Dinah Washington - I Wanna Be Loved

Bitrate: MP3@320K/s
Time: 32:12
Size: 73.7 MB
Styles: Jazz vocals
Year: 1962/2005
Art: Front

[2:42] 1. I Wanna Be Loved
[2:29] 2. Don't Explain
[2:28] 3. Everybody's Somebody's Fool
[3:01] 4. Invitation
[3:28] 5. You're Crying
[2:06] 6. Let's Fall In Love
[2:09] 7. When Your Lover Has Gone
[2:15] 8. A Stranger In Town
[2:44] 9. God Bless The Child
[3:19] 10. Blue Gardenia
[3:22] 11. I Can't Face The Music (Without Singing The Blues)
[2:04] 12. Sometimes I'm Happy

Hal Mooney (arranger) Joe Newman, Clark Terry (trumpet) Ernie Wilkins (trumpet, arranger) Jimmy Cleveland, Kai Winding (trombone) Billy Byers (trombone, arranger) Al Cohn (tenor saxophone, arranger) Patti Bown (piano) George Barnes (guitar) Art Davis (bass) Stu Martin (drums) Dinah Washington (vocals) The Dells (doo wop group) and others unidentified in orchestra, Quincy Jones (conductor). Recorded: in NYC, August 15th 1961 and NYC, September 13th 1961 and Chicago, IL, December 4th 1961.

A torch song date recorded between Dinah Washington's commercial breakthrough in 1959 and her death in 1963, I Wanna Be Loved flaunts a large cast of talented collaborators -- plus, to be sure, Washington's regal readings of 12 great songs -- but, unfortunately, the musical side is overwhelmed by the heavy strings in attendance. Working with Quincy Jones, Washington found her studio cast to include Joe Newman and Clark Terry on trumpet, Jimmy Cleveland and Kai Winding on trombone, and Al Cohn on tenor. However, the arrangements (from Ernie Wilkins and Quincy Jones) rarely leave room for the musicians -- and, in fact, rarely feature them at all -- preferring instead to concentrate on strings and the occasional wordless vocal chorus. As usually happened in these circumstances, Washington appears unfazed by the treacle surrounding her; although she doesn't improvise, her performances of "Blue Gardenia," "Don't Explain," and the title track (originally an R&B hit for her 12 years earlier) are elegant and bewitching. The larger big band makes its presence felt on the two side-closers, both of them ("Let's Fall in Love," "Sometimes I'm Happy") more uptempo material. Although Washington's latter-day Mercury material is often derided, she always succeeded despite her surroundings, and this date is no different. ~John Bush

I Wanna Be Loved

---

Gabriele Bellini & Hal Mooney - The Heritage Of Broadway Vol 1

Bitrate: MP3@320K/s
Time: 49:49
Size: 114.1 MB
Styles: Show tunes, Easy Listening
Year: 1960/1994
Art: Front

[1:51] 1. Look For The Silver Lining
[2:04] 2. Yesterdays
[1:48] 3. Why Do I Love You
[2:17] 4. Who
[2:02] 5. All The Things You Are
[2:12] 6. They Didn't Believe Me
[2:13] 7. The Way You Look Tonight
[2:53] 8. Smoke Gets In Your Eyes
[1:56] 9. She Didn't Say Yes
[2:11] 10. Make Believe
[2:12] 11. Last Time I Saw Paris
[1:56] 12. Ol' Man River
[2:54] 13. The Best Thing For You
[2:06] 14. Always
[2:24] 15. Marie
[3:16] 16. Cheek To Cheek
[1:39] 17. Easter Parade
[1:31] 18. Let's Take An Old Fashioned Walk
[2:37] 19. Remember
[3:03] 20. Change Partners
[2:31] 21. Let's Face The Music And Dance
[2:02] 22. They Say It's Wonderful

Tracks 1-12: Music of Jerome Kern conducted by Hal Mooney. Tracks 13-22: Music of Irving Berlin conducted by Gabriele Bellini.

Heritage of Broadway, Vol. 1 collects show tunes written by Irving Berlin and Jerome Kern, including classics like Kern's "Look for the Silver Lining," "Smoke Gets in Your Eyes," and "The Way You Look Tonight," and Berlin's "Cheek to Cheek," "Let's Face the Music and Dance," and "Easter Parade." ~Heather Phares

Gabriele Bellini studied at the Conservatory in his native Veneto and in Milan, with composition under Luigi Coltro, Bruno Maderna and Franco Donatoni and conducting under Franco Ferrara, Hermann Scherchen, Sergiu Celibidache and Hans Swarowsky. He worked for many years with Claudio Abbado at La Scala in Milan and was later artistic director of the Connecticut Grand Opera in Stamford. He has served as guest conductor in opera and in concerts in major European centres, with works such as L’elisir d’amore, Così fan tutte, Le nozze di Figaro, Tosca, Rigoletto, La Bohème, Falstaff and Macbeth. In Wildbad he has conducted several first performances, including Rossini’s Pezzi sacri lughesi and Mayr’s L’accademia di musica. Further evidence of his achievement has been in television and in the recording studio.

Hal Mooney was one of what Billy May called the "nuts and bolts" arrangers, producing professional, sometimes imaginative, sometimes predictable recordings. Although Mooney studied and played the piano while growing up, his real interest was in composing. He studied composition with New York University professor Orville Mayhood and, later, the renown Joseph Schillinger, whose method of composition influenced countless American musicians. His first professional gigs, though, were as a pianist. Bandleader Hal Kemp first spotted Mooney's talent with the pen, and Mooney, Lou Busch, and John Scott Trotter became the core of Kemp's arranging team. He switched bands, joining Jimmy Dorsey's orchestra just before the start of World War Two, but had to put his civilian career on hold to serve in the U.S. Army. After the war, he settled in Hollywood, where he managed to make his way as a free-lancer at a time when most musicians were tied to studio contracts.

Mooney's arrangements never garnered the kind of attention Nelson Riddle's did, but they were good enough in the eyes of the record companies. In the twenty-plus years before he joined the staff of Universal Studios, he arranged and conducted ensembles behind most of the big-name singers of the time: Bing Crosby, Frank Sinatra, Judy Garland, Peggy Lee, Patti Page, Kay Starr, Billy Eckstine, and many others.

The Heritage Of Broadway Vol 1

---