I wish someone would discover previously unreleased live Dinah Washington recordings. She was such a towering force in popular music, matched only by Nat King Cole. In the late 1940s, after leaving Lionel Hampton's band in 1945, she soon became known as "Queen of the Jukebox"—for her large number of hits and for her forceful voice that came bursting through small jukebox speakers. [Photo above of Dinah Washington and arranger/conductor Quincy Jones]
One of my favorites by Washington is Bargain Day, which was recorded during a session for her Swingin' Miss "D" album on Emarcy. It wasn't on the original 1957 LP arranged by Quincy Jones but appeared years later on CD and vinyl re-issues. The song is so perfect—from it's bluesy piano opening to the trio section to the moment reeds join in, followed by the band. Through it all is Washington's taut, towel-snapping vocal, with the orchestra curling around her like a feather boa.
The song was written by William Roy (above), who began as a child actor on the radio in Hollywood and was eventually known as Billy Roy. A pianist in the 1940s, he became a songwriter for nightclub shows, when one could still earn a living that way. By the early 1970s, he was singer Julie Wilson's accompanist.
Bargain Day was first recorded in March 1949 by Rosemary Clooney, backed by the Tony Pastor Orchestra. In fact, it was Rosie's first solo record for Columbia, backed by a song called Cabaret. Her version is melodramatic, which was typical of the period.
Leave it to Quincy Jones to figure out a hip, pop blues arrangement for Washington in 1956. The New York recording session featured powerhouse players such as Doc Severinsen, Jimmy Maxwell, Charlie Shavers and Clark Terry (tp); Don Elliott (tp,mellophone,vib,bgo); Jimmy Cleveland, Urbie Green and Quentin Jackson (tb); Tom Mitchell (b-tb); Anthony Ortega and Hal McKusick (as); Lucky Thompson and Jerome Richardson (ts); Danny Bank (bar); Clarence "Sleepy" Anderson (p); Barry Galbraith (g); Milt Hinton (b) and Osie Johnson (d), with Quincy Jones (arr,cond). New York bands don't get much better than that. [Photo above, from left, Dinah Washington and Quincy Jones]
Chris Connor took on the song in January 1959 for her Atlantic album Chris Sings Ballads of the Sad Cafe. While Chris delivers a fabulous vocal, the Ralph Sharon arrangement feels a little uneven. The orchestra's personnel included a good chunk of Count Basie's band: Ernie Royal, Snooky Young, Harry "Sweets" Edison and Joe Newman (tp); Al Grey, Frank Rehak and Eddie Bert (tb); Marshal Royal and Phil Woods (as); Frank Foster (ts); Seldon Powell (ts,fl); Charlie Fowlkes (bar); Stan Free (p); Freddie Green (g); Eddie Jones (b) and Sonny Payne (d), with Ralph Sharon (arr,cond). That January, the Basie band was on hiatus until February, when they embarked on a European tour. Band members were free to play and record as they wished during those periods. [Photo above of Chris Connor]
Let's give a listen:
Here's Rosemary Clooney...
Here's Dinah Washington, with Sleepy Anderson's piano and tenor saxophonist Lucky Thompson blowing an obbligato behind her. Years ago, I played the track for Hal McKusick, who thought the alto line that rides high in the gap when Washington isn’t singing was played by Tony Ortega, not Hal. We also agreed that the likely reason the song was held back from inclusion on the album was the distortion at the tail end that the microphones were unable to contain when the band blew hard on the last few notes. On a relisten, there's also a trumpet clam in there...
And here's Chris Connor. It's unclear whether Chris knew of Washington's version or had even heard it, since the track was held back and hadn't been released yet. (To read my interview with Chris, start here.)...
Bonus: Here's Ernestine Anderson in 2003...
