Esther Phillips Albums (13)
What The Critics Say
The no-nonsense, genuine, expressive texture of her voice combines artfully with the perfect balance of jazz/blues/R&B in each syllable to create an unusual presence and fullness of sound. This double-length tape contains 25 tracks and includes Van Morrison's "Crazy Love," plus "Woman Will Do No Wrong," "Fever," "Mo Jo Hanna." ~ Ladyslipper, All Music Guide
What The Critics Say
The last release in a great career. ~ Ron Wynn, All Music Guide
'Here's Esther Are You Ready'
Release Date 1/1/1979
Tracks 8
Label Mercury
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What The Critics Say
Esther Phillips wraps her timeless vocal ability around eight ripe-for-the-times songs, giving solid readings to charmers like "Bedtime Stories," "Mr. Melody," and "Philadelphia Freedom." The poignant "I Hope You'll Be Very Unhappy Without Me" deviates from the traditional thought when an affair breaks up; instead of stating the correct, Phillips hopes the scoundrel falls on his face. Classy revivals of "Our Day Will Come" and "Love Makes a Woman" are prime Esther, and display her amazing control and diction making the lyrics unnecessary. ~ Andrew Hamilton, All Music Guide
What The Critics Say
This 1976 Kudu date under Esther Phillips' name is notable for two major reasons, and both of them are Joe Beck. While Creed Taylor produced the date, all of the sets arrangements were done by Beck, who wove an entire band's sound around the smoking, soulful grooves of his guitar. His playing is the other reason this set is so memorable: Beck is at his most inspired and fluidly funky; he is present everywhere in the mix but nonetheless crafts the strengths of the ensemble around Phillips' unusual voice. Other players include the Brecker Brothers, Don Grolnick, Fred Wesley, Will Lee, Bobby Lyle, Steve Khan, and many others. The band winds around Phillips, setting her up as "Soul Sister Number One," hitting the funky grooves and elongating her clipped trademark delivery. Highlights include the title track -- one of the greatest disco tunes never played in a disco -- her up-tempo rave-up of "Unforgettable," with killer breaks by Beck and Michael Brecker, the dirtiest, funkiest version ever of Jackie DeShannon's "Pure Natural Love," and a Latin-tinged read of "Goin' Out of My Head." ~ Thom Jurek, All Music Guide
'Confessin' the Blues'
Release Date 1/1/1976
Tracks 11
Label Atlantic
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What The Critics Say
Confessin' the Blues has translated to CD beautifully. The first seven numbers show off Esther Phillips doing sophisticated, big-band blues, backed by a small orchestra led by Onzy Matthews, giving direct and pointed yet elegant performances of "Confessin' the Blues," "I'm Gettin' 'Long Alright," and "C. C. Rider." The last four numbers, which comprise nearly 24 minutes, have Phillips doing a jazzier set to start with, backed by a leaner band (most notably Jack Wilson on piano), in a set produced for record by King Curtis -- the final medley of "Bow Top Blues"/"Jelly Roll Blues"/"Long John Blues" is the highlight of the set, showing Phillips in a bluesy setting. The quality of the recording from both years is excellent and comes out well here. Phillips and her principal accompanists, Herb Ellis (guitar) and Lou Blackburn (trombone), are in excellent form on this 1966 set. ~ Bruce Eder, All Music Guide
'What a Diff'rence a Day Makes'
Release Date 1/1/1975
Tracks 8
Label Columbia
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What The Critics Say
Reading the credits of What a Diff'rence a Day Makes, one could easily assume that it is a jazz album. This 1975 LP was produced by Creed Taylor and arranged by guitarist Joe Beck; the other participants range from Michael Brecker on tenor sax, David Sanborn on alto sax, and Randy Brecker on trumpet to Steve Khan on guitar and Don Grolnick on keyboards. With that lineup, Esther Phillips could have easily delivered a first-class jazz album. But What a Diff'rence a Day Makes doesn't contain any jazz -- not even jazz-funk or soul-jazz. It is, however, an excellent soul/disco outing. This LP is best known for its hit title song, an inspired disco version of a standard that has usually been heard in jazz and pre-rock pop settings. But the song works surprisingly well as disco, and the other tracks are equally impressive. Phillips is as soulful and convincing on the bluesy "I Can Stand a Little Rain" as she is on Gamble & Huff's "One Night Affair" (a Philadelphia soul classic that was recorded by Jerry Butler in 1972 and the O'Jays in 1969) and Ralph MacDonald's "Mister Magic."The latter is the gem that Grover Washington, Jr. is best remembered for; while his famous version was instrumental jazz-funk, Phillips' is vocal-oriented soul. It should be noted that most of the jazz musicians who back Phillips on What a Diff'rence a Day Makes are not jazz snobs. The Brecker Brothers and Sanborn, for example, have done their share of R&B sessions, and they would probably be the first to tell you that this LP needs to be judged by R&B standards instead of jazz standards. And when R&B standards are applied, it is easy to conclude that What a Diff'rence a Day Makes is among Phillips' finest releases. ~ Alex Henderson, All Music Guide
'Esther Phillips Sings'
Release Date 1/1/1966
Tracks 12
Label Atlantic
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What The Critics Say
Though it lacked a big hit (like 1965's And I Love Him!), Esther Phillips Sings featured a better set of songs and better charts for her to sing in front of. With the opener "It's All Right With Me" leading the way, Oliver Nelson's seven arrangements bring out the best in Phillips, giving her plenty of space with light instrumentation but filling any available gaps with his strong, brassy orchestra. "A Taste of Honey" and "Just Say Goodbye" are also very successful, leaving the big-band era for a groovier period of swinging traditional pop. There are a few clunkers, mostly the fault of Ray Ellis' overly commercial arrangements on "The Shadow of Your Smile" and "You Can't Go Home Again," but everywhere else Esther Phillips bridges the world of R&B and jazzy pop with finesse and an easy charm. ~ John Bush, All Music Guide
