The Great Singers Of The Jazz (Големите вокалисти на джаза / Знаменитые джазовые вокалисты)
Альбом: 1 пласт.
Тип записи: стерео
Оборотов в мин.: 33
Состояние (диск/конверт): очень хорошее / отличное
1. A TISKET, A TASKET Al Feldman — E. Fitzgerald
2. UNDECIDED Charles Shavers — Sid Robin
3. FLYING HOME L. Hampton — B. Goodman — S. Robin
4. SMOOTH SAILING Arnett Cobb
5. THE TENDER TRAP (Love is) James Van Heusen — Sammy Cahn
6. STRIKE UP THE BAND G. and J. Gershwin
7. CHICAGO Fred Fisher
8. ANYTHING GOES Cole Porter
Acc. Count Basie's Big Band (6, 7, 8). Vocal with The Ray Charles Singers and Rhythm ace. (4). Cond. Chick Webb (1, 2), Vic Shoen(3), Camarata (5)
1. YOU TURNED THE TABLES ON ME Mitchell — Alter
2. THE GENTLEMAN IS A DOPE Rodgers — Hammerstein
3. EVERYDAY Wm. York
4. TRAVELIN' LIGHT Mercer — Mundy — Young
5. STORMY MONDAY BLUES Crawford — Eckstine —Hines
6. DON'T CRY BABY Johnson — Unger — Bernie
Acс. Count Basie's Big Band (1—6)
The present record enlists performances of six jazz stars. With the exception of Ella Fitzgerald songs, all the rest are recorded by the orchestra of Count Basie.
Count Basie, as the whole world must now, came sailing out of Kansas City in 1936 with a band that upset everybody. It put "Swing" into the Swing Era very effectively, and its main business was swinging the blues.
The dean of Jazz critics, George Simon, spoke for most jazz writers when he noted thad Ella's modesty was her prime virtue, that she was "unspoiled, unselfish, unaffected and understanding". Perhaps it all began with her appearance at an Apollo Amateur Contest. She came to perform as a dancer and became so frightened that she sang instead. Contrary to the many stories, bandleader Chick Webb was not in the audience when she won. But Bardu AH, who fronted the Webb band, heard Ella and fried to convince Chick of her worth.
Chick liked what he heard but when he asked her to join his band it was with something less than complete enthusiasm. Ella repaid his gesture many times though and has since repaid that memory by giving dozens of others a first-chance or a bigbreak whenever it was possible forher to do so.
It has always been hard to define a jazz singer and Tony Bennett, who is a modest, friendly man — and incidentally one of the performers most liked by musicians — would himself make no claims in that direction. Yet what can confidently be said is that he has a naturel affinity with jazz: he likes to work with jazz musicans, and jazz musicians like to work with him. "Strike up the band" makes such an appropriate opener. Although Bennett customarily runs the gamut of popular song, it is perhaps on a number like "Chicago" that the open-hearted, outgoing aspect of his personality is best appreciated.
Sarah Vaughan's style, in contrast, is not merely feminine, but more subtle and sophisticated. Her musician-ship results in performances that embody the calculation and resolution of jazz instrumentalists. The ease with which she accomplishes her unparalleled variations has been marveled at for nearly thirty years. Her vocal technique is altogether exceptional, and it enables her to interpret a wide variety of songs in an entirely personal manner.
is represented here by a powerfull performance of "Everyday", which rolls with all the assurance of familiarity, but also with the zest of an arrangement the musicians like to play. The band is strong, too, on "Travelin' Light" — the Trummy Young song Billie Holiday made famous.
On the set's last side, in as it were the climactic position, is another band singer "par excellence" — Billy Eckstine. Yers before, Billy hat done for Earl Hines very much what Joe Williams did for Basie. Certainly, it was during the Eckstine period that the Hines band reached its peakin terms of popularity. There is a memory of those years in a new version of one of the gratest Hines-Eckstine successes, "Stormy Monday Blues". Billy was the complete professional when these sides were made in 1959 just as he was when he recorded the first title for the first time in 1942.