5 comments about The Essential Bessie Smith.

1. These songs were instrumental in the rise of rock and roll. This lady really sang the blues the way they were meant to be sung. I was a young woman in the fifties and recall many good songs and many talented entertainers. I prefer the older songs, but there have been some good music from each decade that I have lived through. It seems that they all stem from the early blues songs such as the ones on this album.



2. I have heard of Mama Bessie for years. But I wasn't really familiar with her music. Sometimes you have to grow older and mature in order to appreciate such music. What I have read about her was she was a volatile and commanding personality. It saddens me that she probably died unnecessarily.
   
   She had issue with her siblings too. I guess it is difficult when you come from poverty and all of a sudden you are making money, but your family is still there. She was their savior. She obviously experienced much stress from the financial demands of family.
   
   My favorite songs are as follows:
   
   Good Ole Wagon
   Gimme A Pigfoot and a Bottle of Beer
   Send Me to the 'Lectric Chair
   Taint Nobody's Business
   Moan you Moaners
   A Good Man is Hard to Find
   Nobody Knows You
   
   I especially love Gimme A Pigfoot because it speaks about pretentiousness with a comical twist. Folks have various faces and sometimes it hard to determine when the real person surfaces. Liquor or corn liquor(fermented corn) has a way of making one lose their inhibitions and the real person emerges.



3. What's not to like? I got what I ordered within just a few days after I placed the order. This, to me, is great service! No stress, no strain.



4. The reviewer below is misinformed. Bessie never made "early attempts at video." She made exactly one appearance on film, in "St. Louis Blues," and it is amazing for the power and dignity that she brings to it, even though she is cast as woman treated like a doormat by "Jimmie." But it is a national treasure because were it not for that 17-minute clip (you can find it on youtube), there would be no record of her facial expressions, movements, majesty singing live.



5. BESSIE SMITH is undoubtedly the Great Godmother of Blues and was a legend in her own time. Her influence was seen in many singers who followed, including Janis Joplin her often referred to Bessie as being her primary inspiration. Supposedly Bessie was the inspiration for the character "Shug Avery" in one of America's most important films, The Color Purple. Bessie Smith's original recordings were produced on so-called "Race Records," marketed for the segregated African-American community (they were considered too sexual for the likes of lily white listeners.) Bessie made a few early rather regrettable "videos" of her songs; her attempts at a breakthrough into movies were equally unfortunate. She had no dramatic training and the studios only saw her cast as the perennial docile or happy-go-lucky black maid--and Bessie wasn't having any of that.
   
   The selected anthology is expertly remastered. It features `Taint Nobody's Bizness If I do; St. Louis Blues; and the politically incorrect Send Me to the `Lectric Chair. It looses 1 Star only because it should have included two or three selections found elsewhere.
   
   Queen of the Blues Volume 1
   Salutes Bessie Smith
   Best of the Empress of the Blues
   The Ultimate Collection

5 comments about Naughty, Bawdy and Blue.

1. First,I have to admit a thing or two: I absolutely love Muldaur's last two acoustic blues albums,second I frequently listen 1920s blues queens on my I-pod (I collect with interest & enthusiasm their original music) so naturaly I was very excited and curious about this album.It might be that I'm too familiar with originals but I have impression that while Muldaur honestly loved & enjoyed previous two albums,this is done for the sake of finishing the trilogy.The magic is present only on duet with Bonnie Raitt who gracefuly harmonises from behind and dont push herself too much in front,excatly as young Muldaur did on her 1968 recording of the same song with great late Sippie Wallace.Althought Muldaur herself have talent,ability,attitude and formal connections with some of 1920s blues stars,somewehere at the back of my mind little voice tells me its still a little white girl trying to be big black mama - I don't love Muldaur any less for it,since there's nobody else who does this anyway,she's clearly on a mission to keep the torch going on - but somehow it would make more sense to hear Etta James or Koko Taylor with this kind of material.For heart in the right place and her enthusiasm,four stars anyway.



2. For those of you have may have wondered what has become of Maria Muldaur since "Midnight at the Oasis", 33-or-so-years-ago, this c.d. provides the answer. She has become primarily a blues singer. Her voice and (judging by the photo on the c.d. cover) her appearance have become deeper and chestier with the passing years. The back of the liner notes contains an unsolicited review by blues singer Victoria Spivey of the "rising star", Maria d'Amato, ca. 1964. As a valentine to that act of kindness, Ms. Muldaur nee d'Amato records this album of tunes done by Ms. Spivey, Ma Rainey, Alberta Hunter, Bessie Smith and Sippie Wallace.
   
   This is truly a re-creation, complete with orchestrations that sound straight out of Louis Armstrong's "Hot Seven" combo. Imagine if those great singers could have recorded in the digital age, and that's kind of what you have here. Ms. Muldaur sounds great, and this c.d. is guaranteed to make you smile. Two especially noteworthy "smiles" occur on Sippie's "Separation Blues," done here as a duet with Bonnie Raitt. These two old blues-rockers from the '60's sound wonderful together. And the other is the wonderfully bawdy "Handy Man," perfect background music for the next episode of HBO's "Cathouse"!
   
   If you like old blues, you can't go wrong--unless you're a purist who objects to anybody trying to recreate Bessie Smith, et. al. I'm not a purist. Recommended. RC



3. Having been a fan of Maria Muldaur since the jug band days, I can truly say that this is her best yet. Her voice on this set shows a rougher, more mature Maria, giving her blues a more authentic feel, with the James Dapogny Chicago Band a perfect foil. Dapogny, a Jelly Roll Morton authority, also has been adept at recreating arrangements from original 1920's and 30's recordings. All the songs on this set are from that period.
   Maria's vocals are dead-on. As we derive from her liner notes, she had hands-on lessons and support from Victoria Spivey and Sippie Wallace. She does them proud here on every track.
   One of the highlights is her duet with Bonnie Raitt on "Separation Blues", but listen to the interplay between Rob Bourassa's guitar and Kim Cusack's clarinet on "Handy Man". Cusack's solos throughout are tasteful and perfect. Jon-Erik Kellso, too, is fine, both in his lead trumpet role and all solos.
   All in all, a fine disc. I can't think of a better set of vocal blues from the period to have come out in many years. Maria Muldaur rings true on every track.
   DJ Carleton
   Chalumeau Chauvenist



4. "Naughty, Bawdy & Blue" is a delightful blues fest. Muldaur acts as musicologist in addition to performer. The booklet has bios for Ma Rainey, Victoria Spivey, Sippie Wallace, Bessie Smith, Mamie Smith, Ethel Waters, Alberta Hunter & Sara Martin. Muldaur's duet with Bonnie Raitt on "Separation Blues" is a delightful showstopper with the band in full Dixieland mode, "For years you dogged me round, but now's the time for me to get you told what's on my mind; I'm going away; please don't ask me to stay." "New Orleans Hop Scop Blues" is another Dixieland diamond with Muldaur's voice sounding every bit like the CD title, "New Orleans is a great big old Southern town where hospitality I have surely found, the population there is very very fair with everything they do." The CD concludes with a Ma Rainey tune that's like a sunny day blues, "Everytime I get a letter, it's always bad news; Everytime I see the mailman, yonder comes the blues." Other tracks like "Handy Man," "Smile," & "One Hour Mama" are also excellent. Muldaur's blues bio is good reading. This set finds her knee deep in the blues. It's riveting listening. Enjoy!



5. Back in the early part of the last century, when recorded music was a novelty and songs were sung live and not on radio, audiences were more intimate. There was a genre of music, of songs, which relied on double entendre for lyrics, and wit was a virtue. But it was still the blues. Just about every song on this CD, sung in the whiskey smoke of Muldaur's voice, has lyrics that can be taken more than one way, and full-throated blues you could use to wrap fish. If this is the kind of thing you like to hear, I can't recommend this CD highly enough. Now it's not the kind of thing that's for everybody, and you want to use this kind of CD like you'd use jalapeno's on a pizza - sparingly and to good effect. But man it's good.

5 comments about Billie Holiday - Ultimate Collection.

1. There was a good amount of footage of her, but not nearly enough and I didn't get to see her perform some of my favorites, but still worth owning.



2. This is a great collection to my Billie collection. Its great to see how she moved and smiled. It's almost like I was there!



3. Indeed, the footage of Lady Day is preciously rare, they say, so this DVD might contain basically everything. However, the film with Duke Ellington's orchestra is not complete. They shouldn't have cut it after the part where Billie appears, regardless of the fact that this is definitively not the best Ellington perfomance of the period (to say the least...). Also, the fabulous "Sound of Jazz" performance with Young, Hawkins, Eldridge, Mulligan, Webster and Dickenson is seen and heard in much better shape on the "Sound of Jazz" DVD (the one with Henry Red Allen, Count Basie, Miles Davis and others)...
   
   On the other hand, it's a great thrill to see and hear Billie in other rare TV occasions (even as her self-destructive life obviously took its toll, she is still impressive even in her last TV appearance...)... The very useful "timeline" feature mentions, among other things, an appearance on British television; it would be very nice if that footage would surface at some point....
   
   The interviews audios (with Billie, John Hammond...) and the rehearsal with Jimmy Rowles on piano are also very useful and interesting...
   
   BTW; the Bessie Smith flick is a welcome addition (as is the Armstrong big band number), but they should have presented the entire film...
   Also; although the interactive part is useful and amusing and the interviews at times amazing, the selection of songs for the audio part should have been a bit more "ultimate"...
   
   Also, there are some mistakes in the liner notes: James P. Johnson is the musical director, not the director of "St. Louis Blues" short film while, although Jo Jones is listed as the drummer on "Fine and Mellow" video-number, the announcer in the beginning of the clip mentions Ossie Johnson at the drums (still, in this case the announcer might be wrong...).
   
   All in all, this is a must have for a Lady Day fan, but the editors and producers should have done better...



4. ...you will want this. If this is indeed complete, then there is not much footage of Billie Holiday actually performing live. What does exist is wonderful, the "Stars on Jazz" is priceless. Some of the clips are soundies, that is, the musicians are fake-playing to a prerecorded track. They were the true precursors of MTV-type video clips, and show Billie at the early stages of her career. Two of the tracks are from the movie "New Orleans" (and also lip-synced). And for some reason, there are two clips by Bessie Smith and Louis Armstrong that do not contain Billie. Think of them as bonus tracks. There is are also 5 audio-only live performances, and a Mike Wallace radio interview with Billie, a great discography and photo slide show. The kicker is an audio-only rehearsal with pianist and drummer, working out the arrangement for "Jeepers Creepers", with Billie's salty language as she jives with the players. The dvd also comes with a classy and informative booklet which covers all the details. They did a nice job on this release.



5. What an amazing DVD of collected Billie Holiday snips. Lots of things that someone spent considerable time pulling together, not just video but audio recordings and interviews. This was my first time seeing Billie sing, after having listened to her for the past 25 years on albums and CDs. Wanted to see how she stood, how she held her mouth, all that. I was mesmerized watching her; dazzled and calmed all at the same time, watching her nonchalantly let lyrics float from her mouth, easy as 1,2,3. You have to remember that most clips come from later in her career; they didn't have MTV in the 1930s! Billie's rendition of Fine and Mellow on this DVD is worth the purchase price all by itself. I had dreams about her after watching this collection last night. Fine and mellow dreams.

5 comments about Love's Been Rough on Me.

1. Ms. James's acknowledgements in the booklet of this 1997 release are gracious in standard liner-note fashion; she thanks her collaborators and significant others and concludes, "You can call it country, you can call it country blues, you can call it country soul -- call it whatever you like. It is just me. Another one of my dreams fulfilled. I've always wanted to do a country record and here it is." Perhaps she was diplomatically holding back, or perhaps she truly felt this way but soured on the record within the next year, but in a 1998 ROLLING STONE interview, she bitterly disowned this recording. She criticized everything from the production to the photo on the cover (to my nearly ten-years-past recollection, her descriptive phrase was something like "a picture of me with a shawl around my neck, looking like some sad old woman who's about to go make spaghetti"). She seemed disappointed and resentful that the label initially had supported her in her desire to make a country record, but then backed away from that concept in the event (more below on the specifics of this).
   
   So, be aware that by recommending this so strongly, I am putting myself in opposition to the artist herself. But artists are not always the best judge of their own work; sometimes one can get a clearer view from not standing so close. I wonder if Ms. James's opinion of LOVE'S BEEN ROUGH ON ME would be more generous today, if she were able to hear it as the record it is, rather than the one that fell short of what she had in mind. I have a feeling that what she envisioned (or whatever the aural equivalent of "envisioned" would be) was more along the lines of what Solomon Burke was allowed to do on his 2006 masterpiece NASHVILLE -- an aged but still potent R&B voice that exudes hard-won wisdom, confronting music of an unabashedly rustic character in both composition and execution. It is true that the country influence on Ms. James's album, when not absent entirely (vigorous rock-and-soul jams like "Love It Or Leave It Alone" and "I Can Give You Everything"; a heartfelt cover of Otis Redding's "I've Been Lovin' You Too Long"), is subtle at best. There are a few song structures so purely Nashville as to be identifiable as such no matter how they're decked out ("Done In The Dark," which she and one of her sons cowrote; "If I Had Any Pride Left At All"), and a fleeting guitar twang or underpinning of steel ("The Rock"; the title song), but the greater portion of the album is a slick and soulful affair. The inclusion of a horn section, over the singer's objection, seems to have been a particularly sore spot. If it's "Etta goes country," it's decidedly heavier on the "Etta" than the "country."
   
   And yet, ten years on, this sounds not only better than ever, but (to me) like the jewel of what could be called the third phase of Ms. James's recording career, the one that began in 1994 with her first release on Private Music, and continues in her present association with RCA. In this period she has benefited from a kind of support that is no doubt the envy of many less fortunate contemporaries. She has been staggeringly prolific, recording Tin Pan Alley standards (four discs!), rock, blues, the inevitable holiday album, even easy-listening pop. But for all the first-class production values and the admirably broad artistic palette of her many releases, few of them have really "scored." There is no doubting Ms. James's sincere affection for the music of Gershwin, Berlin, Porter, and their like, but three albums of standards with pianist Cedar Walton's jazz combo ('94's MYSTERY LADY, '95's TIME AFTER TIME, and '01's BLUE GARDENIA) demonstrate conclusively that such music does not play to her strengths as an improviser or interpreter (she has more in common as a song stylist with Aretha Franklin and Dinah Washington, both of whom could also sound out of place on Tin Pan Alley, than with Ella Fitzgerald and Billie Holiday, who thrived there). An attempt at still more of the same, this time in heavily synthesized, "modern" clothing, '99's HEART OF A WOMAN, is not only the worst of her Private albums but one of the worst things I have ever heard from any major artist: unlistenable. LIFE, LOVE AND THE BLUES ('98) and MATRIARCH OF THE BLUES ('00) are more pertinent, but still leave an aftertaste of the generic. They're agreeable yet stubbornly unmemorable attempts at recapturing a classic Etta James formula.
   
   Not so with LOVE'S BEEN ROUGH ON ME. For once, whatever her misgivings about what was done with her original concept, she seems to this listener to have everything going for her: songwriting that is consistently strong; a unified theme and atmosphere that pervades the entire set (I can only describe this as a sort of "nocturnal" quality -- everything here, whether a ballad or an uptempo number, has the feel of a late-night rumination from someone who has accepted her insomnia); a style of music that is right in her comfort zone as an interpreter; and instrumental support that's not only alert and responsive but assertive enough to challenge her, to good effect. She gets into a hell-for-leather duel with whichever of her electric guitarists features on "Love It Or Leave It Alone"; and the way the ensemble coalesces and swells behind her whenever the "b" section of "Cry Like A Rainy Day" comes around ("I've made some wrong moves..." "Remember these arms..." et cetera) is genuinely thrilling. Finally, do not be surprised if, like me, you come to consider her performance of the standout track, "If I Had Any Pride Left At All," as affecting a ballad performance as she has ever given on record. No small compliment when one's discography includes "At Last" (well, yes, but try to remember how you felt about it before it was flogged to death in every TV show or movie that has a slow dance) and "Lovin' Arms." For all that the voice has darkened and wizened (which she uses to exquisite effect in the rueful I'm-leaving-you opener, "The Rock"), her singing here is far more remarkable for the power it retains than for anything it's given up.



2. I did not even know who Etta James was, when I walked into a bookstore and heard this CD playing. I really liked the aching, defeated but proud sound of these songs, and I bought it. How lucky for me I had chanced upon a legend who retained immense talent and taste well into her late career. Since then I got some schoolin' and I've bought other Etta James CDs. She can really sing the pants off a song. I've even seen her live since then. But "If I had any Pride Left at All" (on this CD) is still my favorite Etta James song.



3. Etta James takes on a country feel on this release but being that it IS Etta James one would think that there were no other country singers ever. From the opening tract "The Rock" you feel the pain in this womans soul. when she sings " Now you say I`m only holding you down like some ole rock you been draggin around " You know that she has felt it and she makes you feel it too.The following song " Cry like A Rainy Day " Has Etta`s voice soaring to its highest high and down to its lowest lows never clearer, stronger, and just as powerful as ever this lady can SANG. The Title Track will bring you to tears she sings " Have Mercy Baby Loves Been Rough On Me " her voice and style take you down a path of broken dreams and hearts as only Etta can do.Her rendition of "If I Had Any Pride At all" and I`ve Been Lovin You" Will have you running for a tissue. And then as if to rescue your broken heart Etta sings " I Can Give You Everything " to bring you back from that edge. To round the offering out the closing tract was written by Etta herself with her son Donto and Josh Sklair." Done In The Dark" is catchy, sassy,in your face, I know your doing me wrong kinda song,a fitting end to these sessions.
   As with all of her recordings the backing musicians are a tight and well oiled unit one wonders if playing with the best brings out the best I`m not sure but it sure sounds that way. This CD belongs in everyone ones collection
   I was lucky enough to of seen this Lady twice this summer she can still belt em out and stir your soul, she is after all THE ONE AND ONLY ETTA JAMES



4. I purchased this CD 5 years ago, in a tiny shop on Baltimore's Inner Harbor. Her music was playing throughout the store---the lyrics are bittersweet,sentimental and mature. ( She has BEEN THERE, and you get the feeling that she knows that you have too---) I had never experienced Etta James music beforehand---and believe me it is an EXPERIENCE! Eventually I left the man, but I took my Etta James CD with me. ( There are many men, but only one EJ.)



5. This cd is one of Etta's BEST!!!... "Love's been rough on me" showcases Etta's strong voice! I love this one!

5 comments about The Essential Etta James.

1. This cd is perfect if you are looking for some jazzy sexy blues. Her voice gives me goosebumps! It will make anyone an instant Etta James fan.



2. If you have not heard Etta James, you are missing the most soulful, funky, get on down and crank it out blues singer to ever grace the face of this earth. To me, this is her finest collection. Don't let your friends borrow it, if you ever want to see it again. It's that good, trust in me... ;)



3. Ken while I agree with almost everything you say, I have to inform you of an error. The outstanding soul tune "Tell Mama" IS NOT the "Memphis Sound." It is in fact part of the immortal legacy of Rick Hall's FAME Studios in the Southern Soul Mecca of MUSCLE SHOALS, ALABAMA. Trust me check out the orginal liner notes. Or just check out the FAME Studios Website.



4. This is an excellent cross-section of Miss James' vocal ability. It's all here - smoke-filled standards, rockin' R&B, scorching soul, and yes indeed, torch songs to put modern "divas" to shame. Though Etta's voice has spectacular range and emotional drive, these recordings do not contain the shrill vocal calesthenics forced on us by the 90's pop divas. The result was this ultra-quality collection, which I guarantee you will never loan out, even to your best friend.



5. "Etta" Wails, "I'd Rather Go Blind", and ALL I can say is; "Yeah, me too, mama, PLEASE, just don't EVER render me "deaf"!! This "W.O.M.A.N."; can and DOES, "render me awestruck, not to mention, dumbstruck with her sheer "gutesy, simmering, beltin', sheer vocal force/power, and then DOES IT AGAIN, when she "ratches-down" that INCREDIBLE RANGE of her's (doesn't get any better than THIS, folks) and into her OWN "stylistic-trademark "cruise-control", to give us the treat of her "smooth, sly, earthy delivery of her "gentler?-side"; joking here, of course she does have it, and displays it, in all her multifaceted hues, and glory; her instintual brilliance of interpretation is unequaled, and unrivaled. THE MUSIC HEREIN. Well, the "raw jewels" at her absolute "zenith" are pretty much all here. Then they jusy casually drop in previous unreleased "gems", such as "I Never Meant To Love Him", now a personal fave of mine, and her OWN rendition of Aretha"s "Do Right Womam, Do Right Man"; and I'm certainly hard-pressed to say who's version is better. Different, not better. Two cds "chock-full", each containing 22 "cuts' and ALL "prime-Etta", in any style, or aproachto this staggering array of material. I take issue with "other prior posters" who said they weren't ALL "keepers", you can "Lose and Weep" all you want to. I can't find one "sub-standard" cut anywhere here. None. Personal fave "standouts": "Almost Persuaded", a blistering, searing "God"s Song" (That's Why I Love Mankind); and a true "barnburner" by anyone's standards, the aptly titled "Let's Burn Down The Cornfield"; and man, oh, man-does she EVER!! I certainly felt raw, and than "crispy" by the end of cd No. 2. (Appropriately, the "closer". Randy Newman has GOT to be "one proud papa" with these to two seminal/stellar "inteprets". Of course, by the end of this "rollercoaster-ride", over the course of these entire cds "contents", I was "slack-jawed"; and that's putting it lightly. Other noteables: "Waiting For Charlie (To Come Home)"; "Would It Make Any Difference To You", "Pushover""Payback", a bone-chilling rendition of "All The Way Down"; and "closer" on cd No.1, "Baby What You Want Me To Do"-LIVE! YEOWWW! This "comp." is a Very thrifty bargain at any price. Need I say it again? GET THIS "SET"!! You can't POSSIBLY lose. Promise!Lynn Luv, or; Nancy N.

5 comments about Time After Time.

1. I bought the CD for a friend but downloaded a copy - minus a few tracks - from iTunes. I first heard Etta's version of My Funny Valentine in the middle of a restless night. I've never heard anything quite like Etta's voice. I'm at a loss for words but Etta's interpretation of these jazz standards blow me away every time I listen to them.
   
   It may not be for you if you're into her edgier blues style. I find this the flavor of this CD stands apart as unique in her discography with an after hours jazz club feel. Etta's interpretive skill and abilty to dig in and own a tune are amazing. Some voices suffer as they age. Etta's only getting better. A bucketload of soul.



2. Music to enjoy in any circumstance. She has such a sweet voice I'm glad I took the time to find this CD.



3. Loved this CD. And her version of "Don't Go To Strangers" for my money is even better than that of Etta Jones.



4. This and her Love Songs will do it better that "little blue pill"



5. No one can deny Etta James's legendary status as a queen of the blues, and here, in this 1995 recording, she still wails with the best. Surrounded by extraordinary musicians--especially the brilliant Cedar Walton on piano and Eddie Harris and Herman Riley on tenor sax--she turns standards into big, bold, assertive statements, capitalizing on her lower register (much lower than when she was younger). Full of passion, she proclaims her songs, as much as she sings them, using volume and her somewhat harsh voice, instead of sweetness and subtlety, to convey her messages.
   
   "Don't Go to Strangers" is her joke. Often confused with Etta Jones, she begins the CD with Jones's most famous song, giving it her own style and interpretation. Jo Stafford would never recognize what James does with "Teach Me Tonight," an R & B treatment that features one of Eddie Harris's great sax solos. "Fool That I Am," one of her best songs, includes an unusual accompaniment, almost completely limited to the flugelhorn of Ronnie Buttacavoli and guitar of Josh Sklair, who have terrific solos, and one can hear Etta in the background offering them encouragement.
   
   The best song on the CD is "Willow Weep for Me," a stunning song which she begins a capella and sings as if she were one of the originators of old-time blues. Here she keeps the tempo slow, letting out all her emotion in pure blues style, the accompaniment kept simple and very much in the background.
   
   With jazz and the blues embedded deep in her soul, James is still a fine interpreter, and the musicians with whom she surrounds herself are top notch. Her voice, now very deep and dark, is still fine in the middle and upper ranges. Unfortunately, she sometimes misses notes in the lower range (particularly noticeable on "Time After Time" and "My Funny Valentine"), especially when she tries to sing the lowest notes quietly, rather than at full volume, and she often slides up and down to hit her notes. Because of this, newcomers to this lady and long-time fans might prefer to look for some of the new releases of her earlier work, such as "At Last," a remastered version of her 1960 debut. n Mary Whipple

1 comments about Let Me Squeeze Your Lemon: The Ultimate Rude Blues Collection.

1. This is an interesting Blues collection with a good variety of artist and fair recording.

3 comments about Am I Blue?.

1. Ethel Waters was the first true jazz singer, and arguably the most influential vocalist in the history of popular American music. Her only real rival for this latter title is Louis Armstrong, and it can be argued that while Armstrong was the greater musician, Waters melding of black and white singing styles was actually the more influential contribution to American jazz and popular singing. The advent of CD's has brought a very welcome re-release of some hitherto very hard to find Waters material. There are now several compilation CD's of Waters classic jazz/blues/popular music cuts available. Of these, "Am I Blue?" may be the best single compilation of the Waters oeuvre. The only real rival is the "Ethel Waters: 1925-1940" disc, and this disc presents a greater or at least more representative variety than that disc, though both are worth owning. The sides on this disc were recorded between 1925 and 1939. I am not sure how they were chosen, but they represent a nice cross-section of Waters up-tempo numbers and ballads, her hits and more obscure songs and her work with a number of different bands, including those of the Dorsey Brothers, Benny Goodman and Duke Ellington, as well as a couple of choice cuts with her long-time pianist Pearl Wright. The sound quality is good, and the hits are certainly present in abundance. Those unfamiliar with Waters' singing career may be surprised to learn that she introduced (and recorded what are still the finest versions of) "Dinah", "Sweet Georgia Brown", "Am I Blue?", "Stormy Weather", "Miss Otis Regrets", "Moonglow", "Don't Blame Me", "A Hundred Years From Today" and "Heatwave". Although all of these are marvelous, the incredible sophistication of "Miss Otis Regrets" (Waters must be the only singer who can capture the Cole Porter wit of this song and still make it sound affecting), the incredible emotion (compressed and never overstated) in "Stormy Weather" and the inventive little touches she adds to "swing" "Heatwave" are the highlights of these classics. There are also the delightful surprises - Waters' inimitable characterization of men talking about "True Blue Lou", her playful "You Can't Stop Me From Loving You", the moving "Trav'lin All Alone", the take command, bawdy "Long, Lean, Lanky Mama", the comedy of "Birmingham Bertha", and the touching confidence of "At the End of the Road". In all of the songs on this CD, it pays to listen carefully and hear how Waters plays with both the melody and rhythm of the song to sing a song "her way". When she started doing this in 1917, and on her first recordings in 1921, she was the only singer doing so, and in doing so, she changed the course of popular music in America. There are shortcomings to any single disc, of course. Among the many standards Waters introduced that are not included on this CD: "St. Louis Blues", "Taking A Chance On Love", "Happiness is a Thing Called Joe", "Cabin in the Sky", "There'll Be Some Changes Made", "Memories of You", "Sugar", "Hottentot Potentate", "Harlem on My Mind", and "Supper Time". Also missing are certain classic renditions of songs she didn't introduce, in particular her killer version of "I Got Rhythm" from 1934, a virtuoso example of early jazz singing, and some of her great blues sides, like "West End Blues". And like most compilation discs, this disc ignores all of her recordings done after 1940. There are still no CD's of her classic live performances in the 1950's (captured on the Monmouth-Evergreen album, "Miss Ethel Waters"), of her 40's, 50's and 60's recordings for small labels, of her television performances from the 50's, or of her three recordings of spirituals and hymns for Word records in the 50's, 60's and 70's. By the 50's, age had taken a great toll on her voice, but she nonetheless managed to find the heart of any song she sang and still make it very much hers. What is needed more than anything is a comprehensive box set (at least 4 CD's) that spans her entire glorious career. Until we get such a set, there are at least single disc compilations such as this one to serve as an introduction and the Classics series, which covers all her sides from 1921-1940, for which to be grateful.



2. Everyone should experience the voice and style that belonged to Ethel Waters. Most people remember her in movies but not everyone realizes she was a successful songstress before that. To hear her sing Dinah or Sweet Georgia Brown will send shivers of pleasure through your body. Her sense of timing and her style of blues were unique. Listen and enjoy to one of the great treasures that was Ethel Waters.



3. This song has a great beat you just want to dance to. I would love to sing with this song if I could just figure out what she was singing. So instead, I just get down and party hardy! I strongly suggest playing this song at a dance or group party at high volume and a strobe light or other party style fixtures.

5 comments about Ella Fitzgerald - Live at Montreux 1969.

1. I am Manuel De Sica, the composer of the song included in this DVD 2"A place for lovers"(lyrics by Norman Gimbel). Thanks God to receive this unique gift to be sung(I was twenty, that year)from the greatest female singer of all times.



2. Seeing her perform live is the best way to see Ella Fitzgerald perform. Since she has now passed, the second best way is to her on video performing live. Great songs, and even better performances. Don't miss her rendition of "Hey Jude."



3. Ella fitzgerald showcases Her classic Instrument which moved so many peoples. Her range is amazing here. She incorperates so many styles here and make them all work. now she does the standards,but then takes on the Modern feel of the times. and her Riff Runs near the end of the show are magical. Ella Fitzgerald reminds you of what Greatness can truly feel like un-cut on a stage. the musicianship was fantastic.arrangements went into almost every direction that you could imagine and yet ella stayed on point.a Must have.



4. Since we don't have time machines, the only way to appreciate Ella Fitzgerald live is on the screen. This DVD is better than most since it captures the beloved First Lady of Song during a magical time of music. During this concert, Miss Fitzgerald's repertoire ranges from classic jazz to the Beatles and she sings every song flawlessly. A must-have for all Ella fans.



5. Much more of Ella's taped live performances need to be released!!! This is a fantastic concert featuring the First Lady displaying her gifts!!!! great swing numbers, ballads, soulful renditions of current pop songs, backed by a great trio of musicians, this concert DVD has great sound & picture quality, a Most Have for Ella fans!!!

5 comments about Deluxe Edition.

1. I picked up this CD on a whim since I have most of her music on vinyl and I have to say for a CD its very very good. They really captured her energy, power and detail with this pressing. If your new to Koko pick up this CD, I am sure it won't be your last.



2. This was a gift for my daughter and she is thrilled with it. Koko
   at her best....SG



3. Before marrying "Pops" Taylor, Koko Taylor was Memphis native Cora Walton. She had a number of hit songs on Chess records in the 1960s. After her time at Chess she went without a record label until she signed with Alligator Records; this 2002 collection is taken from those seven studio albums and one live album.
   
   DELUXE EDITION consists of 15 songs, including one live recording (track 8) and one previously unreleased track (track 7), recorded 1975-1999 (most from '78-'93). Disc packaged in clear jewel case; total running time: 64:07. Booklet includes track information, but it is not easily discerned. There is also a six-panel fold-out with a mini-poster on one side; the other side is an assortment of captioned photographs, a discography (that does not provide release dates), and a short essay. Sound quality is excellent.
   
   Track listing & info:
   01. I'm a Woman [1978] mid-tempo, from "The Earthshaker"
   02. Beer Bottle Boogie [1985] up-tempo, from "Queen of the Blues"
   03. Born Under a Bad Sign (with Buddy Guy: vocal & guitar) [1993] mid-tempo, from "Force of Nature"
   04. Mother Nature [1993] mid-tempo, from "Force of Nature"
   05. Hey Bartender [1978] up-temp, from "The Earthshaker"
   06. I'd Rather Go Blind [1981] ballad, from "From the Heart of a Woman"
   07. Man Sized Job [1998/1999] up-tempo, previously unreleased
   08. Let the Good Times Roll (LIVE) [1985] mid-tempo, from "Live from Chicago - An Audience with the Queen"
   09. Voodoo Woman [1975] up-tempo, from "I Got What It Takes"
   10. Wang Dang Doodle [1978] mid-tempo, from "The Earthshaker"
   11. Stop Watching Your Enemies [1987] slow-tempo, from "Jump for Joy"
   12. Sure Had a Wonderful Time Last Night [1981] Jazzy up-tempo, from "From the Heart of a Woman"
   13. Come to Mama [1985] mid-tempo, from "Queen of the Blues"
   14. Time Will Tell [1987] ballad, from "Jump for Joy"
   15. Blues Hotel (with B.B. King: vocal & guitar) [1999] up-tempo, from "Royal Blue"
   
   Familiar songs include "Born Under a Bad Sign", Etta James's "I'd Rather Go Blind", "Come to Mama" (recorded by Ann Peebles), "Let the Good Times Roll", and a remake of her own 1965 hit "Wang Dang Doodle".
   
   This is a really fun CD. Koko Taylor is very deserving of the title "Queen of Chicago Blues" and any other accolades she receives. She has a powerful voice, as amazing as Bessie Smith, Mahalia Jackson, Big Mama Thornton, and Etta James. Long live the queen!



4. If you have stumbled across this page because you are looking for a great blues CD to add to your collection, then congratulations--you have found it. If you buy this CD, or any other CD by Koko Taylor, you will be rewarded with moving songs that hit you right in your gut. In other words, this is not background music. This is music for when you actually want to listen to music. Koko need only sing one note and I have chills from head to foot. Not a lot of artists can do that to me. This is the real thing.



5. Koko Taylor has been hailed as "Queen of the Blues" for almost forty years. Born Cora Walton in Mississippi in 1935, she made her first recordings for Chess Records in Chicago, but signed with Bruce Iglauer's Alligator Records in 1975 when Chess went under.
   This 2002 compilation brings together 14 songs from her first seven Alligator albums. And the good people at Alligator have included a new song, of course...if they can make a few thousand diehard fans buy 14 songs they already have in order to get one new one, they'll do it.
   
   Still, "Deluxe Edition" is a really fine collection.
   The opening track is a somewhat predictable rip-off of Muddy Waters' "Mannish Boy", and a couple of numbers are a little bit too polished for their own good.
   But most of what is here is top-notch. Koko Taylor has a deep, powerful voice which was simply meant to sing the blues, and she excels on tough, swaggering grooves like "Come To Mama" and "Beer Bottle Boogie". The previously unreleased "Man Size Job" is one of the highligts of this set, and Taylor is equally convincing on soulful R&B numbers, dirty mid-tempo blues grinds, and a smouldering rendition of Etta James' soul ballad "I'd Rather Go Blind". It's just too bad that one of the best songs of her career, "Find A Fool, Bump Her Head", is missing.
   
   As I said, great compilation. The only "problem", if you will, is that almost all of Taylor's original albums are so good that you are actually missing out on a whole lot of good music if you only ever buy this compilation.
   But "Deluxe Edition" is a really good place to start, no doubt about that. Just remember that albums like "The Earthshaker", "Force Of Nature" and "I Got What It Takes" are equally fine...