Dinah Washington, Quincy Jones – The Swingin’ Miss ”D” (2021) [FLAC 24 bit, 96 kHz]

Dinah Washington, Quincy Jones - The Swingin' Miss ''D'' (2021) [FLAC 24 bit, 96 kHz] Download

Artist: Dinah Washington, Quincy Jones
Album: The Swingin’ Miss ”D”
Genre: Jazz
Release Date: 2021
Audio Format:: FLAC (tracks) 24 bit, 96 kHz
Duration: 52:18
Total Tracks: 18
Total Size: 521 MB

Tracklist:

1-1. Dinah Washington – They Didn’t Believe Me (Remastered) (02:48)
1-2. Dinah Washington – You’re Crying (Remastered) (03:32)
1-3. Dinah Washington – Makin’ Whoopee (Remastered) (02:30)
1-4. Dinah Washington – Ev’ry Time We Say Goodbye (Remastered) (02:31)
1-5. Dinah Washington – But Not For Me (Remastered) (02:28)
1-6. Dinah Washington – Caravan (Remastered) (02:40)
1-7. Dinah Washington – Perdido (Remastered) (03:25)
1-8. Dinah Washington – Never Let Me Go (Remastered) (02:46)
1-9. Dinah Washington – Is You Is Or Is You Ain’t My Baby? (Remastered) (03:00)
1-10. Dinah Washington – I’ll Close My Eyes (Remastered) (04:00)
1-11. Dinah Washington – Somebody Loves Me (Remastered) (02:47)
1-12. Dinah Washington – I’ll Drown In My Tears (Remastered) (03:12)
1-13. Dinah Washington – You Let My Love Grow Cold (Remastered) (02:29)
1-14. Dinah Washington – Bargain Day (Remastered) (02:55)
1-15. Dinah Washington – Relax, Max (Remastered) (02:45)
1-16. Dinah Washington – Tears To Burn (Remastered) (02:47)
1-17. Dinah Washington – The Kissing Way Home (Remastered) (02:27)
1-18. Dinah Washington – I Know (Remastered) (03:07)

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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. Whatever musical genre you assign it to, however, this is an excellent Washington album. [For the 1998 reissue, Verve added seven bonus tracks recorded around the same time and with much the same personnel, though they were intended as singles and thus are inferior contemporary tunes. Often, however, Washington sounds more comfortable and enthusiastic on these pop and R&B songs than she does on the standards.]

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