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Dinah Washington|What A Diff'rence A Day Makes! (Expanded Edition)

What A Diff'rence A Day Makes! (Expanded Edition)

Dinah Washington

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One of the more notorious albums in the history of vocal music, What a Diff'rence a Day Makes! is the lush session that bumped up Dinah Washington from the "Queen of the Blues" to a middle-of-the-road vocal wondress -- and subsequently disenfranchised quite a few jazz purists. Washington had been praised in the same breath as Holiday and Fitzgerald for more than a decade, but Mercury nevertheless decided to back her with mainstream arrangements (by Belford Hendricks), heavy strings, and wordless vocal choruses similar to the radio hits of the day. Apparently, the mainstream backings didn't faze Washington at all; she proves herself with a voice as individual and evocative as ever. To be honest, the arrangements are quite solid for what they're worth; though it's a bit jarring to hear Washington's voice wrapped in sweet strings, the effect works well more frequently than not. Most of the songs here are familiar standards ("I Remember You," "I Thought About You," "Cry Me a River," "Manhattan," "Time After Time"), but they've been transformed by Washington as though they'd never been sung before. The Top Ten title track is by no means the best song on the album, but its title proved prophetic for Washington's career. Though her vocal style hadn't changed at all, one day she was a respected blues singer; the next, according to most of the jazz cognoscenti, she had become a lowbrow pop singer. Thankfully, the evidence against Washington's "transformation" is provided right here.

© John Bush /TiVo

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What A Diff'rence A Day Makes! (Expanded Edition)

Dinah Washington

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1
I Remember You
00:02:47

Belford Hendricks, Conductor, Recording Arranger, AssociatedPerformer - Johnny Mercer, Author - CLYDE OTIS, Producer - Victor Schertzinger, Composer - Dinah Washington, Vocals, MainArtist, AssociatedPerformer

℗ 1959 UMG Recordings, Inc.

2
I Thought About You
00:02:34

Belford Hendricks, Conductor, Recording Arranger, AssociatedPerformer - Johnny Mercer, Author - CLYDE OTIS, Producer - Jimmy Van Heusen, Composer - Dinah Washington, Vocals, MainArtist, AssociatedPerformer

℗ 1959 UMG Recordings, Inc.

3
That's All There Is to That
00:02:19

Belford Hendricks, Conductor, Recording Arranger, AssociatedPerformer - Kelly Owens, ComposerLyricist - CLYDE OTIS, Producer, ComposerLyricist - Dinah Washington, Vocals, MainArtist, AssociatedPerformer

℗ 1959 UMG Recordings, Inc.

4
I Won't Cry Anymore
00:02:20

Al Frisch, ComposerLyricist - Belford Hendricks, Conductor, Recording Arranger, AssociatedPerformer - CLYDE OTIS, Producer - Fred Wise, ComposerLyricist - Dinah Washington, Vocals, MainArtist, AssociatedPerformer

℗ 1959 UMG Recordings, Inc.

5
I'm Thru With Love
00:02:28

Belford Hendricks, Conductor, Recording Arranger, AssociatedPerformer - CLYDE OTIS, Producer - Gus Kahn, Author - Dinah Washington, Vocals, MainArtist, AssociatedPerformer - Matty Malneck, ComposerLyricist - Joseph A. Livingston, ComposerLyricist

℗ 1959 The Verve Music Group, a Division of UMG Recordings, Inc.

6
Cry Me A River
00:02:29

Belford Hendricks, Conductor, Recording Arranger, AssociatedPerformer - CLYDE OTIS, Producer - Dinah Washington, Vocals, MainArtist, AssociatedPerformer - Arthur Hamilton, ComposerLyricist

℗ 1959 UMG Recordings, Inc.

7
What A Difference A Day Made
00:02:30

Belford Hendricks, Conductor, Recording Arranger, AssociatedPerformer - Panama Francis, Drums, AssociatedPerformer - Milt Hinton, Upright Bass, AssociatedPerformer - CLYDE OTIS, Producer - Jerome Richardson, Flute, AssociatedPerformer - Maria Grever, ComposerLyricist - Dinah Washington, Vocals, MainArtist, AssociatedPerformer - Stanley Adams, ComposerLyricist - Charles Davis, Baritone Saxophone, AssociatedPerformer - Belford Hendricks' Orchestra, Orchestra

℗ 1959 UMG Recordings, Inc.

8
Nothing in the World
00:03:18

Belford Hendricks, Conductor, Recording Arranger, AssociatedPerformer, ComposerLyricist - CLYDE OTIS, Producer, ComposerLyricist - Brook Benton, ComposerLyricist - Dinah Washington, Vocals, MainArtist, AssociatedPerformer

℗ 1959 UMG Recordings, Inc.

9
Manhattan
00:04:17

Belford Hendricks, Conductor, Recording Arranger, AssociatedPerformer - CLYDE OTIS, Producer - Richard Rodgers, ComposerLyricist - Lorenz Hart, ComposerLyricist - Dinah Washington, Vocals, MainArtist, AssociatedPerformer

℗ 1959 UMG Recordings, Inc.

10
Time After Time
00:02:30

Belford Hendricks, Conductor, Recording Arranger, AssociatedPerformer - Jule Styne, Composer - CLYDE OTIS, Producer - Sammy Cahn, Author - Dinah Washington, Vocals, MainArtist, AssociatedPerformer

℗ 1959 UMG Recordings, Inc.

11
It's Magic
00:02:40

Belford Hendricks, Conductor, Recording Arranger, AssociatedPerformer - Jule Styne, Composer - CLYDE OTIS, Producer - Sammy Cahn, Author - Dinah Washington, Vocals, MainArtist, AssociatedPerformer

℗ 1959 UMG Recordings, Inc.

12
A Sunday Kind Of Love
00:02:35

Belford Hendricks, Conductor, Recording Arranger, AssociatedPerformer - Barbara Belle, ComposerLyricist - Anita Leonard, ComposerLyricist - Stan Rhodes, ComposerLyricist - CLYDE OTIS, Producer - Louis Prima, ComposerLyricist - Dinah Washington, Vocals, MainArtist, AssociatedPerformer

℗ 1959 UMG Recordings, Inc.

13
Time After Time (First Version)
00:02:18

Belford Hendricks, Conductor, Recording Arranger, AssociatedPerformer - Jule Styne, Composer - Panama Francis, Drums, AssociatedPerformer - Milt Hinton, Upright Bass, AssociatedPerformer - CLYDE OTIS, Producer - Sammy Cahn, Author - Jerome Richardson, Flute, Saxophone, AssociatedPerformer - Dinah Washington, Vocals, MainArtist, AssociatedPerformer - Joe Zawinul, Piano, AssociatedPerformer - Charles Davis, Baritone Saxophone, AssociatedPerformer

℗ 1989 UMG Recordings, Inc.

14
Come On Home
00:02:30

Belford Hendricks, Conductor, Recording Arranger, AssociatedPerformer - Panama Francis, Drums, AssociatedPerformer - Milt Hinton, Upright Bass, AssociatedPerformer - CLYDE OTIS, Producer - Jerome Richardson, Flute, AssociatedPerformer - Dinah Washington, Vocals, MainArtist, AssociatedPerformer, ComposerLyricist - Joe Zawinul, Piano, AssociatedPerformer - Charles Davis, Baritone Saxophone, AssociatedPerformer - Juanita Hill, ComposerLyricist

℗ 1959 UMG Recordings, Inc.

15
It Could Happen To You
00:03:05

Belford Hendricks, Conductor, Recording Arranger, AssociatedPerformer - Panama Francis, Drums, AssociatedPerformer - Milt Hinton, Upright Bass, AssociatedPerformer - CLYDE OTIS, Producer - Johnny Burke, ComposerLyricist - Jerome Richardson, Flute, Saxophone, AssociatedPerformer - Jimmy Van Heusen, ComposerLyricist - Dinah Washington, Vocals, MainArtist, AssociatedPerformer - Joe Zawinul, Piano, AssociatedPerformer - Charles Davis, Baritone Saxophone, AssociatedPerformer

℗ 1959 UMG Recordings, Inc.

16
Studio Dialogue (Dinah Washington / What A Diff'rence A Day Makes!)
00:00:45

CLYDE OTIS, Producer - Dinah Washington, MainArtist - Jack Wolf Fine, ComposerLyricist - Marie Mose, ComposerLyricist - William F. Collins, ComposerLyricist

℗ 2000 The Verve Music Group, a Division of UMG Recordings, Inc.

Album review

One of the more notorious albums in the history of vocal music, What a Diff'rence a Day Makes! is the lush session that bumped up Dinah Washington from the "Queen of the Blues" to a middle-of-the-road vocal wondress -- and subsequently disenfranchised quite a few jazz purists. Washington had been praised in the same breath as Holiday and Fitzgerald for more than a decade, but Mercury nevertheless decided to back her with mainstream arrangements (by Belford Hendricks), heavy strings, and wordless vocal choruses similar to the radio hits of the day. Apparently, the mainstream backings didn't faze Washington at all; she proves herself with a voice as individual and evocative as ever. To be honest, the arrangements are quite solid for what they're worth; though it's a bit jarring to hear Washington's voice wrapped in sweet strings, the effect works well more frequently than not. Most of the songs here are familiar standards ("I Remember You," "I Thought About You," "Cry Me a River," "Manhattan," "Time After Time"), but they've been transformed by Washington as though they'd never been sung before. The Top Ten title track is by no means the best song on the album, but its title proved prophetic for Washington's career. Though her vocal style hadn't changed at all, one day she was a respected blues singer; the next, according to most of the jazz cognoscenti, she had become a lowbrow pop singer. Thankfully, the evidence against Washington's "transformation" is provided right here.

© John Bush /TiVo

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