Etta Jones - The Savoy Recordings (2007)
Jazz | EAC Rip | FLAC (image)+CUE+LOG | mp3@320 | 298 MB. & 127 MB.
300dpi. Complete Scans (JPG) included | WinRar, 3% recovery
Audio CD (2007) | Label: Brilliant Jazz | Catalog# 8696 | 46:59 min.
Jazz | EAC Rip | FLAC (image)+CUE+LOG | mp3@320 | 298 MB. & 127 MB.
300dpi. Complete Scans (JPG) included | WinRar, 3% recovery
Audio CD (2007) | Label: Brilliant Jazz | Catalog# 8696 | 46:59 min.
~album's liner notesTracklist:
A peerless interpreter of ballads, standards and blues, singer Etta Jones had a knack for conveying uncommon emotional power in a popular song form, just like her biggest influences Billie Holiday and Dinah Washington. Etta's soulful, long-standing partnership with tenor saxophonist Houston Person was one of the great teams in Jazz, as evidenced by these definitive sessions from the 70's.
01. The Way You Look Tonight (4:50)
02. Georgia on My Mind (4:34)
03. The One I Love (3:08)
04. Be My Love (5:50)
05. My Mother's Eyes (5:49)
06. Save Your Love for Me (5:03)
07. Why Was I Born (3:27)
08. Stardust (4:26)
09. I Think I'll Tell Him (4:55)
10. Etta's Blues (4:57)
Personnel:
Etta Jones - vocals on all tracks; accompanied by:
On tracks 1, 4 & 5:
Houston Person - tenor saxophone
Sonny Phillips - keyboards
George Devens - vibes
Jimmy Ponder, Rufus Reid - bass
Lawrence Killian - congas & percussion
Idris Muhammad - drums
On tracks 2, 3, 6 & 8:
Houston Person - tenor saxophone
Cedar Walton - piano
George Devens - vibes
George Duvivier - bass
Frankie Jones - drums
On tracks 7, 9 & 10:
Houston Person - tenor saxophone
Stan Hope - piano
George Devens - vibes
Milt Hinton - bass
Ralph Dorsey - percussion
Vernell Fournier - drums
~allaboutjazz
Etta Jones - vocalist, recording artist (1928-2001)
Etta Jones was a fine jazz singer who made the most of her vocal talents. She retained a loyal following wherever she sang, and was held in the highest regard by her fellow musicians. Her last three decades were her most productive, in both the quantity and artistic quality of her work.
She was born in South Carolina, but brought up in Harlem. She entered one of the famous talent contests at the Apollo Theatre as a 15 year old, and although she did not win, she was asked to audition for a job with the big band led by Buddy Johnson, as a temporary replacement for the bandleader's sister.
Johnson's band was popular on the black touring circuit of the day, and the experience provided a good grounding for the singer. Etta stayed with Johnson's big band for a year and then went out on her own in 1944 to record several sides with noted jazz producer and writer Leonard Feather. In 1947, she returned to singing in big bands, one led by drummer J.C. Heard and the next with legendary pianist, Earl “Fatha” Hines, whom she stayed with for three years. She worked for a number of bands in the ensuing years, including groups led by Barney Bigard, Stuff Smith, Sonny Stitt and Art Blakey, but went into a period of virtual obscurity from 1952 until the end of the decade, performing only occasionally.
In 1960, she was offered a recording opportunity by Prestige Records, and immediately struck gold with her hit recording of “Don't Go To Strangers.” She cut several more albums for them in the next five years, including a with-strings session, and a guest spot on one of saxophonist Gene Ammons's many records.
In 1968, at a Washington, D.C. gig, Etta teamed up with tenor saxophonist, Houston Person and his trio. They decided to work together and formed a partnership that lasted over 30 years. She toured Japan with Art Blakey and
The Jazz Messengers in 1970, but after her final date for Prestige in 1965, she did not make another album until 1976, when she cut “Ms Jones To You” for Muse.
Her closest collaborator in that period was Houston Person, and they cut a string of well-received recordings from the mid-70’s onward, including the Grammy nominated albums “Save Your Love For Me,” (1981) and “My Buddy: Etta Jones Sings the Songs of Buddy Johnson” (1999). They developed an appealing, highly intuitive style of musical response, and were always jointly billed. The pair was married for a time, and he became her manager, and produced most of her subsequent records, initially for Muse Records, and then its successor, High Note.
As if to make up for lost time, she recorded eighteen records for the company, and worked steadily both in New York and on the international jazz festival circuit, including appearances in New York with pianist Billy Taylor at Town Hall and saxophonist Illinois Jacquet at Carnegie Hall.
She favored a repertoire of familiar jazz standards; the improvisatory style of her phrasing drew at least as much on the example of horn players as singers, but owed something to Billie Holiday in its sensitivity and phrasing (she was said to do remarkable impersonations of Holiday in private). She took a tougher, blues-rooted approach from Dinah Washington or the less familiar Thelma Carpenter, a singer with the Count Basie band whom Jones acknowledged as an early influence on her own style.
Unfortunately, her physical health began deteriorating, yet she re-emerged in the early 1990s with a new passion for life and a spirit for musical adventure. She took on more solo gigs and began collaborating with young musicians such as pianist Benny Green and veteran bluesman Charles Brown. She continued to perform regularly until just before her death, and still had forthcoming engagements in her diary when she succumbed to complications from cancer. Ironically, her last recording, a Billie Holiday tribute entitled “Etta Jones Sings Lady Day,” was released in the USA on the day of her death, in 2001.
Etta Jones - vocalist, recording artist (1928-2001)
Etta Jones was a fine jazz singer who made the most of her vocal talents. She retained a loyal following wherever she sang, and was held in the highest regard by her fellow musicians. Her last three decades were her most productive, in both the quantity and artistic quality of her work.
She was born in South Carolina, but brought up in Harlem. She entered one of the famous talent contests at the Apollo Theatre as a 15 year old, and although she did not win, she was asked to audition for a job with the big band led by Buddy Johnson, as a temporary replacement for the bandleader's sister.
Johnson's band was popular on the black touring circuit of the day, and the experience provided a good grounding for the singer. Etta stayed with Johnson's big band for a year and then went out on her own in 1944 to record several sides with noted jazz producer and writer Leonard Feather. In 1947, she returned to singing in big bands, one led by drummer J.C. Heard and the next with legendary pianist, Earl “Fatha” Hines, whom she stayed with for three years. She worked for a number of bands in the ensuing years, including groups led by Barney Bigard, Stuff Smith, Sonny Stitt and Art Blakey, but went into a period of virtual obscurity from 1952 until the end of the decade, performing only occasionally.
In 1960, she was offered a recording opportunity by Prestige Records, and immediately struck gold with her hit recording of “Don't Go To Strangers.” She cut several more albums for them in the next five years, including a with-strings session, and a guest spot on one of saxophonist Gene Ammons's many records.
In 1968, at a Washington, D.C. gig, Etta teamed up with tenor saxophonist, Houston Person and his trio. They decided to work together and formed a partnership that lasted over 30 years. She toured Japan with Art Blakey and
The Jazz Messengers in 1970, but after her final date for Prestige in 1965, she did not make another album until 1976, when she cut “Ms Jones To You” for Muse.
Her closest collaborator in that period was Houston Person, and they cut a string of well-received recordings from the mid-70’s onward, including the Grammy nominated albums “Save Your Love For Me,” (1981) and “My Buddy: Etta Jones Sings the Songs of Buddy Johnson” (1999). They developed an appealing, highly intuitive style of musical response, and were always jointly billed. The pair was married for a time, and he became her manager, and produced most of her subsequent records, initially for Muse Records, and then its successor, High Note.
As if to make up for lost time, she recorded eighteen records for the company, and worked steadily both in New York and on the international jazz festival circuit, including appearances in New York with pianist Billy Taylor at Town Hall and saxophonist Illinois Jacquet at Carnegie Hall.
She favored a repertoire of familiar jazz standards; the improvisatory style of her phrasing drew at least as much on the example of horn players as singers, but owed something to Billie Holiday in its sensitivity and phrasing (she was said to do remarkable impersonations of Holiday in private). She took a tougher, blues-rooted approach from Dinah Washington or the less familiar Thelma Carpenter, a singer with the Count Basie band whom Jones acknowledged as an early influence on her own style.
Unfortunately, her physical health began deteriorating, yet she re-emerged in the early 1990s with a new passion for life and a spirit for musical adventure. She took on more solo gigs and began collaborating with young musicians such as pianist Benny Green and veteran bluesman Charles Brown. She continued to perform regularly until just before her death, and still had forthcoming engagements in her diary when she succumbed to complications from cancer. Ironically, her last recording, a Billie Holiday tribute entitled “Etta Jones Sings Lady Day,” was released in the USA on the day of her death, in 2001.
Original sessions produced by Houston Person
Compiled by Jeremy Elliott
Licensed courtesy of Union Square Music Ltd, with the kind permission of SLG LLC
Liner notes by Jeremy Elliott
2007 - Foreign Media Music, Union Square Music Ltd.
Exact Audio Copy V0.99 prebeta 4 from 23. January 2008
EAC extraction logfile from 6. October 2008, 20:09
Etta Jones / The Savoy Recordings
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Filename I:\rips\EJ SR\Etta Jones - The Savoy Recordings.wav
Peak level 100.0 %
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End of status report
EAC extraction logfile from 6. October 2008, 20:09
Etta Jones / The Savoy Recordings
Used drive : LITE-ON CD-RW SOHR-5238S Adapter: 1 ID: 1
Read mode : Secure
Utilize accurate stream : Yes
Defeat audio cache : Yes
Make use of C2 pointers : No
Read offset correction : 6
Overread into Lead-In and Lead-Out : No
Fill up missing offset samples with silence : Yes
Delete leading and trailing silent blocks : No
Null samples used in CRC calculations : Yes
Used interface : Installed external ASPI interface
Used output format : Internal WAV Routines
Sample format : 44.100 Hz; 16 Bit; Stereo
TOC of the extracted CD
Track | Start | Length | Start sector | End sector
––––––––––––––––––––––––––––-
1 | 0:00.00 | 4:49.57 | 0 | 21731
2 | 4:49.57 | 4:33.53 | 21732 | 42259
3 | 9:23.35 | 3:08.25 | 42260 | 56384
4 | 12:31.60 | 5:49.45 | 56385 | 82604
5 | 18:21.30 | 5:49.22 | 82605 | 108801
6 | 24:10.52 | 5:03.05 | 108802 | 131531
7 | 29:13.57 | 3:26.60 | 131532 | 147041
8 | 32:40.42 | 4:26.08 | 147042 | 166999
9 | 37:06.50 | 4:55.25 | 167000 | 189149
10 | 42:02.00 | 4:57.32 | 189150 | 211456
Range status and errors
Selected range
Filename I:\rips\EJ SR\Etta Jones - The Savoy Recordings.wav
Peak level 100.0 %
Range quality 100.0 %
Test CRC 1B0599C6
Copy CRC 1B0599C6
Copy OK
No errors occurred
End of status report
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Thanks to the original releaser.
Etta Jones (1928 - 2001)
(all links are interchangeable)