Size: 415 MB
Time: 2:53:50File: MP3 @ 320K/s
Released: 2015
Styles: Jazz/Blues/R&B/Pop Vocals
Art: Front
CD 1: Dinah '62
01. Drinking Again (2002 Remastered Version) (3:29)
02. Destination Moon (1997 Remastered Version) (2:32)
03. Miss You (2002 Remastered Version) (3:35)
04. A Handful Of Stars (2002 Remastered Version) (3:22)
05. Is You Is Or Is You Ain't My Baby (2002 Remastered Version) (3:21)
06. You're Nobody 'Til Somebody Loves You (2002 Remastered Version) (2:43)
07. Red Sails In The Sunset (2002 Remastered Version) (2:31)
08. Where Are You (2002 Remastered Version) (2:12)
09. Coquette (2002 Remastered Version) (2:54)
10. Take Your Shoes Off (2002 Remastered Version) (2:42)
CD 2: In Love
01. Fly Me To The Moon (In Other Words) (2:26)
02. You're A Sweetheart (2:26)
03. Our Love (2:45)
04. Love Is The Sweetest Thing (2:43)
05. I'll Close My Eyes (2:49)
06. I Didn't Know About You (3:08)
07. If It's The Last Thing I Do (3:39)
08. Do Nothing 'til You Hear From Me (2:15)
09. My Devotion (2:38)
10. That's My Desire (2:51)
11. Was It Like That (2:37)
12. Me And The One That I Love (2:57)
CD 3: Drinking Again
01. Drinking Again (3:28)
02. Just Friends (3:14)
03. I'm Gonna Laugh You Out Of My Life (2:54)
04. I'll Be Around (2:53)
05. Lament (Love, I Found You Gone) (2:14)
06. I Don't Know You Anymore (2:44)
07. Baby Won't You Please Come Home (2:04)
08. Lover Man (Oh Where Can You Be) (2:59)
09. The Man That Got Away (3:30)
10. For All We Know (3:11)
11. Say It Isn't So (3:07)
CD 4: Dinah '63
01. I Wanna Be Around (3:37)
02. Make Someone Happy (From 'Do-Re-Mi') (3:12)
03. Rags To Riches (2:44)
04. Take Me In Your Arms (2:20)
05. Drown In My Own Tears (2:35)
06. Why Was I Born (Sweet Adeline) (1990 Remastered Version) (2:40)
07. I Left My Heart In San Francisco (2:12)
08. The Show Must Go On (2:49)
09. I'm Glad For Your Sake (2:50)
10. There Must Be A Way (4:10)
11. What Kind Of Fool Am I (2:04)
12. Bill (1990 Remastered Version) (2:57)
CD 5: Back To The Blues
01. The Blues Ain't Nothin' But A Woman Cryin' For Her Man (3:45)
02. Romance In The Dark (2:11)
03. You've Been A Good Ole Wagon (3:49)
04. Let Me Be The First To Know (2:38)
05. How Long (4:58)
06. Don't Come Running Back To Me (2:22)
07. It's A Mean Old Man's World (3:10)
08. Key To The Highway (2:39)
09. If I Never Get To Heaven (3:44)
10. Duck Before You Drown (2:11)
11. No Hard Feelings (2:33)
12. Nobody Knows The Way I Feel This Morning (8:39)
Dinah Washington was at once one of the most beloved and controversial singers of the mid-20th century -- beloved to her fans, devotees, and fellow singers; controversial to critics who still accuse her of selling out her art to commerce and bad taste. Her principal sin, apparently, was to cultivate a distinctive vocal style that was at home in all kinds of music, be it R&B, blues, jazz, middle of the road pop -- and she probably would have made a fine gospel or country singer had she the time. Hers was a gritty, salty, high-pitched voice, marked by absolute clarity of diction and clipped, bluesy phrasing. Washington's personal life was turbulent, with seven marriages behind her, and her interpretations showed it, for she displayed a tough, totally unsentimental, yet still gripping hold on the universal subject of lost love. She has had a huge influence on R&B and jazz singers who have followed in her wake, notably Nancy Wilson, Esther Phillips, and Diane Schuur, and her music is abundantly available nowadays via the huge seven-volume series The Complete Dinah Washington on Mercury.
Born Ruth Lee Jones, she moved to Chicago at age three and was raised in a world of gospel, playing the piano and directing her church choir. At 15, after winning an amateur contest at the Regal Theatre, she began performing in nightclubs as a pianist and singer, opening at the Garrick Bar in 1942. Talent manager Joe Glaser heard her there and recommended her to Lionel Hampton, who asked her to join his band. Hampton says that it was he who gave Ruth Jones the name Dinah Washington, although other sources claim it was Glaser or the manager of the Garrick Bar. In any case, she stayed with Hampton from 1943 to 1946 and made her recording debut for Keynote at the end of 1943 in a blues session organized by Leonard Feather with a sextet drawn from the Hampton band. With Feather's "Evil Gal Blues" as her first hit, the records took off, and by the time she left Hampton to go solo, Washington was already an R&B headliner. Signing with the young Mercury label, Washington produced an enviable string of Top Ten hits on the R&B charts from 1948 to 1955, singing blues, standards, novelties, pop covers, even Hank Williams' "Cold, Cold Heart." She also recorded many straight jazz sessions with big bands and small combos, most memorably with Clifford Brown on Dinah Jams but also with Cannonball Adderley, Clark Terry, Ben Webster, Wynton Kelly, and the young Joe Zawinul (who was her regular accompanist for a couple of years).
In 1959, Washington made a sudden breakthrough into the mainstream pop market with "What a Diff'rence a Day Makes," a revival of a Dorsey Brothers hit set to a Latin American bolero tune. For the rest of her career, she would concentrate on singing ballads backed by lush orchestrations for Mercury and Roulette, a formula similar to that of another R&B-based singer at that time, Ray Charles, and one that drew plenty of fire from critics even though her basic vocal approach had not changed one iota. Although her later records could be as banal as any easy listening dross of the period, there are gems to be found, like Billie Holiday's "Don't Explain," which has a beautiful, bluesy Ernie Wilkins chart conducted by Quincy Jones. Struggling with a weight problem, Washington died of an accidental overdose of diet pills mixed with alcohol at the tragically early age of 39, still in peak voice, still singing the blues in an L.A. club only two weeks before the end. ~by Richard S. Ginell
Born Ruth Lee Jones, she moved to Chicago at age three and was raised in a world of gospel, playing the piano and directing her church choir. At 15, after winning an amateur contest at the Regal Theatre, she began performing in nightclubs as a pianist and singer, opening at the Garrick Bar in 1942. Talent manager Joe Glaser heard her there and recommended her to Lionel Hampton, who asked her to join his band. Hampton says that it was he who gave Ruth Jones the name Dinah Washington, although other sources claim it was Glaser or the manager of the Garrick Bar. In any case, she stayed with Hampton from 1943 to 1946 and made her recording debut for Keynote at the end of 1943 in a blues session organized by Leonard Feather with a sextet drawn from the Hampton band. With Feather's "Evil Gal Blues" as her first hit, the records took off, and by the time she left Hampton to go solo, Washington was already an R&B headliner. Signing with the young Mercury label, Washington produced an enviable string of Top Ten hits on the R&B charts from 1948 to 1955, singing blues, standards, novelties, pop covers, even Hank Williams' "Cold, Cold Heart." She also recorded many straight jazz sessions with big bands and small combos, most memorably with Clifford Brown on Dinah Jams but also with Cannonball Adderley, Clark Terry, Ben Webster, Wynton Kelly, and the young Joe Zawinul (who was her regular accompanist for a couple of years).
In 1959, Washington made a sudden breakthrough into the mainstream pop market with "What a Diff'rence a Day Makes," a revival of a Dorsey Brothers hit set to a Latin American bolero tune. For the rest of her career, she would concentrate on singing ballads backed by lush orchestrations for Mercury and Roulette, a formula similar to that of another R&B-based singer at that time, Ray Charles, and one that drew plenty of fire from critics even though her basic vocal approach had not changed one iota. Although her later records could be as banal as any easy listening dross of the period, there are gems to be found, like Billie Holiday's "Don't Explain," which has a beautiful, bluesy Ernie Wilkins chart conducted by Quincy Jones. Struggling with a weight problem, Washington died of an accidental overdose of diet pills mixed with alcohol at the tragically early age of 39, still in peak voice, still singing the blues in an L.A. club only two weeks before the end. ~by Richard S. Ginell
Original Album Series CD1+CD2
Original Album Series CD3+CD4
Original Album Series CD5
Thank you very much for this great albums.
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