Dinah Washington Albums (16)
'The Bessie Smith Songbook'
Release Date 10/25/1990
Tracks 10
Label EmArcy
See Album Tracklist and Review
What The Critics Say
It was only natural that the "Queen of the Blues" should record songs associated with the "Empress of the Blues." The performances by the septet/octet do not sound like the 1920s and the purposely ricky-tick drumming is insulting, but Dinah Washington sounds quite at home on this music. "Trombone Butter" (featuring trombonist Quentin Jackson in Charlie Green's role), "You've Been a Good Ole Wagon," "After You've Gone" and "Back Water Blues" are highpoints as she overcomes the cornball arrangements. ~ Scott Yanow, All Music Guide
What The Critics Say
This two-LP set has many of singer Dinah Washington's most exciting jazz performances. For the first album Washington is joined by such masterful players as trumpeter Clark Terry, trombonist Jimmy Cleveland and tenorman Paul Quinichette on a variety of Quincy Jones arrangements. Four other selections are from a particularly heated session with an explosive nonet propelled by Terry and tenor-saxophonist Eddie "Lockjaw" Davis; "Bye Bye Blues" is really taken uptempo but somehow Washington still sounds under control. The final four numbers are from the 1958 Newport Jazz Festival (with solos from pianist Wynton Kelly and vibraphonist Terry Gibbs) and can be considered her final jazz sides before going strictly commercial. All of this valuable music has since been reissued on Mercury's Complete series. ~ Scott Yanow, All Music Guide
'In the Land of Hi-Fi'
Release Date 10/17/1990
Tracks 12
Label Polygram
See Album Tracklist and Review
What The Critics Say
As with most Dinah Washington records, In the Land of Hi-Fi includes an eclectic program of ballads and swingers, all of which become prime vehicles for the singer's dramatic, blues-tinged vocal stylings. Framed by Hal Mooney's mix of string-laden arrangements and big-band charts, Washington imparts both tenderness and passion to slow numbers like "I've Got a Crush on You" and "Say It Isn't So," while getting into some charged vocal buildups on swingers like "Our Love Is Here to Stay" and "If I Were a Bell." In addition to the gospel-imbued number "There'll Be a Jubilee," Latin-tinged cuts like the beautiful bolero-style "Let Me Love You" and the lounge mambo "Nothing Ever Changes My Love for You" provide nice contrast to this jazz and pop set. Topped off with fine contributions by alto saxophonist Cannonball Adderley and pianist Junior Mance, In the Land of Hi-Fi is yet another impressive set among the many fine EmArcy records Washington cut in the '50s. ~ Stephen Cook , All Music Guide
What The Critics Say
It is fairly easy to evaluate Dinah Washington's recordings. Before 1959 virtually everything she recorded (even when in a commercial setting) is worth acquiring but the opposite is true of the records from her final period (1959-63). As a pop artist, Washington was better than many but only a shadow of what she had been. Her pre-planned emotions and exaggerated mannerisms on her Roulette recordings (of which Dinah '63 was one of her last) get tiring very fast. ~ Scott Yanow, All Music Guide
What The Critics Say
The first of five LPs Dinah Washington recorded for Roulette during her last year and a half of life, Dinah '62 finds one of the foremost interpreters in vocal jazz treading merrily through a set of standards informed by Fred Norman's modern and commercially slanted big-band arrangements. Despite a few trad vocal backgrounds, most of these charts never overwhelm the songs or Washington's performances, and sometimes add to them; this version of the decades-old "Red Sails in the Sunset" benefits from its earthy electric guitar and organ. The singer brings a lifetime of experience to these songs, carrying the soporific world-weariness of Johnny Mercer's "Drinking Again" but then skating rompishly over the light novelty "Destination Moon." Washington is far more willing to indulge in histrionics than earlier in her career, but still exhibits remarkable control over her vocalizing, whether light or forceful. ~ John Bush, All Music Guide
What The Critics Say
A beautiful reissue with some six bonus cuts. ~ Ron Wynn, All Music Guide
What The Critics Say
One of many fine EmArcy titles Dinah Washington recorded in the '50s, Dinah! includes a very enjoyable mix of medium-tempo and after-hours vocal numbers. On a handful of cuts, Washington gets into the kind of smoldering and declamatory blues mode she excelled at, especially on "All of Me" and "There'll Be Some Changes Made." Showing her versatility, Washington also shines on relatively tame pop numbers, like the album's waltz-tempo version of "Look to the Rainbow" and an easy strolling "Accent on Youth." Even here, her vocal power comes through, albeit with the blues phrasing mostly kept under wraps. On "A Cottage for Sale," Washington seems to harness all her vocal talents, creating a dazzling mix of jazz phrases, dramatic tonal shifts, and bluesy exclamations, all enveloped in a weary and melancholic tone befitting a breakup song. Besides this gem, other standout selections include "More Than You Know" and "Smoke Gets in Your Eyes." Hal Mooney provides solid, if not terribly provocative big-band and strings arrangements, with fine solos and obbligato passages coming from former Benny Goodman tenorman George Auld and West Coast jazz luminaries like trombonist Frankie Rosolino and alto saxophonist Herb Geller. Washington's rhythm section at the time, pianist Wynton Kelly, bassist Keeter Betts, and drummer Jimmy Cobb, provide stellar rhythmic accompaniment throughout. A top Dinah Washington date, and a fine place to start for newcomers to the singer's catalog. ~ Stephen Cook, All Music Guide
What The Critics Say
Prior to her 1959 hit "What a Difference a Day Makes," nearly every Dinah Washington recording (no matter what the style) was of interest to jazz listeners. However, after her unexpected success on the pop charts, most of Washington's sessions for Mercury and Roulette during the last four years of her life were quite commercial, with string arrangements better suited to country singers and Dinah nearly parodying herself with exaggerated gestures. Fortunately, this 1997 CD reissue brings back an exception, a blues-oriented collection that features Washington returning to her roots, backed by a jazz-oriented big band (although with occasional strings and background voices); in addition to the original program, there are previously unreleased versions of "No One Man" and "Me and My Gin." Eddie Chamblee and Illinois Jacquet have some tenor solos, guitarist Billy Butler is heard from and the trumpet soloist is probably Joe Newman. In general, this is a more successful date than Dinah Washington's earlier investigation of Bessie Smith material, since the backup band is more sympathetic and the talented singer is heard in prime form. Dinah Washington clearly had a real feeling for this bluesy material. ~ Scott Yanow, All Music Guide
What The Critics Say
Wonderful duets between Brook Benton (v) and Washington, plus solo cuts by both from 1960. ~ Ron Wynn, All Music Guide
