Personnel: Dinah Washington (vocals); Herb Geller (alto saxophone); Harold Land (tenor saxophone); Clifford Brown, Clark Terry, Maynard Ferguson (trumpet); Junior Mance, Richie Powell (piano); Keeter Betts, George Morrow (bass); Max Roach (drums).
Recorded in Los Angeles, California on August 14, 1954. Includes liner notes by Michael Bourne.
All tracks have been digitally remastered.
DINAH JAMS is a specially imported, limited-edition reissue. All tracks have been digitally remastered (24-bit).
Personnel: Dinah Washington (vocals); Herb Geller (alto saxophone); Harold Land (tenor saxophone); Clark Terry, Clifford Brown , Maynard Ferguson (trumpet); Junior Mance, Richie Powell (piano); Max Roach (drums).
Liner Note Author: Michael Bourne.
Recording information: Los Angeles, CA (08/15/1954).
Photographer: William Claxton.
Unknown Contributor Roles: Paul Ramey; Richard Seidel.
Recorded at the start of Dinah Washington's climb to fame, 1954's Dinah Jams was taped live in front of a studio audience in Los Angeles. While Washington is in top form throughout, effortlessly working her powerful, blues-based voice on both ballads and swingers, the cast of star soloists almost steals the show. In addition to drummer Max Roach, trumpeter Clifford Brown, and other members of Brown and Roach's band at the time -- tenor saxophonist Harold Land, pianist Richie Powell, and bassist George Morrow -- trumpeters Maynard Ferguson and Clark Terry, alto saxophonist Herb Geller, and pianist Junior Mance also contribute to the session. Along with extended jams like "Lover Come Back to Me," "You Go to My Head," and "I'll Remember April" -- all including a round of solos -- there are shorter ballad numbers such as "There Is No Greater Love" and "No More," the last of which features excellent muted, obbligato work by Brown. Other solo highlights include Land's fine tenor solo on "Darn That Dream" and Geller's alto statement on the disc's standout Washington vocal, "Crazy." And even though she's in the midst of these stellar soloists, Washington expertly works her supple voice throughout to remain the star attraction, even matching the insane, high-note solo blasts trumpeter Ferguson expectedly delivers. A fine disc. Newcomers, though, should start with more accessible and more vocal-centered Washington titles like The Swingin' Miss D or The Fats Waller Songbook, both of which feature top arrangements by Quincy Jones. ~ Stephen Cook