The Women I Love - Jazz Reference auf CD

The Women I Love - Jazz Reference

CD (Compact Disc)

Herkömmliche CD, die mit allen CD-Playern und Computerlaufwerken, aber auch mit den meisten SACD- oder Multiplayern abspielbar ist.

lieferbar innerhalb 2-3 Wochen
(soweit verfügbar beim Lieferanten)

Aktueller Preis: EUR 11,99

Versandkosten (United States of America): EUR 19,90

Label:: Dreyfus
Aufnahmejahr ca.:: 1951-54
Artikelnummer:: 3140929
UPC/EAN:: 3460503678224
Erscheinungstermin:: 16.4.2010

When we listen to the singers selected here, we initially perceive the infinite variety ofvoices, characters and the handling of the music and lyrics. This grand vocal artform, whichhas developed in and around jazz over the last fifty years still remains to be continuallyastonishing and wonderful. It is true that jazz, more than any other doctrine of freedom, enables voices which would have been ousted by classical canons to express themselves and blossom much to the profit of the rich American popular music. And the songwriters were delighted to discover there were a thousand different ways to interpret their creations.

Putting aside chronology and pedagogy this album is devised for the pleasure of listening and sometimes discovering, and reunites some of the finest and unrivalled artists, starting with the topmost trio of jazzwomen, Billie, Ella and Sarah (in order of age), to whom we can add Anita and Dinah as well as their joint mother, Ethel Waters. Then there were the songbirds found in the big bands of Benny Goodman, Les Brown, Stan Kenton and Duke Ellington: Peggy Lee, June Christy, Doris Day and, together, Kay Davis, Joya Sherrill and Marie Ellington with the sole band leader, Ellington who had such luxurious taste. Some sometimes became popular stars (Peggy) or movie principals (Doris). Another lady, British-born Annie Ross, concentrated on jazz, initially known for her surpassing voice in the Lambert-Hendricks-Ross trio, and then following a few breaks and a short theatre career, enjoyed a certain recognition through the cinema (Robert Altman’s “Short Cuts” in 1993). Whereas Annie graced the cameras while continuing her vocation as a singer, Lena Horne’s colour deprived her of major roles and Marilyn Monroe, who had never considered herself as a vocalist whereas she had the requisite talent, was too much of a star to avoid singeing her wings. Finally there were those who have always remained discreet in the hearts of European aficionados. Firstly Pearl Bailey, a black star on Broadway then in Hollywood (“Carmen Jones”, “Porgy And Bess”, “HelloDolly”) – places calling for so much more talent when one had a dusky complexion. And Kay Starr, who surprisingly went unnoticed in Europe although back home, from the thirties to the sixties, she frequented big bands, country music, Tennessee Ernie Ford, teething rock 'n' roll (“Rock And Roll Waltz” in 1956) after becoming, perhaps fortuitously, a pop star with Wheel Of Fortune, a remake of the R’n’B group, the Cardinals (1952), which was recorded in the same year by Dinah Washington. Pearl sang Tired, and Kay came out with So Tired. The gals may be weary, but we never tire of them.