All About Jazz needs your help and we have a deal. Pay $20 and we'll hide those six pesky Google ads that appear on every page, plus this box and the slideout box on the right for a full year! You'll also fund website expansion.
She was one of the first jazz singers ever to record. The reissued tracks on Columbia’s superb compilation were originally released between December 1925 and November 1940. Here, the clear sound quality of her voice and the balanced, all star accompaniment beside her makes The Best Of Ethel Waters a fine addition to the CD library.
Show tunes carried Waters from honky-tonks to Broadway and Hollywood. With “Stormy Weather” from Cotton Club Parade of 1933, she was noticed by the public. Tommy & Jimmy Dorsey, Bunny Berigan, Joe Venuti and others accompany her in a deeply heartfelt interpretation. The magnetic attraction of her voice appears in both early blues themes and later showstoppers.
The 1925 recording of “Maybe Not At All” proves interesting, since her accompanists are Pearl Wright on piano, Joe Smith on cornet, and Coleman Hawkins on baritone saxophone. For that piece, Waters moves confidently through a suite of changing interpretations with a knowing gleam in her eye. Both in all-star format and with large studio orchestras, this entertaining vocal compilation provides a knowledgeable look at Waters and what she could do with a show tune.
Track Listing: Heat Wave; I Just Couldn
Personnel: Ethel Waters- vocals; Joe Smith- cornet; Bunny Berigan, Sterling Bose, Manny Klein, Shirley Clay,
Charlie Teagarden- trumpet; Jack Teagarden, Tommy Dorsey- trombone; Jimmy Dorsey- clarinet,
alto saxophone; Larry Binyon- clarinet, tenor saxophone; Benny Goodman- clarinet; Art Karle- tenor
saxophone; Coleman Hawkins- baritone saxophone; Dick McDonough, Tony Colucci- guitar; Joe
Sullivan, Rube Bloom, Fulton McGrath, Frank Signorelli, Pearl Wright- piano; Joe Tarto, Artie
Bernstein- bass; Stan King, Gene Krupa- drums; Joe Venuti, Harry Hoffman, Walt Edelstein, Lou
Kosloff, Ben Selvin- violin; others.
I love jazz because anything is possible; it has few rules and the best jazz breaks those ones. I prefer free improv because it doesn't really have any rules at all.
I was first exposed to jazz in my teens (in the late sixties).
The first jazz record I bought was Filles de Kilimanjaro by Miles Davis, shortly followed by Extrapolation by John McLaughlin.
My advice to new listeners is to listen as widely as possible and not to make snap judgments--stick with it.