DEBBY MOORE - MY KIND OF BLUES (1959)
1. Five Months, Two Weeks, Two Days
2. Come On Home To Me
3. See See Rider
4. Nothin’ But Trouble On My Mind
5. Sent For You Yesterday
6. Baby, Won’t You Please Come Home?
7. I’m Travelin’ Light
8. (I Know) My Baby Loves Me True
9. Why Don’t You Do Right
10. How Come You Do Me Like You Do Do Do?
11. Hallelujah, I Love Him So
12. No Love, No Nothin’
13. Get A Feeling
Debby Moore, who once sang with Earl Hines, was a Fifties pop singer whose light, warmly caressing voice and ability to read a lyric and phrase well showed a frank jazz awareness. It's no surprise, then, that she was able to get a quintet of this quality for this mix of blues and standards. Although group is cast in a mainly accompanying role, it could call on Sweets Edison's swinging solos and delightful backing for the singer who also contributes the novelty of whistling on a couple of tracks in a style not unlike the trumpeter's as well Jimmy Jones's elegant soloing and Barry Galbraith's funky guitar. The result was a consistently interesting debut session, with the singer generating her lithe, detached swing and getting her own groove going.
2. Come On Home To Me
3. See See Rider
4. Nothin’ But Trouble On My Mind
5. Sent For You Yesterday
6. Baby, Won’t You Please Come Home?
7. I’m Travelin’ Light
8. (I Know) My Baby Loves Me True
9. Why Don’t You Do Right
10. How Come You Do Me Like You Do Do Do?
11. Hallelujah, I Love Him So
12. No Love, No Nothin’
13. Get A Feeling
Debby Moore, who once sang with Earl Hines, was a Fifties pop singer whose light, warmly caressing voice and ability to read a lyric and phrase well showed a frank jazz awareness. It's no surprise, then, that she was able to get a quintet of this quality for this mix of blues and standards. Although group is cast in a mainly accompanying role, it could call on Sweets Edison's swinging solos and delightful backing for the singer who also contributes the novelty of whistling on a couple of tracks in a style not unlike the trumpeter's as well Jimmy Jones's elegant soloing and Barry Galbraith's funky guitar. The result was a consistently interesting debut session, with the singer generating her lithe, detached swing and getting her own groove going.
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