Browse Titles - 90 results
Accentuate The Positive
performed by Al Jarreau, 1940-2017 (Verve Records, 2004), 50 mins
Although centered around songs from the 1940s, Al Jarreau's Accentuate the Positive is another stellar modern jazz album that continues the winning streak he began with his 2000 comeback, Tomorrow Today. Similar to his previous effort, the R&B-infused All I Got, the album features classy production from Tommy LiPu...
Sample
performed by Al Jarreau, 1940-2017 (Verve Records, 2004), 50 mins
Description
Although centered around songs from the 1940s, Al Jarreau's Accentuate the Positive is another stellar modern jazz album that continues the winning streak he began with his 2000 comeback, Tomorrow Today. Similar to his previous effort, the R&B-infused All I Got, the album features classy production from Tommy LiPuma and a natty cast of backing musicians, including bassist Christian McBride and guitarist Anthony Wilson, among others. Centered arou...
Although centered around songs from the 1940s, Al Jarreau's Accentuate the Positive is another stellar modern jazz album that continues the winning streak he began with his 2000 comeback, Tomorrow Today. Similar to his previous effort, the R&B-infused All I Got, the album features classy production from Tommy LiPuma and a natty cast of backing musicians, including bassist Christian McBride and guitarist Anthony Wilson, among others. Centered around Jarreau's still limber and evocative vocals, Accentuate moves from uptempo bluesy numbers like Eddie Henderson's "Cold Duck" to lush ballads, including "My Foolish Heart" and reworked standards, most notably "Ac-Cent-Tchu-Ate the Positive," turned here into a funky and expansive toe-tapper. This is a solid, poignant, and straight-ahead album that showcases Jarreau's unique gift in the best light possible and should appeal to longtime fans and contemporary jazz listeners alike. ~ Matt Collar, All Music Guide
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Field of Study
Jazz
Content Type
Music recording
Performer / Ensemble
Al Jarreau, 1940-2017
Author / Creator
Al Jarreau, 1940-2017
Date Published / Released
2004-08-03
Publisher
Verve Records
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Aka Jelena Ana Milcetic
conducted by Torrie Zito, 1933-2009 and Frank Zuback; performed by Helen Merrill, 1930- and Steve Lacy, 1934-2004 (Verve Records, 2000), 53 mins
Sample
conducted by Torrie Zito, 1933-2009 and Frank Zuback; performed by Helen Merrill, 1930- and Steve Lacy, 1934-2004 (Verve Records, 2000), 53 mins
Field of Study
Jazz
Content Type
Music recording
Performer / Ensemble
Helen Merrill, 1930-, Steve Lacy, 1934-2004
Contributor
Torrie Zito, 1933-2009, Frank Zuback
Author / Creator
Helen Merrill, 1930-, Steve Lacy, 1934-2004
Date Published / Released
2000-07-18
Publisher
Verve Records
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Anita O'Day: Finest Hour
conducted by Russell Garcia; performed by Anita O'Day, 1919-2006, Roy Eldridge, 1911-1989, Milt Bernhart, Bob Brookmeyer, 1929-2011, Ray Brown, 1926-2002, Conte Candoli, 1927-, Robert Corwin, fl. 1965, Herb Ellis, 1921-2010, Barry Galbraith, 1919-1983, Roy Haynes, 1925-, George Morrow, Mel Lewis, 1929-1990, Alvin Stoller, 1925-1992, Hank Jones, 1918-2010, Oscar Peterson, 1925-2007 and John Poole, Marty Paich & His Orchestra, Gary McFarland's Orchestra and Russ Garcia and His Orchestra (Verve Records, 2000), 56 mins
Sample
conducted by Russell Garcia; performed by Anita O'Day, 1919-2006, Roy Eldridge, 1911-1989, Milt Bernhart, Bob Brookmeyer, 1929-2011, Ray Brown, 1926-2002, Conte Candoli, 1927-, Robert Corwin, fl. 1965, Herb Ellis, 1921-2010, Barry Galbraith, 1919-1983, Roy Haynes, 1925-, George Morrow, Mel Lewis, 1929-1990, Alvin Stoller, 1925-1992, Hank Jones, 1918-2010, Oscar Peterson, 1925-2007 and John Poole, Marty Paich & His Orchestra, Gary McFarland's Orchestra and Russ Garcia and His Orchestra (Verve Records, 2000), 56 mins
Field of Study
Jazz
Content Type
Music recording
Performer / Ensemble
Marty Paich & His Orchestra, Gary McFarland's Orchestra, Russ Garcia and His Orchestra, Anita O'Day, 1919-2006, Roy Eldridge, 1911-1989, Milt Bernhart, Bob Brookmeyer, 1929-2011, Ray Brown, 1926-2002, Conte Candoli, 1927-, Robert Corwin, fl. 1965, Herb Ellis, 1921-2010, Barry Galbraith, 1919-1983, Roy Haynes, 1925-, George Morrow, Mel Lewis, 1929-1990, Alvin Stoller, 1925-1992, Hank Jones, 1918-20...
Marty Paich & His Orchestra, Gary McFarland's Orchestra, Russ Garcia and His Orchestra, Anita O'Day, 1919-2006, Roy Eldridge, 1911-1989, Milt Bernhart, Bob Brookmeyer, 1929-2011, Ray Brown, 1926-2002, Conte Candoli, 1927-, Robert Corwin, fl. 1965, Herb Ellis, 1921-2010, Barry Galbraith, 1919-1983, Roy Haynes, 1925-, George Morrow, Mel Lewis, 1929-1990, Alvin Stoller, 1925-1992, Hank Jones, 1918-2010, Oscar Peterson, 1925-2007, John Poole
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Contributor
Russell Garcia
Author / Creator
Marty Paich & His Orchestra, Gary McFarland's Orchestra, Russ Garcia and His Orchestra, Anita O'Day, 1919-2006, Roy Eldridge, 1911-1989, Milt Bernhart, Bob Brookmeyer, 1929-2011, Ray Brown, 1926-2002, Conte Candoli, 1927-, Robert Corwin, fl. 1965, Herb Ellis, 1921-2010, Barry Galbraith, 1919-1983, Roy Haynes, 1925-, George Morrow, Mel Lewis, 1929-1990, Alvin Stoller, 1925-1992, Hank Jones, 1918-20...
Marty Paich & His Orchestra, Gary McFarland's Orchestra, Russ Garcia and His Orchestra, Anita O'Day, 1919-2006, Roy Eldridge, 1911-1989, Milt Bernhart, Bob Brookmeyer, 1929-2011, Ray Brown, 1926-2002, Conte Candoli, 1927-, Robert Corwin, fl. 1965, Herb Ellis, 1921-2010, Barry Galbraith, 1919-1983, Roy Haynes, 1925-, George Morrow, Mel Lewis, 1929-1990, Alvin Stoller, 1925-1992, Hank Jones, 1918-2010, Oscar Peterson, 1925-2007, John Poole
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Date Published / Released
2000-09-26
Publisher
Verve Records
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At Carnegie Hall: The Billie Holiday Story, Vol.6
performed by Billie Holiday, 1915-1959 (Verve Records, 1995), 45 mins
Sample
performed by Billie Holiday, 1915-1959 (Verve Records, 1995), 45 mins
Field of Study
Jazz
Content Type
Music recording
Performer / Ensemble
Billie Holiday, 1915-1959
Author / Creator
Billie Holiday, 1915-1959
Date Published / Released
1995-07-25
Publisher
Verve Records
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At The Village Vanguard
performed by Ellie May Carter, 1929-1998, Lisle Atkinson, 1940-, Al Harewood, 1923- and Norman Simmons, 1929- (Verve Records, 2004), 40 mins
Betty Carter's remarkable early-'70s LPs were initially available only on her own poorly distributed label. This live date captured Carter when her voice was its most pliable, her delivery in full bloom and her range and power at their peak. She could scat with a fury and rhythmic intensity that were almost magica...
Sample
performed by Ellie May Carter, 1929-1998, Lisle Atkinson, 1940-, Al Harewood, 1923- and Norman Simmons, 1929- (Verve Records, 2004), 40 mins
Description
Betty Carter's remarkable early-'70s LPs were initially available only on her own poorly distributed label. This live date captured Carter when her voice was its most pliable, her delivery in full bloom and her range and power at their peak. She could scat with a fury and rhythmic intensity that were almost magical, then turn a slow tune like "The Sun Died" or "Body and Soul" into a showcase by emphasizing key lyrics, subtly changing each stanza,...
Betty Carter's remarkable early-'70s LPs were initially available only on her own poorly distributed label. This live date captured Carter when her voice was its most pliable, her delivery in full bloom and her range and power at their peak. She could scat with a fury and rhythmic intensity that were almost magical, then turn a slow tune like "The Sun Died" or "Body and Soul" into a showcase by emphasizing key lyrics, subtly changing each stanza, or increasing the pace at an unexpected moment. This deserves full attention, as it represents Betty Carter still evolving and perfecting her matchless technique. ~ Ron Wynn, All Music Guide
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Date Written / Recorded
1970-05-16
Field of Study
Jazz
Content Type
Music recording
Performer / Ensemble
Ellie May Carter, 1929-1998, Lisle Atkinson, 1940-, Al Harewood, 1923-, Norman Simmons, 1929-
Author / Creator
Ellie May Carter, 1929-1998, Lisle Atkinson, 1940-, Al Harewood, 1923-, Norman Simmons, 1929-
Date Published / Released
2004-10-05
Publisher
Verve Records
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The Best Of The First Lady Of Song
performed by Ella Fitzgerald, 1917-1996, Louis Armstrong, 1901-1971, Oscar Peterson, 1925-2007, Bill Doggett, 1916-1996, Roy Eldridge, 1911-1989, Stuff Smith, 1909-1967, Duke Ellington, 1899-1974, Count Basie, 1904-1984, Tommy Flanagan, 1930-2001, Jim Hall, 1940-, Herb Ellis, 1921-2010, Barney Kessel, 1923-2004 and Charlie Parker, 1920-1955, Buddy Bregman Orchestra, The Duke Ellington Orchestra, Paul Weston & His Orchestra, Marty Paich's Dek-tette and Nelson Riddle & His Orchestra (Verve Records, 1994), 59 mins
Sample
performed by Ella Fitzgerald, 1917-1996, Louis Armstrong, 1901-1971, Oscar Peterson, 1925-2007, Bill Doggett, 1916-1996, Roy Eldridge, 1911-1989, Stuff Smith, 1909-1967, Duke Ellington, 1899-1974, Count Basie, 1904-1984, Tommy Flanagan, 1930-2001, Jim Hall, 1940-, Herb Ellis, 1921-2010, Barney Kessel, 1923-2004 and Charlie Parker, 1920-1955, Buddy Bregman Orchestra, The Duke Ellington Orchestra, Paul Weston & His Orchestra, Marty Paich's Dek-tette and Nelson Riddle & His Orchestra (Verve Records, 1994), 59 mins
Field of Study
Jazz
Content Type
Music recording
Performer / Ensemble
Buddy Bregman Orchestra, The Duke Ellington Orchestra, Paul Weston & His Orchestra, Marty Paich's Dek-tette, Nelson Riddle & His Orchestra, Ella Fitzgerald, 1917-1996, Louis Armstrong, 1901-1971, Oscar Peterson, 1925-2007, Bill Doggett, 1916-1996, Roy Eldridge, 1911-1989, Stuff Smith, 1909-1967, Duke Ellington, 1899-1974, Count Basie, 1904-1984, Tommy Flanagan, 1930-2001, Jim Hall, 1940-, Herb Ell...
Buddy Bregman Orchestra, The Duke Ellington Orchestra, Paul Weston & His Orchestra, Marty Paich's Dek-tette, Nelson Riddle & His Orchestra, Ella Fitzgerald, 1917-1996, Louis Armstrong, 1901-1971, Oscar Peterson, 1925-2007, Bill Doggett, 1916-1996, Roy Eldridge, 1911-1989, Stuff Smith, 1909-1967, Duke Ellington, 1899-1974, Count Basie, 1904-1984, Tommy Flanagan, 1930-2001, Jim Hall, 1940-, Herb Ellis, 1921-2010, Barney Kessel, 1923-2004, Charlie Parker, 1920-1955
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Author / Creator
Buddy Bregman Orchestra, The Duke Ellington Orchestra, Paul Weston & His Orchestra, Marty Paich's Dek-tette, Nelson Riddle & His Orchestra, Ella Fitzgerald, 1917-1996, Louis Armstrong, 1901-1971, Oscar Peterson, 1925-2007, Bill Doggett, 1916-1996, Roy Eldridge, 1911-1989, Stuff Smith, 1909-1967, Duke Ellington, 1899-1974, Count Basie, 1904-1984, Tommy Flanagan, 1930-2001, Jim Hall, 1940-, Herb Ell...
Buddy Bregman Orchestra, The Duke Ellington Orchestra, Paul Weston & His Orchestra, Marty Paich's Dek-tette, Nelson Riddle & His Orchestra, Ella Fitzgerald, 1917-1996, Louis Armstrong, 1901-1971, Oscar Peterson, 1925-2007, Bill Doggett, 1916-1996, Roy Eldridge, 1911-1989, Stuff Smith, 1909-1967, Duke Ellington, 1899-1974, Count Basie, 1904-1984, Tommy Flanagan, 1930-2001, Jim Hall, 1940-, Herb Ellis, 1921-2010, Barney Kessel, 1923-2004, Charlie Parker, 1920-1955
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Date Published / Released
1994-10-18
Publisher
Verve Records
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The Best Of The Song Books
conducted by Nelson Riddle, 1921-1985; performed by Ella Fitzgerald, 1917-1996, John Collins, Al Hendrickson, 1920-2007, Barney Kessel, 1923-2004, Stuff Smith, 1909-1967, Russell Procope, 1908-1981, Jimmy Hamilton, 1917-1994, Buddy DeFranco, 1923-2014, Harry Carney, 1910-1974, Johnny Hodges, 1906-1970, Ted Nash, 1960-, Willie Smith, 1897-1973, Paul Gonsalves, 1920-1974, Ben Webster, 1909-1973, Bob Cooper, 1925-1993, Clark Terry, 1920-2015, Don Fagerquist, 1927-1974, Ray Nance, 1913-1976, Willie Cook, 1923-2000, Cat Anderson, 1916-1981 and Quentin Jackson, 1909-1976, Nelson Riddle & His Orchestra, Buddy Bregman Orchestra, Paul Weston & His Orchestra, The Duke Ellington Orchestra and Billy May & His Orchestra (Verve Records, 1993), 1 hour 3 mins
Sample
conducted by Nelson Riddle, 1921-1985; performed by Ella Fitzgerald, 1917-1996, John Collins, Al Hendrickson, 1920-2007, Barney Kessel, 1923-2004, Stuff Smith, 1909-1967, Russell Procope, 1908-1981, Jimmy Hamilton, 1917-1994, Buddy DeFranco, 1923-2014, Harry Carney, 1910-1974, Johnny Hodges, 1906-1970, Ted Nash, 1960-, Willie Smith, 1897-1973, Paul Gonsalves, 1920-1974, Ben Webster, 1909-1973, Bob Cooper, 1925-1993, Clark Terry, 1920-2015, Don Fagerquist, 1927-1974, Ray Nance, 1913-1976, Willie Cook, 1923-2000, Cat Anderson, 1916-1981 and Quentin Jackson, 1909-1976, Nelson Riddle & His Orchestra, Buddy Bregman Orchestra, Paul Weston & His Orchestra, The Duke Ellington Orchestra and Billy May & His Orchestra (Verve Records, 1993), 1 hour 3 mins
Field of Study
Jazz
Content Type
Music recording
Performer / Ensemble
Nelson Riddle & His Orchestra, Buddy Bregman Orchestra, Paul Weston & His Orchestra, The Duke Ellington Orchestra, Billy May & His Orchestra, Ella Fitzgerald, 1917-1996, John Collins, Al Hendrickson, 1920-2007, Barney Kessel, 1923-2004, Stuff Smith, 1909-1967, Russell Procope, 1908-1981, Jimmy Hamilton, 1917-1994, Buddy DeFranco, 1923-2014, Harry Carney, 1910-1974, Johnny Hodges, 1906-1970, Ted Na...
Nelson Riddle & His Orchestra, Buddy Bregman Orchestra, Paul Weston & His Orchestra, The Duke Ellington Orchestra, Billy May & His Orchestra, Ella Fitzgerald, 1917-1996, John Collins, Al Hendrickson, 1920-2007, Barney Kessel, 1923-2004, Stuff Smith, 1909-1967, Russell Procope, 1908-1981, Jimmy Hamilton, 1917-1994, Buddy DeFranco, 1923-2014, Harry Carney, 1910-1974, Johnny Hodges, 1906-1970, Ted Nash, 1960-, Willie Smith, 1897-1973, Paul Gonsalves, 1920-1974, Ben Webster, 1909-1973, Bob Cooper, 1925-1993, Clark Terry, 1920-2015, Don Fagerquist, 1927-1974, Ray Nance, 1913-1976, Willie Cook, 1923-2000, Cat Anderson, 1916-1981, Quentin Jackson, 1909-1976
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Contributor
Nelson Riddle, 1921-1985
Author / Creator
Nelson Riddle & His Orchestra, Buddy Bregman Orchestra, Paul Weston & His Orchestra, The Duke Ellington Orchestra, Billy May & His Orchestra, Ella Fitzgerald, 1917-1996, John Collins, Al Hendrickson, 1920-2007, Barney Kessel, 1923-2004, Stuff Smith, 1909-1967, Russell Procope, 1908-1981, Jimmy Hamilton, 1917-1994, Buddy DeFranco, 1923-2014, Harry Carney, 1910-1974, Johnny Hodges, 1906-1970, Ted Na...
Nelson Riddle & His Orchestra, Buddy Bregman Orchestra, Paul Weston & His Orchestra, The Duke Ellington Orchestra, Billy May & His Orchestra, Ella Fitzgerald, 1917-1996, John Collins, Al Hendrickson, 1920-2007, Barney Kessel, 1923-2004, Stuff Smith, 1909-1967, Russell Procope, 1908-1981, Jimmy Hamilton, 1917-1994, Buddy DeFranco, 1923-2014, Harry Carney, 1910-1974, Johnny Hodges, 1906-1970, Ted Nash, 1960-, Willie Smith, 1897-1973, Paul Gonsalves, 1920-1974, Ben Webster, 1909-1973, Bob Cooper, 1925-1993, Clark Terry, 1920-2015, Don Fagerquist, 1927-1974, Ray Nance, 1913-1976, Willie Cook, 1923-2000, Cat Anderson, 1916-1981, Quentin Jackson, 1909-1976
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Date Published / Released
1993-09-21
Publisher
Verve Records
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Bing Sings Whilst Bregman Swings
conducted by Buddy Bregman; performed by Bing Crosby, 1903-1977, Milt Bernhart, Pete Candoli, 1923-2008, Bob Cooper, 1925-1993, Harry Edison, 1915-1999, Maynard Ferguson, 1928-2006, Herb Geller, 1928-2013, Chuck Gentry, Conrad Gozzo, 1922-1964, Barney Kessel, 1923-2004, Ted Nash, 1960-, Frank Rosolino, 1926-1978, George Roberts, Paul Smith, 1906-1985, Alvin Stoller, 1925-1992 and Bud Shank, 1926-2009, Buddy Bregman Orchestra (Verve Records, 2001), 37 mins
In early 1956, Bing Crosby ended the two long-term company affiliations that had defined his career for more than 20 years, leaving his exclusive associations with Paramount Pictures and Decca Records. Thereafter, he made movies and records on a freelance basis. The immediate results were more felicitous for his f...
Sample
conducted by Buddy Bregman; performed by Bing Crosby, 1903-1977, Milt Bernhart, Pete Candoli, 1923-2008, Bob Cooper, 1925-1993, Harry Edison, 1915-1999, Maynard Ferguson, 1928-2006, Herb Geller, 1928-2013, Chuck Gentry, Conrad Gozzo, 1922-1964, Barney Kessel, 1923-2004, Ted Nash, 1960-, Frank Rosolino, 1926-1978, George Roberts, Paul Smith, 1906-1985, Alvin Stoller, 1925-1992 and Bud Shank, 1926-2009, Buddy Bregman Orchestra (Verve Records, 2001), 37 mins
Description
In early 1956, Bing Crosby ended the two long-term company affiliations that had defined his career for more than 20 years, leaving his exclusive associations with Paramount Pictures and Decca Records. Thereafter, he made movies and records on a freelance basis. The immediate results were more felicitous for his film work than his recording, as he went to MGM for the successful movie {#High Society}. As a recording artist, in rapid succession he...
In early 1956, Bing Crosby ended the two long-term company affiliations that had defined his career for more than 20 years, leaving his exclusive associations with Paramount Pictures and Decca Records. Thereafter, he made movies and records on a freelance basis. The immediate results were more felicitous for his film work than his recording, as he went to MGM for the successful movie {#High Society}. As a recording artist, in rapid succession he cut the movie soundtrack for Capitol (January-February); a new album for Decca, Songs I Wish I Had Sung (The First Time Around) (April); and a new album for Verve, Bing Sings Whilst Bregman Swings (June). The third was the least likely. Twenty-five-year-old Buddy Bregman, a friend of Crosby's son Gary, had recently been appointed an A&R executive at the fledgling Verve. His idea for Crosby was to copy the formula of recent Nelson Riddle-arranged Frank Sinatra successes such as Songs for Swingin' Lovers -- take a collection of inter-war standards and give them punchy big-band arrangements. The approach was well-suited to the aggressive Sinatra, who wasn't shy about editing the arrangements himself, but singularly inappropriate to the affable Crosby, who left everything to his arranger/conductor. The 12 songs, none of which Crosby had released commercially before, were great standards from the likes of Kern, Rodgers and Hart, Berlin, and Gershwin, and Crosby turned in typically witty interpretations. But Bregman's repetitive, overly busy arrangements, full of loud, sudden horn blats and splats, forced the singer to compete for attention and occasionally smothered him completely. Crosby was looking for a way back to commercial appeal with this experiment. But the three albums were all released within a period of weeks in August and September, and only the film soundtrack got a fair hearing and became a hit. ~ William Ruhlmann, All Music Guide
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Date Written / Recorded
1956-06-11
Field of Study
Jazz
Content Type
Music recording
Performer / Ensemble
Buddy Bregman Orchestra, Bing Crosby, 1903-1977, Milt Bernhart, Pete Candoli, 1923-2008, Bob Cooper, 1925-1993, Harry Edison, 1915-1999, Maynard Ferguson, 1928-2006, Herb Geller, 1928-2013, Chuck Gentry, Conrad Gozzo, 1922-1964, Barney Kessel, 1923-2004, Ted Nash, 1960-, Frank Rosolino, 1926-1978, George Roberts, Paul Smith, 1906-1985, Alvin Stoller, 1925-1992, Bud Shank, 1926-2009
Contributor
Buddy Bregman
Author / Creator
Buddy Bregman Orchestra, Bing Crosby, 1903-1977, Milt Bernhart, Pete Candoli, 1923-2008, Bob Cooper, 1925-1993, Harry Edison, 1915-1999, Maynard Ferguson, 1928-2006, Herb Geller, 1928-2013, Chuck Gentry, Conrad Gozzo, 1922-1964, Barney Kessel, 1923-2004, Ted Nash, 1960-, Frank Rosolino, 1926-1978, George Roberts, Paul Smith, 1906-1985, Alvin Stoller, 1925-1992, Bud Shank, 1926-2009
Date Published / Released
2001-03-13
Publisher
Verve Records
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Black Coffee
performed by Peggy Lee, 1920-2002, Bill Pitman, 1920-, Stella Castellucci, Pete Candoli, 1923-2008, Jimmy Rowles, 1918-1996, Louis Levy, 1928-2001, Larry Bunker, 1928-2005, Buddy Clark, 1929-1999 and Ed Shaughnessy, Sy Oliver & His Orchestra (Verve Records, 2004), 34 mins
Peggy Lee left Capitol in 1952 for, among several other reasons, the label's refusal to let her record and release an exotic, tumultuous version of "Lover." Lee was certainly no Mitch Miller songbird, content to loosen her gorgeous pipes on any piece of tripe foisted upon her; she was a superb songwriter with a kn...
Sample
performed by Peggy Lee, 1920-2002, Bill Pitman, 1920-, Stella Castellucci, Pete Candoli, 1923-2008, Jimmy Rowles, 1918-1996, Louis Levy, 1928-2001, Larry Bunker, 1928-2005, Buddy Clark, 1929-1999 and Ed Shaughnessy, Sy Oliver & His Orchestra (Verve Records, 2004), 34 mins
Description
Peggy Lee left Capitol in 1952 for, among several other reasons, the label's refusal to let her record and release an exotic, tumultuous version of "Lover." Lee was certainly no Mitch Miller songbird, content to loosen her gorgeous pipes on any piece of tripe foisted upon her; she was a superb songwriter with a knowledge of production and arrangement gained from work in big bands and from her husband, Dave Barbour (although the two weren't togeth...
Peggy Lee left Capitol in 1952 for, among several other reasons, the label's refusal to let her record and release an exotic, tumultuous version of "Lover." Lee was certainly no Mitch Miller songbird, content to loosen her gorgeous pipes on any piece of tripe foisted upon her; she was a superb songwriter with a knowledge of production and arrangement gained from work in big bands and from her husband, Dave Barbour (although the two weren't together at the time). The more open-minded Decca acquiesced to her demand, and watched its investment pay off quickly when the single became her biggest hit in years. Black Coffee was Lee's next major project. Encouraged by longtime Decca A&R Milt Gabler, she hired a small group including trumpeter Pete Candoli and pianist Jimmy Rowles (two of her favorite sidemen) to record an after-hours jazz project similar in intent and execution to Lee Wiley's "Manhattan project" of 1950, Night in Manhattan. While the title-track opener of Black Coffee soon separated itself from the LP -- to be taught forever after during the first period of any Torch Song 101 class -- the album doesn't keep to its concept very long; Lee is soon enough in a bouncy mood for "I've Got You Under My Skin" and very affectionate on "Easy Living." (If there's a concept at work here, it's the vagaries of love.) Listeners should look instead to "It Ain't Necessarily So" or "Gee, Baby, Ain't I Good to You?" for more examples of Lee's quintessentially slow-burn sultriness. Aside from occasionally straying off-concept, however, Black Coffee is an excellent record, spotlighting Lee's ability to shine with every type of group and in any context. [When originally recorded and released in 1953, Black Coffee was an eight-song catalog of 78s. Three years later, Decca commissioned an LP expansion of the record, for which Lee recorded several more songs. The 2004 Verve edition is therefore a reissue of the 1956 12-song LP.] ~ John Bush, All Music Guide
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Field of Study
Jazz
Content Type
Music recording
Performer / Ensemble
Sy Oliver & His Orchestra, Peggy Lee, 1920-2002, Bill Pitman, 1920-, Stella Castellucci, Pete Candoli, 1923-2008, Jimmy Rowles, 1918-1996, Louis Levy, 1928-2001, Larry Bunker, 1928-2005, Buddy Clark, 1929-1999, Ed Shaughnessy
Author / Creator
Sy Oliver & His Orchestra, Peggy Lee, 1920-2002, Bill Pitman, 1920-, Stella Castellucci, Pete Candoli, 1923-2008, Jimmy Rowles, 1918-1996, Louis Levy, 1928-2001, Larry Bunker, 1928-2005, Buddy Clark, 1929-1999, Ed Shaughnessy
Date Published / Released
2004-10-26
Publisher
Verve Records
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Blue Gardenia
conducted by Belford Hendricks, 1909-1977 and Hal Mooney; performed by Dinah Washington, 1924-1963 and Clifford Brown, 1930-1956, Quincy Jones & His Orchestra, Belford Hendricks' Orchestra and Harold Mooney Orchestra (Verve Records, 1995), 51 mins
Yet another sampling from the massive Dinah Washington Mercury catalog, this one shows off her tart, immaculately crisp voice in a pleasant, undemanding collection of love songs. You get a smattering of charted hits ("What a Difference a Day Makes," "Teach Me Tonight," "Unforgettable," "Soft Winds"), some standard...
Sample
conducted by Belford Hendricks, 1909-1977 and Hal Mooney; performed by Dinah Washington, 1924-1963 and Clifford Brown, 1930-1956, Quincy Jones & His Orchestra, Belford Hendricks' Orchestra and Harold Mooney Orchestra (Verve Records, 1995), 51 mins
Description
Yet another sampling from the massive Dinah Washington Mercury catalog, this one shows off her tart, immaculately crisp voice in a pleasant, undemanding collection of love songs. You get a smattering of charted hits ("What a Difference a Day Makes," "Teach Me Tonight," "Unforgettable," "Soft Winds"), some standards, lots of period strings, subdued big bands and jazz combos and some choral backups -- none of which fazes or alters the approach of t...
Yet another sampling from the massive Dinah Washington Mercury catalog, this one shows off her tart, immaculately crisp voice in a pleasant, undemanding collection of love songs. You get a smattering of charted hits ("What a Difference a Day Makes," "Teach Me Tonight," "Unforgettable," "Soft Winds"), some standards, lots of period strings, subdued big bands and jazz combos and some choral backups -- none of which fazes or alters the approach of this focused stylist. There is one track from the celebrated Brownie session, "There Is No Greater Love," but without any of the celebrated horns on hand. Obviously this is hardly an all-inclusive summary of Washington's diversified Mercury record shelf, yet it does make for good, relaxed listening. ~ Richard S. Ginell, All Music Guide
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Field of Study
Jazz
Content Type
Music recording
Performer / Ensemble
Quincy Jones & His Orchestra, Belford Hendricks' Orchestra, Harold Mooney Orchestra, Dinah Washington, 1924-1963, Clifford Brown, 1930-1956
Contributor
Belford Hendricks, 1909-1977, Hal Mooney
Author / Creator
Quincy Jones & His Orchestra, Belford Hendricks' Orchestra, Harold Mooney Orchestra, Dinah Washington, 1924-1963, Clifford Brown, 1930-1956
Date Published / Released
1995-07-25
Publisher
Verve Records
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