Blossom Dearie - Ain't There Something That Money Can't Buy
Artist: Blossom Dearie
Title: Ain't There Something That Money Can't Buy
Year Of Release: 2014
Label: nagel heyer records
Genre: Jazz / Vocal Jazz
Quality: Mp3 / 320kbps
Total Time: 78:26 min
Total Size: 178 MB
WebSite: Album Preview
TracklistTitle: Ain't There Something That Money Can't Buy
Year Of Release: 2014
Label: nagel heyer records
Genre: Jazz / Vocal Jazz
Quality: Mp3 / 320kbps
Total Time: 78:26 min
Total Size: 178 MB
WebSite: Album Preview
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01. Some Other Time
02. Lucky To Be Me
03. The Surrey With The Fringe On Top
04. It Amazes Me
05. If I Were A Bell
06. Tea For Two
07. Like Someone In Love
08. Just In Time
09. Teach Me Tonight
10. They Say It's Spring
11. Once Upon A Summertime
12. To Keep My Love Alive
13. Down With Love
14. Someone To Watch Over Me
15. Little Jazz Bird
16. Just One Of Those Things
17. You Fascinate Me So
18. Boum
19. Manhattan
20. Love Is Here To Stay
21. Try Your Wings
22. Between The Devil And The Deep Blue Sea
23. Now At Last
Actually born with the name Blossom Dearie in the New York Catskills, she began playing piano at an early age and studied classical music before making the switch to jazz while in high school. After graduation, she moved to New York and began appearing with vocal groups like the Blue Flames (attached to Woody Herman) and the Blue Reys (with Alvino Rey). She also played cocktail piano around the city, and moved to Paris in 1952 to form her own group, the Blue Stars of France. Dearie also appeared in a nightclub act with Annie Ross, and made a short, uncredited appearance on King Pleasure's vocalese classic, "Moody's Mood for Love." She recorded an obscure album of piano solos, and in 1954, the Blue Stars hit the national charts with a French version of "Lullaby of Birdland."
After hearing Dearie perform in Paris in 1956, Norman Granz signed her to Verve and she returned to America by the end of the year. Her eponymous debut for Verve featured a set of standards that slanted traditional pop back to its roots in Tin Pan Alley, Broadway, and cabaret. Her focus on intimate readings of standards ("Deed I Do," "Thou Swell") and the relaxed trio setting (bassist Ray Brown and drummer Jo Jones, plus Dearie on piano) drew nods to her cabaret background.
On her next few records, Dearie stuck to her focus on standards and small groups, though her gift for songwriting emerged as well with songs like "Blossom's Blues." She performed in solo settings at supper clubs all over New York, and appeared on the more cultured of the late-'50s New York talk shows. Her husband, flutist Bobby Jaspar, made several appearances on her records, notably 1959's My Gentleman Friend. After a recording break in the early '60s, Blossom Dearie signed to Capitol for one album (1964's May I Come In?), but then recorded sparingly during the rest of the decade. ~partial bio by John Bush
After hearing Dearie perform in Paris in 1956, Norman Granz signed her to Verve and she returned to America by the end of the year. Her eponymous debut for Verve featured a set of standards that slanted traditional pop back to its roots in Tin Pan Alley, Broadway, and cabaret. Her focus on intimate readings of standards ("Deed I Do," "Thou Swell") and the relaxed trio setting (bassist Ray Brown and drummer Jo Jones, plus Dearie on piano) drew nods to her cabaret background.
On her next few records, Dearie stuck to her focus on standards and small groups, though her gift for songwriting emerged as well with songs like "Blossom's Blues." She performed in solo settings at supper clubs all over New York, and appeared on the more cultured of the late-'50s New York talk shows. Her husband, flutist Bobby Jaspar, made several appearances on her records, notably 1959's My Gentleman Friend. After a recording break in the early '60s, Blossom Dearie signed to Capitol for one album (1964's May I Come In?), but then recorded sparingly during the rest of the decade. ~partial bio by John Bush
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