| | Compact Jazz: Nina Simone CD Nina Simone Discography of CDs
Nina Simone's specialty is the eclectic. She transcends categories by delving with equal fervor into jazz, blues, folk, soul, R&B and pop. This 1989 compilation mines tracks from the Philips catalog, where she recorded seven albums from 1964-1967 after ending her six-year association with Colpix Records.
These tracks lean towards Nina's R&B side. Included are works from her fine 1965 PASTEL BLUES album, such as her classic "Sinnerman," the sultry "Tell Me More and More and Then Some," and her stark take on "Strange Fruit." Other highlights are her odd uptempo version of Duke Ellington's standard "Mood Indigo," her compelling version of Screamin' Jay Hawkins' "I Put a Spell on You," and a swinging version of "My Baby Just Cares for Me."
Liner Note Author: Max Harrison.
Arrangers: Hal Mooney; Nina Simone.
Personnel includes: Nina Simone (vocals, piano); Rudy Stevenson (flute, guitar); Al Shackman (harmonica, guitar); Arthur Adams, Lisle Atkinson (bass); Cornell McFadden, Bobby Hamilton (drums).
Personnel: Nina Simone (vocals); Rudy Stevenson (guitar, flute); Al Schackman (guitar, harmonica); Arthur Adams (electric bass); Cornell McFadden, Bobby Hamilton (drums).
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Dinah Washington had everything you could ask for in a singer--pitch, phrasing, diction, savvy, romanticism, humor, a voice golden or guttural, you name it. She was utterly comfortable in whatever style was called for that day, whether jazz, R&B, blues or pop. Her versatility is readily apparent on the series of classy "jazz" albums she recorded for Emarcy/Mercury from 1954 through 1959, till the enormous success of "What A Difference A Day Made" inspired Mercury to try to force her into a purely hit-making mold.
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Dinah Washington was accompanied by an orchestra organized and conducted by Quincy Jones on this 1957 album, and she was singing to arrangements mostly written by the young bandleader, swing charts of pop standards by the likes of Cole Porter, George Gershwin, and Duke Ellington. The result had much in common with the swing albums of Frank Sinatra in the same period, especially because Jones' arrangements were heavily influenced by Billy May and Nelson Riddle. Sinatra's records were regarded as "pop, " of course, and Washington's, at least when released on the EmArcy subsidiary of Mercury Records, as "jazz, " but her precise articulation and attention to lyrical meaning left little room for improvisation, and while Jones allowed for brief solos from a band that included Charlie Shavers, Clark Terry, Urbie Green, and Milt Hinton, the jazz categorization was actually arbitrary. ...
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