1909-1956, The Chocolate Dandies and Eddie Heywood & His Orchestra (GRP Records, 1997), 2 hours 18 mins

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Tracks

34. Summertime, 3 mins

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The Complete Benny Carter

performed by Benny Carter, 1907-2003, Artie Bernstein, Nick Fatool, 1915-2000, Allan Reuss, 1915-1988, Arnold Ross, 1921-2000 and Sonny White, 1917-1971 (Verve Records, 2004), 59 mins

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The Complete Commodore Recordings

performed by Billie Holiday, 1915-1959, Sid Catlett, 1910-1951, Doc Cheatham, 1905-1997, Lem Davis, 1914-1970, Vic Dickenson, Eddie Dougherty, 1915-, Eddie Heywood, Kenneth Hollon, Jimmy McLin, fl. 1928, John Williams, 1932-, Sonny White, 1917-1971, Freddie Webster, 1916-1947, Teddy Walters, fl. 1950, Frankie Newton, Tab Smith, John Simmons, 1918-1979, Dorothy Parker and Ted Koehler, 1894-1973 (Universal Classics & Jazz, 1997), 2 hours 26 mins

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Tracks

28. Embraceable You, 3 mins

29. Embraceable You, 3 mins

30. Embraceable You, 3 mins

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The Complete Dinah Washington On Mercury Vol.6 (1958-1960)

conducted by Belford Hendricks, 1909-1977, Nat Goodman and Fred Norman; performed by Dinah Washington, 1924-1963 and Brook Benton, 1931-1988, Belford Hendricks' Orchestra (Island Def Jam, 1990), 3 hours 20 mins

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Count Basie And The Kansas City Seven

performed by Count Basie, 1904-1984, Eric Dixon, Frank Foster, 1928-, Freddie Green, 1911-1987, Thad Jones, 1923-1986, Sonny Payne, Frank Wess, 1922- and Eddie Jones, 1929-1997, Count Basie's Kansas City Seven (Universal Classics & Jazz, 2006), 40 mins

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Dinah Washington In The Land Of Hi-Fi

conducted by Hal Mooney; performed by Dinah Washington, 1924-1963, Hal Mooney's Orchestra (GRP Records, 2007), 31 mins

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Jam Session

performed by Dinah Washington, 1924-1963, Clifford Brown, 1930-1956, Herb Geller, 1928-2013, Harold Land, 1928-2001, Julian 'Junior' Mance, 1928-, Richie Powell, 1931-1956, Keter Betts, Max Roach, 1924-2007 and Maynard Ferguson, 1928-2006 (Universal Classics & Jazz, 2006), 47 mins

The contents of this Trip LP have been reissued on CD. The lineup of this jam session is quite remarkable: Trumpeters Clifford Brown, Clark Terry and Maynard Ferguson, altoist Herb Geller, tenor-saxophonist Harold Land, Richie Powell or Junior Mance on piano, Keeter Betts or George Morrow on bass and drummer Max R...

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Tracks

4. Medley: My Funny Valentine/Don't Worry 'Bout Me/Bess, You Is My Woman Now/It Might As Well Be Spring, 12 mins

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The Jazz Life featuring Art Blakey and the Jazz Messengers - Live at Village Vanguard

directed by Stanley Dorfman, 1910-1992; produced by Ben Sidran, 1943-, Myriad Media Productions, Inc. and Bulldog Productions; performed by Art Blakey, 1919-1990, Wynton Marsalis, 1961-, Donald Brown, 1954-, Branford Marsalis, 1960-, Bill Pierce, 1948- and Charles Fambrough, 1950-2011, Jazz Messengers (Paris, Ile-de-France: Qwest TV, 1982), 23 mins

Hands down, the premiere jazz club in the world rests at Seventh Avenue South in New York. Countless great shows have been played at the Village Vanguard over its long history. It opened as a comedy / variety / folk club in 1935 but in 1957 primarily changed its sole focus onto jazz. It welcomed in the greats rang...

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Nature Boy: The Standards Album

performed by Aaron Neville (Verve Records, 2003), 49 mins

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Aaron Neville's voice exists in that rarefied air occupied by only the most lyrical musicians, including Paul Desmond's alto saxophone and Miles Davis' muted trumpet. Sweet and throaty, reedy and always crying, it's capable of bewitching anyone within hailing distance -- including, in some cases, the singer himself. Nature Boy: The Standards Album, his first record for Verve, is naturally a jazz/vocal date; Neville tackled a dozen songs from the... Aaron Neville's voice exists in that rarefied air occupied by only the most lyrical musicians, including Paul Desmond's alto saxophone and Miles Davis' muted trumpet. Sweet and throaty, reedy and always crying, it's capable of bewitching anyone within hailing distance -- including, in some cases, the singer himself. Nature Boy: The Standards Album, his first record for Verve, is naturally a jazz/vocal date; Neville tackled a dozen songs from the popular songbook, with accompaniment from a backing trio comprised of pianist (and arranger/conductor) Rob Mounsey, bassist Ron Carter, and drummer Grady Tate (plus one or two appearances each from Roy Hargrove on trumpet, Ry Cooder on guitar, and Ray Anderson on trombone). Though he has never recorded an album of pre-rock standards before, over the four decades of his career Neville has gained a deep familiarity with songs of this weight -- "Summertime," "Our Love Is Here to Stay," "In the Still of the Night," and "Cry Me a River." Understanding their power, he treats them with the utmost respect, a measure of feeling and devotion that causes him to always meet expectations but, unfortunately, never exceed them. Any Aaron Neville fan will know exactly what to expect from his version of "Summertime" or "Nature Boy" or even "Danny Boy," and Neville never displays the focused interaction between song and singer that's necessary to pull off a standard with decades of baggage attached. On several tracks, he does approach deserving the lofty term of jazz singer; he and Linda Ronstadt use their shared affection to anchor "The Very Thought of You," and the burly singer goes along for a splendid ride when the band adds a delicious hint of suspense into "The Shadow of Your Smile" (Neville's voice usually sounds better on darker material, lending a chill as when the sun passes behind a cloud). The American songbook should belong to him, an exceptional vocalist with such a deeply rooted performing persona, but it will do so only when he recognizes that the singer should never humble himself before the song. ~ John Bush, All Music Guide Show more Show less

Tracks

1. Summertime, 4 mins

9. Our Love Is Here To Stay, 4 mins

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