I prezzi degli articoli in vendita su Amazon includono l’IVA. In base all’indirizzo di spedizione, l’IVA potrebbe variare durante il processo di acquisto. Per maggiori informazioni clicca qui.
4,07 € con 73 un risparmio percentuale -73%4,07€
Nuovo prezzo: 15,04 € Nuovo prezzo: 15,04€15,04€
Il Prezzo nuovo è l'attuale prezzo dello stesso prodotto in condizioni nuove. Amazon mostra il Prezzo nuovo come prezzo di riferimento a scopo di confronto tra prezzi. Maggiori informazioni
I prezzi degli articoli in vendita su Amazon includono l’IVA. In base all’indirizzo di spedizione, l’IVA potrebbe variare durante il processo di acquisto. Per maggiori informazioni clicca qui.
Dimensioni del collo
:
14,09 x 12,63 x 1,37 cm; 96,67 grammi
Produttore
:
Washington, Dinah
Riferimento produttore
:
CD514073
Data di prima pubblicazione
:
1992
Etichetta
:
Washington, Dinah
Garanzia e recesso: Se vuoi restituire un prodotto entro 30 giorni dal ricevimento perché hai cambiato idea, consulta la nostra pagina d'aiuto sul Diritto di Recesso. Se hai ricevuto un prodotto difettoso o danneggiato consulta la nostra pagina d'aiuto sulla Garanzia Legale. Per informazioni specifiche sugli acquisti effettuati su Marketplace consulta la nostra pagina d'aiuto su Resi e rimborsi per articoli Marketplace.
Le recensioni dei clienti, comprese le valutazioni a stelle dei prodotti, aiutano i clienti ad avere maggiori informazioni sul prodotto e a decidere se è il prodotto giusto per loro.
Per calcolare la valutazione complessiva e la ripartizione percentuale per stella, non usiamo una media semplice. Piuttosto, il nostro sistema considera cose come quanto è recente una recensione e se il recensore ha acquistato l'articolo su Amazon. Ha inoltre analizzato le recensioni per verificarne l'affidabilità.
Eigentlich gab es in den "guten", alten Zeiten des amerikanischen Jazz; also den 1930'er bis 1960'er Jahren, lediglich eine Handvoll großer Ladies des Jazz. Ella Fitzgerald, Billie Holiday, Bessie Smith, Ruth Brown; später dann Nancy Wilson, und eben die umwerfende Dinah Washington! Das Wort "guten" kann ich nur in Anführungsstrichen verwenden, da der damalige Rassismus es nicht nur für Künstler zu einer schwierigen und bisweilen unerträglichen Zeit gemacht hat, da Hass LEIDER einen akzeptierten, gesellschaftlichen Fixpunkt im amerikanischen Wertesystem darstellte. Erschreckend für mich sind die vordergründig nicht vergleichbaren, aber dennoch durchaus verknüpfbaren Parallelen zur aktuellen politischen und gesellschaftlichen Situation in den USA mit dem amtierenden Präsidenten darstellen. der Unterschied ist vielleicht nur der, das dieser Präsident durchaus Schwarze und Hispanic willkommen heißt im solidarisierenden, gemeinschaftlichen Hass gegen Andersdenkende. Das ist erschreckend und über alle Maßen besorgniserregend! Zurück zu Miss Dinah Washington! Stimmlich IMMER umwerfend und voller Eleganz mit einem tiefverwurzelten Soul in der Stimme. Das Timbre, eine Offenbarung; ergreifend und fesselnd, und niemals auch nur ansatzweise "seicht" oder schwülstig! Dieses 2016 brilliant digital remasterte Meisterwerk macht sehnsüchtig & süchtig; ich höre es gerade das vierte Mal hintereinander! Selbst wer vokalen Jazz nicht sonderlich mag, findet mit diesem Album einen hervorragenden Einstieg in exzeptionell herausragende Musik, völlig losgelöst von irgendwelchen musikalischen Schubladen! Unglaublich das die Aufnahmen 64 ! Jahre auf dem Buckel hat, man hört es mit keiner Note und in keiner Sekunde, so frisch und kristallklar kommen die einzelnen Instrumente bei diesem Remaster rüber. Eine unermessliche und wahrhaftige Freude ist diese Ausnahmestimme und diese Musik. 10 Sterne wären noch zu wenig; unbedingt kaufen!
DW, voc; Clark Terry, tpt; Jimmy Cleveland, tbn; Paul Quinichette, ten sx; Cecil Payne, bari sx; Wynton Kelly, p; Barry Galbraith, guit; Keeter Betts, b; Jimmy Cobb, dr; Quincy Jones, arr.
This is my favorite album by Dinah Washington. Unlike the other great divas of her era –Ella, Sarah, Anita, Carmen-- Dinah worked best not with lush orchestra backing or even a full band behind her but with small combos. The somewhat harsh sound of her voice wasn’t a problem in a sympathetic setting and she responded to her colleagues’ gentle prodding by putting out her best. That’s especially true with this group, all of whom were accomplished pros. Trumpeter Clark Terry had played with Ellington and Basie since the 40s. Jimmy Cleveland was the best mainstream trombonist of his day, possessed of a gorgeous full tone and solid musical imagination, a contributor to countless major small and large group sessions. Saxophonists Quinichette and Payne were veterans, Quinnichete in particular known for his ability to caress a ballad, Payne more overtly boppish. Betts and Cobb were Dinah’s regular rhythm guys. Wynton Kelly, just 24, wasn’t as distinctive a bluesman as he soon became with Miles but he was solid and dependable, and Galbraith was one of the better bop-oriented guitar players around then. The arranger and musical director for the session was Quincy Jones, only 22 but the following year to leave for a tour of Europe with the Dizzy Gillespie band, and on his return, to form his own orchestra (a great one) so he could play his own arrangements –the rest is history.
The arrangements for this session aren’t fancy but the ensemble keeps the tempo moving and never gets in Dinah’s way, and Dinah clearly grooves playing with these men. I’ve written elsewhere that Dinah wasn’t so much a jazz singer as a ballad and R and B singer who fit well with jazz backup, largely because of her bluesy sound, the way she played with the beat, and her ability relax into the beat. Sure, she often bent notes and reshaped individual phrases in a song but she never, as did Ella, Sarah, Anita, or later on, Sheila Jordan, reshape entire melody lines. As an improviser, she was an embellisher rather than a reshaper or de novo creator.
All the ten songs on the album are ballad standards. Nothing sizzles. The tempos are all relaxed, ranging from slow slow to slow up. It’s hard for me to pick a favorite on the album because I like most of the songs, but if I had to pick a few, it’d be “Blue Gardenia,” which Dinah absolutely nails, with nice work by Galbraith and Payne, and “My Old Flame,” basically a duet by Dinah and Galbraith. As to the up tunes, the starter, “I Get a Kick Out of You,” features a fine solo half-chorus by Cleveland, almost everybody solos on “This Can’t Be Love,” and Quinichette, Terry and Cleveland take turns on “This Can’t Be Love.” This may not be an indispensable album but it’s solid, alive and great listening, and Dinah? Well, when she was on, like here, she was really on.
Apri il Web Player
