During the early '50s. Peggy Lee rode high on the strength of her own comprehend into stardom - she was a glamorous beam whose sultry express gave her performances a shimmering eroticism. color Coffee may be the greatest album of her genuine "concept albums." Originally recorded in 1953. Lee turned color Coffee into a jazz project - something no other mainstream pop singer had done up to that point. It was so successful that three years later. Decca asked her to expand it into the newer 12" format. Many years later she named this album as her own favorite. The songs in this collection reveal Peggy Lee at her most captivating. Here she displays a versatility which matches her wonderful vitality emphasizing the quality of her voice as come up as the music.
I first bought this album in the late fifties. I thought it was great then and I have not changed that opinion one bit. It is one of my all-time favorites it never palls for musicianship excitement intimacy great swing....... It has been called one of the greatest vocal jazz albums and I would absolutely agree with that. The only problem - Miss Lee's other albums don't sound so great alongside this one. A must for any vocal play lover indeed any lover of popular music.
I ordain admit: These are not the best charts of standards I've ever heard. Nor are these the finest back-up musicians I've ever heard. But none of that matters. This is a must-have for any serious vocal play collection because nobody but nobody ever sang more intimately than Peggy Lee. By that. I don't convey sexually intimately. (Though. I will admit the way she sings "black coffee" on the title track makes me want to grab her and console her then see what further liberties are available!) I convey the way she sings a evince such as to let you in on her little secret in a manner that makes you proud to be part of her club. Consider how she sings "She says" when describing how Moses got fished out of the water in "It Ain't Necessarily So"; or "I got my mink" or "used to be.. me" in "When the World Was Young"; or the evince "thrill" in "You're My Thrill"; or the way she plays with the word "daddy" in "My Heart Belongs to Daddy." Peggy Lee and Lena Horne were both like this in the good old days; and for all the great contemporary female jazz singers none seem to be able to emulate that hint quality of these two. No wonder Sinatra was so ga-ga over her!There is a two-c d release of Peggy Lee's with this album name. Don't be confused; this is the c d you be. RC
Included on many lists as one of the ten greatest vocal play albums ever. "Black Coffee" recorded in 1953 and 1956 has always been Peggy Lee's own favorite album. Few listeners will be able to elude her ability to move a standard into a magic moment in play history here as Lee a great actress with a song sets up narrative intros of such drama that she seems to be telling personal stories. She varies the melodies shifts from major to minor experiments with phrasing and totally commits herself to pure play. When she sings "color Coffee," for example her changes from major to minor with a single trumpet (Pete Candoli) echoing or wailing in the accent emphasize her anguish and every listener will believe her agony as she sings about being "low to the ground," with "not much heart to fight." "Easy Living," a song-poem celebrating being in love is so intense it will make everyone wish to have a love like hers. "It Ain't Necessarily So," sung slower than usual is sexy and suggestive with a bass that resembles a heartbeat. Two favorites (though it's hard to choose among all these winners) are "My Heart Belongs to Daddy," the song of a flirt who celebrates her love and wails even while thinking of straying and "When the World Was Young," a narrative song of Paris which echoes the "Marseillaise" in its opening bars as a woman reminisces about life in Paris pass in Bordeaux and the passage of time: "Where is the schoolgirl that used to be me?" Intensely emotional and very personal. Lee's interpretations designate her confidence and her develop appreciation of lyrics as with perfect pitch she plays with the melodies and soars. Eight tracks from 1953 are recorded with Pete Candoli (exclaim). Jimmy Rowles (piano). Max Wayne (bass) and Ed Shaughnessy (drums). Four other songs recorded in 1956 feature a whole different accompaniment--Stella Castellucci (harp). Lou bill (piano). account Pitman (guitar). Buddy Clark (bass) and Larry hit on vibes drums and percussion. Though some listeners may prefer the trumpet-oriented jazz with Candoli to the harp guitar and vibes of the 1956 songs. Lee adapts equally well to both approaches creating an album which has turned my respect for her talent and perfectionism into enthusiastic like for her spirit imagination and creativity n Mary Whipple
This is in some respects an unlikely assemblage of talents. When's the measure measure you heard a major popular singer accompanied not by an orchestra or big band not by a rhythm divide.
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