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Keep the Coffee Coming

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Avis sur l’album

These 18 cuts showcase Anita O'Day at the very height of her powers, between 1952 and 1955, as a stylist and a groundbreaking vocalist. O'Day used her voice like an instrument in the post-bop era: she swung hard and often fast, and dug deep into the charts to come up with an improvisational style that knocked out most of her contemporaries. In an era when female vocalists were the norm, she set a new standard and was, like Ella Fitzgerald, Sarah Vaughan, and Dinah Washington, a singer who understood the blues, was muscular in her approach, and took standards as jumping-off points for improvisation. This collection of now timeless nuggets in American pop are given idiosyncratic, sophisticated, and revelatory treatment. These sides were all cut for the Clef and Verve labels, run by Norman Granz and his successor at Verve, Creed Taylor; they feature O'Day singing with either the Roy Eldridge or Roy Kral quintets or the Buddy Bregman or Larry Russell orchestras. You know the tunes if you are reading this. Check the samples and seek it out; as a single volume it is virtually unbeatable.

Biographie

Né(e) : 18 octobre 1919 à Chicago, IL

Genre : Jazz

Années d’activité : '40s, '50s, '60s, '70s, '80s, '90s, '00s

Few female singers matched the hard-swinging and equally hard-living Anita O'Day for sheer exuberance and talent in all areas of jazz vocals. Though three or four outshone her in pure quality of voice, her splendid improvising, wide dynamic tone, and innate sense of rhythm made her the most enjoyable singer of the age. O'Day's first appearances in a big band shattered the traditional image of a demure female vocalist by swinging just as hard as the other musicians on the bandstand, best heard on...
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Keep the Coffee Coming, Anita O'Day
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