es una de las mejores cantantes blancas que ha dado el jazz y aquí os traigo unos de sus discos menos conocidos pero, sin embargo, toda una joya. Su título, de hecho, es: COOL HEAT - Anita O'Day sings Jimmy Giuffre arrangements
. Y esto es todo porque es lo único que sabemos, además de su fecha de grabación, el 6 de Abril de 1959: son unos arreglos muy cool
, muy west coast
, que hizo Jimmy Giuffre
, cantados magníficamente por Anita O'Day
acompañada por una orquesta de composición desconocida (???):
Los temas interpretados son:
01. Mack the Knife
02. Easy Come, Easy Go
03. Orphan Annie
04. You're a Clown
05. Gone With the Wind
06. Hooray for Hollywood
07. It Had to Be You
08. Come Rain or Come Shine
09. Hershey Bar
10. A Lover Is Blue
11. My Heart Belongs to Daddy
12. The Way You Look Tonight
Aquí os dejo algunos comentarios que he recopilado:Jazzcat
comenta en Amazon.com
From the very first notes this album whispers and shouts "coolness". Music can't be cooler than this. Anita O'day the coolest singer here sings over the sharp and minimalistic arrangements from Jimmy Giuffre another epitome of "California Cool sounds". It's an ethereal music, light and velvet sounding but with a particular "ice" quality. I think that some can become a little edgy listening to this album because it is "empty" and neurotic at some point. Some may find that this music touches their nerves a little bit ... and I can understand this. But for me here Anita sounds incredible with these very empty, "peculiar" arrangements. I find her association with Jimmy and the music they produced extremely elegant and beautiful. It's like a modern art masterpiece. It's something that want to communicate something different. It's not Caravaggio, it's more Jackson Pollock. It is a strange beauty the one Anita and Jimmy produced with this music, this is clear. It's like when you see a girl that it's not totally beautiful but it is intriguing, you feel she has a strong personality and she catches you, even if her face is not the perfect beauty of a supermodel but has some peculiarities that forms her irresistible charm. The beauty Anita and Jimmy created here is a sharp and angular beauty that can disconcert a little. But I think that if you know Jimmy Giuffre's ideas about music you can have a picture of the thing. Sum to Jimmy's charts, the strange repertoire they choosed and Anita which has a "strange", not totally easy musical personality of her own and the picture is clear I guess. Some say Anita sings differently here. I don't think so. She's still her, totally herself, it is the backing that is different, it's not Billy May, it's Jimmy Giuffre so its the overall sound that is different for her other records. If you prefer a more traditional reassuring orchestra sound I suggest you to buy the albums Anita recorded with Billy May (that are wonderful by the way). This is something different but I think it's a unique album in the history of Jazz music, it has tons of personality and I think it's a musthave for Anita fans.
En All Music Guide Review
This LP, reissued in limited edition on CD in Japan, finds Anita O'Day's swinging singing backed by cool-toned arrangements from Jimmy Giuffre. Although the orchestra is surprisingly anonymous, the ensembles fit O'Day's voice well on tunes such as "Mack the Knife," "Gone with the Wind," "Come Rain or Come Shine," "The Way You Look Tonight" and even "Hooray for Hollywood." All of O'Day's recordings for Verve in the 1950s are recommended, and this set is no exception. ~ Scott Yanow, All Music Guide
y en Anitaoday.com Nat Henthoff
By its very gentleness and supple, lyricism, this is a unique Anita O'Day album. Her singing is no less ardent or swinging than it customarily is; but for the first time in several years, practically a whole program has be- given over to me of the most attractive but increasingly less known elements of Anita's work - her capacity to concentrate her motion, to underplay, and to wing softly.
The most familiar image of Anita has been as one of the last of the irrepressibly hot jazz singers who scats with driving abandon and who can wing a tune with the dynamism of Roy Eldridge building a final chorus. In the past couple of years, there has been added the, show-biz Anita who as included several careful tailored novelties in her act; and who has devised a visual-aural effect in night clubs and jazz festivals that resembles a Harper's Bazaar girl who has been reading both Norman Mailer and vintage Dorothy Parker.
Only traces of either of these images are contained in this album. Anita here, for one thing, is entirely musical with almost no concessions to Bobby Shortism. The ballads are handled with uncommon musical taste-most notably, I think, Joe and Aileen Albany's You're A Clown, which has a wryly attractive melodic line. The scat singing re-emphasizes the fact that Anita is me of the few singers of either sex who is a master of 'hat tricky device without making it sound as if seat singing were simply a matter of juggling skill. Her scat work here is in thorough musical contex---for example, the airy verve of her treatment of Johnny Mandel's Hershey Bar, first made relatively renowned years ago by Stan Getz. The lyricism that relaxes her work in this album is not without occasional ii-y, as in Mack the Knife and My Heart Belongs to Daddy. Furthermore, no matter what the material and mood, Anita's celebrated beat is vividly alive in all the performances here,. I was especially beguiled by the easy in triptych swinging she accomplishes in It Had To Be You with its slow, romantic opening; medium, finger-snapping middle; and Indianapolis Speedway ending.
The choice of tunes is refreshingly surprising. In addition to Hershey Bar, You're A Clown and the, underdone My Heart Belongs to Daddy, there is an aptly light-hearted treatment of the ingenuous Orphan Annie, (I hope it someday occurs to a philanthropist if not a foundation to commission Lenny Bruce- to write a tune about Daddy Warbucks). Hooray for Hollywood has also become a rarity in recent years, except for Doris Day, It comes from the 1937 Hollywood Hotel with the. preprivate eye Dick Powell, Rosemary and Lola Lane (but ala~, no Priscilla), Hugh Herbert, and even Louella Parsons, the George Crater of Hollywood columnists.
Jimmy Giuffre's arrangements are effective by their unobtrusiveness. He has provided Anita with support that is neither overpowering nor anemic. He uses his instrumental resources judiciously to underline a phrase or simply to punctuate, What is, of course, most important is that the accompaniment does not get in her way and instead gives her a base that is dependable but also flexible.
I have no way of knowing whether this album-recorded in Hollywood in April, 1959-portends a general change of style in Anita's singing. In any case, however, it is a delightful addition to, the O'Day discography and will, I expect, bear up under many playings. Miss O'Day is cooking, as they say in the less esoteric trade journals, with less of a bravura display of flame here; but the temperature is just as high, and the results, I think, add up to me of the best recordings she has ever made.
El enlace es: Anita O'day & Jimmy Giuffre - Cool Heat (1959).rar
Saludos a todos.