01. One Fine Thing
02. What a Wonderful World
03. Big Chief
04. Saint James Infirmary
05. Dee Dee’s Feathers
06. New Orleans
07. Treme Song Do Whatcha Wanna
08. Come Sunday
09. Congo Square
10. C’est ici que je t’aime
11. Do You Know What it Means
12. Whoopin’ Blues
13. Rising Tide (Tune Up) Extended Version

Dee Dee Bridgewater - Vocals
Glen David Andrews - Vocals
Victor Atkins – Piano
Leon "Kid Chocolate" Brown - Trumpet, Vocals
Derek Douget - Sax (Tenor)
Dr. John – Vocals
Bernard Floyd - Trumpet
Emily Fredrickson - Trombone
Rex Gregory - Alto, Clarinet, Flute
David Harris - Trombone
Peter Harris – Bass
Khari Allen Lee - Alto
Branden Lewis - Trumpet
Eric Lucero - Trumpet
Jason Marshall - Clarinet (Bass), Sax (Baritone)
Irvin Mayfield - Trumpet, Vocals
Ashlin Parker - Trumpet, Vocals
Edward Petersen - Sax (Tenor)
Don Vappie - Banjo, Guitar
Michael Watson - Trombone, Vocals
Jasen Weaver - Bass

Vocalist Dee Dee Bridgewater's 2015 effort, Dee Dee's Feathers, is a vibrant jazz showcase that pays homage to the history of New Orleans and marks the tenth anniversary of Hurricane Katrina. A collaboration between Bridgewater, New Orleans trumpeter Irvin Mayfield, and the New Orleans Jazz Orchestra (NOJO), the album finds Bridgewater combining her love of New Orleans' musical past with the Crescent City's vibrant present. Recorded at Esplanade Studios, a historic 1920s church turned music studio in heart of the Treme neighborhood in New Orleans, Dee Dee's Feathers has a lush, organic sound. Bridgewater is backed here by Mayfield and his band, featuring guitarist/banjo player Don Vappie, drummer Adonis Rose, pianist Victor Atkins, and bassist Khari Allen Lee. Also featured on the album are several guests, including such New Orleans icons as keyboardist Dr. John and percussionist Bill Summers. These are warm, largely acoustic arrangements that breathe with the energy of a live performance. Cuts like the second-line, Mardi Gras-themed "Big Chief," and the similarly percussion-heavy title track sound pleasingly like in-studio jams. In contrast, standards like the romantic "What a Wonderful World" and the languid "Come Sunday," are lush, symphonic big-band productions that juxtapose Bridgewater's crackling, resonant voice against shimmering string and horn sections. Throughout all of Dee Dee's Feathers is Mayfield's burnished, puckered trumpet, adding a soulful counterpoint to Bridgewater's urbane vocals. Bridgewater has built a career out of combining her love of the tradition with her desire to push the boundaries of jazz style, and Dee Dee's Feathers is no exception. ---Matt Collar, AllMusic Review

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1. Afro Blue 
2. Bad Spirits (Bani) 
3. Dee Dee 
4. Mama Don't Ever Go Away 
5. Long Time Ago 
6. Children Go 'Round 
7. The Griots (Sakhodougou) 
8. Oh My Love (Djarabi) 
9. Four Women 
10. No More (Bambo) 
11. Red Earth (Massane Cissé) 
12. Meanwhile 
13. Compared to What

    Ira Coleman (Bass)
    Minino Garay (Cajon, Caxixi, Cymbals, Drums, Percussion)
    Cheick Tidiane Seck (Calebasse, Fender Rhodes, Karignan, Organ (Hammond), Vocals (Background))
    Dee Dee Bridgewater (Vocals)
    Baba Sissoko (Vocals (Background))
    Edsel Gomez (Piano)
    Lansiné Kouyaté (Balafon)
    Habib "Dia" Sangaré (Bolon)
    Alou Kouloubali (Calebasse)
    Lassy "King" Massassy (Rap Vocals)
    "Petit" Adama Diarra (Djembe)
    Cheick "Sékou" Oumar (Djembe)
    Djifli Mamadou Sanogo (Djembe)
    Moussa Sissikho (Djembe, Soloist)
    Maré Sanogo (Doum-doum)
    Lamine Tounkara (Doum-doum)
    Aly Wagué (Flute)
    Gabriel Durand (Guitar)
    Modibo Kouyaté (Guitar)
    Jacob Soubeiga (Guitar)
    Djelimady Tounkara (Guitar, Soloist)
    Benogo Diakite (Kamalngoni, Soloist)
    Mamadou Diabaté (Kora)
    Cherif Samano (Kora)
    Yakhoba Sissokho (Kora, Soloist)
    Adama Tounkara (Ngoni)
    Moriba Koïta (Ngoni, Soloist)
    Bassekou Kouyate (Ngoni, Soloist)
    "Pepito" Sekouba Kouyaté (Tama)
    Moussa Sissoko (Tama)
    Ramata Diakité (Vocals)
    Oumou Sangare (Vocals)
    Fatou (Vocals (Background))
    Mamani Keïta (Vocals, Vocals (Background))
    Fatoumata Kouyaté (Vocals, Vocals (Background))
    Kabiné Kouyaté (Vocals, Vocals (Background))
    Amy Sacko (Vocals, Vocals (Background))

Multiple award-winning vocalist Dee Dee Bridgewater delivers an astounding masterwork complete with an entrancing set of original compositions and four reworked jazz classics on Red Earth. It is her ode to Mali and Africa -- the story of a lost child finding her way home. Singing in the spirit that calls on her African and Malian ancestry and with reverence for jazz vocalists such as Billie Holiday and Ella Fitzgerald at their best, Bridgewater exudes the artistic depth she is revered for around the world. Recorded in Mali and featuring some of its most respected artists, this ambitious concept recording explores Malian and other African jazz roots on such songs as "Bani" (Bad Spirits), "Sakhodougou" (The Griots), "Oh My Love," and "Massane Cissé" (Red Earth). When it was written, "Bambo" (No More), composed by Tata "Bambo" Kouyaté, was so powerful that it led the government to abolish forced marriage in the 1960s. In addition to including "Bambo," such prominent female vocalists and outspoken women's rights advocates as Oumou Sangaré, Ramata Diakité, rising star Mamani Kéita, and Fatoumata "Mama" Kouyaté, the latter being hailed as the "golden voice of Mali," are prominently featured. "Bani," "Sakhodougou," and "Massane Cissé," which originated in the 12th and 13th centuries, are told in the oral tradition of "the Griots." In deference to the importance of these traditions, Bridgewater features lauded griots (musical and otherwise) Kassé-Mady Diabaté, up-and-coming talent Kabiné Kouyaté, Bassékou Kouyaté, Toumani Diabaté, and Baba Sissoko. On the jazz side, Bridgewater revisits "Afro Blue," previously released in 1974, with a new beginning, beautiful accentuation, and skillfully elongated lyrics. A favorite among jazz and folk vocalists, Nina Simone's "Four Women" also serves as a brilliant new showcase for Bridgewater's amazing vocals. This compelling song is reintroduced via an Edsel Gomez arrangement. Bridgewater weaves her emphatic emotions and storytelling expertise throughout Simone's heartfelt lyrics and simply holds you spellbound, compelling you to replay it more than once. For fans of Dee Dee Bridgewater, this masterwork is yet another brilliant testament to her linguistic versatility. On the Grammy-nominated J'Ai Deaux Amours, released in 2005, she sang in French as well as in English on a collection of French cabaret-style songs. With Red Earth she takes you into the depths of the African diaspora complete with references to several native dialects. This CD was nominated for a Grammy award in 2007 for Best Jazz Vocal Album. ---Paula Edelstein, Rovi

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01. Lady Sings The Blues [03:32]
02. All Of Me [03:01]
03. Good Morning Heartache [05:10]
04. Lover Man [04:43]                 play
05. You've Changed [05:10]
06. Miss Brown To You [02:13]
07. Don't Explain [06:14]             play
08. Fine And Mellow[04:55]
09. Mother's Son-in-Law [02:47]
10. God Bless The Child [05:13]
11. Foggy Day [04:33]
12. Strange Fruit [04:16]

Personnel:
Dee Dee Bridgewater - vocals
Edsel Gomez - piano
James Carter - saxophones
Christian McBride - bass
Lewis Nash – drums

Dee Dee Bridgewater, właściwie Denise Eileen Garrett (ur. 27 maja 1950 w Memphis w stanie Tennessee w USA), amerykańska aktorka, wokalistka jazzowa i prowadząca audycję JazzSet with Dee Dee Bridgewater w National Public Radio, zdobywczyni dwóch nagród Grammy (1998) i nagrody Tony (1975). We wczesnych latach 70. dołączyła jako wokalistka do Thad Jones-Mel Lewis Jazz Orchestra. To był początek jej kariery jazzowej. W tym czasie grała koncerty z takimi muzykami jak Sonny Rollins, Dizzy Gillespie, Dexter Gordon czy Max Roach. W 1973 roku wystąpiła na Festiwalu Jazzowym w Monterey. To była przepustka do sukcesu. Rok później wydała swój pierwszy solowy albym Afro Blue i wystąpiła na Broadwayu w musicalu The Wiz. 6 lutego 2010 r. Dee Dee wystąpiła z koncertem na festiwalu Zadymka Jazzowa w Bielsku-Białej, gdzie otrzymała statuetkę Anioła Jazzowego. Występując z kwartetem pod kierunkiem aranżera Edsela Gomeza, zaprezentowała utwory składające się na nowy album "To Billie With Love: A Celebration of LADY DAY".

Over the course of a multifaceted career that has spanned four decades, Dee Dee Bridgewater has risen to the top tier of today’s jazz vocalists, putting her own unique spin on standards as well as taking intrepid leaps of faith in re-envisioning jazz classics. For her latest recording, Eleanora Fagan (1915-1959): To Billie With Love From Dee Dee, Bridgewater honors an iconic jazz figure, Billie Holiday, who died tragically at the age of 44 a half-century ago. “This album is my way of paying my respect to a vocalist who made it possible for singers like me to carve out a career for ourselves,” says Bridgewater, who performed the role of Holiday in the triumphant theatrical production, Lady Day—based on the singer’s autobiography, Lady Sings the Blues—staged in Paris and London in 1986 and 1987. “I wanted Eleanora Fagan to be something different: more modern and a celebration, not a [recording] that goes dark and sullen and maudlin. I wanted the album to be joyful.”

Bridgewater adds that Eleanora Fagan goes far deeper than being a tribute album of retreaded Holiday tunes. “Billie deserves to have her music heard in another light,” she says, “and I definitely didn’t set out to imitate her.” Key to the fresh approach is pianist Edsel Gomez, Bridgewater’s longtime band mate who wrote new arrangements for the 12 songs on the album, including the African polyrhythmic-charged interpretation of “Lady Sings the Blues, “ a reharmonized version of “All of Me” and the gospel-tinged “God Bless the Child.” Says Bridgewater: “Edsel is an extremely gifted, talented arranger with very modern ideas. Edsel has the ability to be modern and work in a tasteful fashion.”

Gomez took on the daunting challenge of bringing new life to the music with enthusiasm. “I listened to everything Billie Holiday ever recorded,” he says. “I let her music speak to me.” He also kept in mind the personalities of the all-star band Bridgewater had assembled for the recording: dynamic reeds player James Carter, bassist Christian McBride and drummer Lewis Nash. “This was my dream band,” says Bridgewater. “I got to work with these musicians who I’d been dying to play with. I thought, I can’t miss. With this band I can have a hard-swinging, touching celebration of Billie’s music.”

Bridgewater sings into the nuances of such songs as “Good Morning Heartache,” “Lover Man” and “Fine and Mellow” with an allure that’s equal parts sexy, spunky and sublime. “This was the first time when I wasn’t concerned about having a particular sound of voice,” Bridgewater says. “I was just singing from my gut. It was all so swinging and so soulful.” Other highlights include the haunting “You’ve Changed” with Carter blowing smoky soul to complement Bridgewater’s moving vocals, the spunky “Mother’s Son-in-Law” with McBride dueting with the coquettish singer, and the uptempo “Miss Brown to You” featuring Nash’s drumming prowess.

Over the course of her career, Bridgewater has paid homage to monumental figures of the music world, recording albums dedicated to Ella Fitzgerald (the Grammy Award-winning Dear Ella, 1997), Horace Silver (Love and Peace: A Tribute to Horace Silver, 1995) and Kurt Weill (This Is New, 2002). But with Eleanora Fagan—the follow-up to 2007’s brilliant Red Earth: A Malian Journey that melded the music of Mali with jazz—Bridgewater delivers one of the most remarkable recording performances of her career. “Dee Dee is a spirited dynamo and a soulful balladeer,” says liner note writer Dan Ouellette. “She sings with a razor-edged voice; she scats with abandon; she makes you cry. She even chokes up herself upon descending into the ghoulish drama of ‘Strange Fruit,’ which serves as the album’s poignant finale. She gives a moving read with a sparse arrangement supporting her.”

Instead of playing it safe and recreating her performance in Lady Day, on Eleanora Fagan, Bridgewater reacquaints herself with Holiday, shining a new ray of love on the often-misunderstood jazz icon. “I wanted the record to be a collection that would not be like the music of the show,” she says. That philosophy is in keeping with Bridgewater’s approach to all of her projects: “I want to move forward, just as I’ve done with each of my albums. To not go backwards, but progress. Constantly.”

"This album is my way of paying my respect to a vocalist who made it possible for singers like me to carve out a career for ourselves," says Bridgewater, who performed the role of Holiday in the triumphant theatrical production, Lady Day--based on the singer's autobiography, Lady Sings the Blues--staged in Paris and London in 1986 and 1987. "I wanted Eleanora Fagan to be something different: more modern and a celebration, not a [recording] that goes dark and sullen and maudlin. I wanted the album to be joyful."

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01 Permit Me to Introduce You to Yourself
02 Nica’s Dream
03 TheTokyo Blues
04 Pretty Eyes
05 St. Vitus Dance
06 You Happened My Way
07 Soulville
08 Filthy McNasty
09 Song for My Father
10 Doodlin’
11 Lonely Woman		play
12 TheJody Grind		play
13 Blowin’ the Blues Away .

Dee Dee Bridgewater - Vocals
Horace Silver - Piano
Jimmy Smith - Organ
Thierry Eliez - Piano
Lionel Belmondo – Sax, Tenor
Stephane Belmondo - Trumpet
Hein van de Geyn - Bass
André Ceccarelli – Drums.

Dee Dee Bridgewater performs 13 of Horace Silver's songs on this well-conceived release. On most selections she is accompanied by her French quintet, but there are also two guest appearances apiece for organist Jimmy Smith and pianist Silver himself ("Nica's Dream" and "Song for My Father"). Throughout, Bridgewater uplifts Silver's lyrics, proves to be in prime form, and swings up a storm. Other high points include "Filthy McNasty," "Doodlin'," and "Blowin' the Blues Away."A Gem.--- Scott Yanow

This is definitely one of Dee Dee's best albums. A must-have if you're a fan of Dee Dee's dynamic singing and rip-roaring scat. If you're a fan of Horace Silver's compositions, all the better--but it's by no means a must for enjoying the album. Horace even makes an appearance on a track or two, easily distinguishable from the pianist's main CD (who does a fine job of his own). Check out "Nica's Dream" for the best groove on the album. About the only thing lacking on the album is the two brothers playing sax and trumpet don't always swing too well--but it's negligible enough to make the album a worthwhile buy. Definitely buy it over one of her other albums like "Dear Ella" . ---Le Kang

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01 – Midnight sun
02 – Angel Eyes
03 – My Ship
04 – Que Reste-t-il
05 – Lonely Woman
06 – Speak low
07 – I’m a Fool to Want you – i Fall in Love too Easily		play
08 – L’Hymne a l’Amour
09 – The Island												play
10 – Good Morning Heartache
11 – Here i’ll Stay

Midnight Sun, issued by Decca/Emarcy, is a ballads collection of jazz and pop standards assembled from Dee Dee Bridgewater's recordings for Verve and other UMG-associated labels dating back to 1993's Keeping Tradition, and moving through 2010's Eleanora Fagan (1915-1959): To Billie with Love from Dee Dee. For those who've followed Bridgewater's career by collecting her albums over the last 18 years, there is only one track here you likely don't already own, a gorgeous version of the Edith Piaf standard "L'hymne a L'amour (J'ai Deux Amours)," previously only issued in Japan as a bonus track on the album of the same name. It's a gorgeous duet with guitarist Luis Winsberg sung in both French and English. Other highlights here include the title track from 1997's Dear Ella album (written by Johnny Mercer), her fine version of the Earl Brent and Matt Dennis nugget "Angel Eyes" from Keeping Tradition, "Lonely Woman," from Love & Peace: A Tribute to Horace Silver, and Kurt Weill's and Jay Lerner's "Here I'll Stay" from This Is New, released in 2002. As an album, these tracks -- all beautifully remastered -- hold together very well despite the variety of instrumental settings, and Bridgewater imbues them all with her consummate phrasing and intimacy. ---Thom Jurek, AMG

Krążek Midnight Sun, jest swego rodzaju podsumowaniem dotychczasowej czterdziestoletniej kariery amerykańskiej wokalistki jazzowej Dee Dee Bridgewater. Midnight Sun – to wybór ulubionych piosenek miłosnych Dee Dee Bridgewater . Na płycie znalazło się 10 zremasterowanych utworów oraz jeden niewydany wcześniej bonus – utwór L’Hymne A L’Amour.

Od ponad czterdziestu lat Dee Dee Bridgeater znajduje się w ścisłej czołówce najlepszych wokalistek jazzowych na świecie. Zasłynęła dzięki swoim niezapomnianym interpretacjom standardów jazzowych. Pierwsze kroki jako artystka stawiała w legendarnym Thad Jones/Mel Louis Big Band, w latch 70tych występowała z takimi gwiazdami, jak Max Roach, Sonny Rollins, Dexter Gordon i Dizzy Gillespie. Po krótkim romansie z muzyką pop przeprowadziła się do Paryża i powróciła do jazzowych korzeni. Dla wytwórni Universal nagrała wiele płyt, począwszy od albumu Keeping Tradition wydanej w 1993 roku. Wszystkie otrzymały nominacje do nagród Grammy, a dwupłytowa dedykacja dla Elli Fitzgerald, Dear Ella, otrzymała dwie statuetki.

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01. Midnight Indigo (2:25)
02. I’m Beginning To See The (5:02)
03. BLI — BLIP (4:15)
04. Fleurette Africaine (3:31)
05. Prelude To A Kiss (3:52)       play
06. Caravan (4:29)
07. Solitude (4:20)                   play
08. Mood Indigo (4:27)
09. Night Creature: Fast (4:16)
10. Night Creature: Andante misterioso (7:39)
11. Night Creature: Moderato — Faster Swing — Moderato (3:53)
12. Come Sunday (4:09)

Personnel:
Dee Dee Bridgewater — Vocals, Performer
Regina Carter — Violin
Cyrus Chestnut — Piano
Hollywood Bowl Orchestra
John Mauceri — Conductor

This release is more properly identified as a various artists compilation, which includes the pop sounds of the Hollywood Bowl Orchestra. Most of the orchestrations and arrangements are pleasant, even if they're not blatantly original. Alto saxophonist Bobby Watson is superb on "Mood Indigo" and the exotic "Fleurette Africaine." The orchestra does a fine job with the rarely heard suite "Night Creature." Singer Dee Dee Bridgewater shines frequently; backed by a superb quartet including Wynton Marsalis, she delivers a delightful cover of "I'm Beginning To See The Light." But it is her hypnotic, chanting introduction, backed by Middle Eastern percussion and Steve Turre's conch shells, that gives this release an occasional freshness usually lacking in similar Ellington tributes. ~ Ken Dryden, All Music Guide

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