Description :
Musicians :
Ruth Brown (vocals), Ed "Tiger" Lewis, Steve Lipkins, Joe Wilder (trumpet), Jimmy Cleveland, Richard Harris (trombone), Jimmy Mitchell, Jerome Richardson (alto saxophone), Arnett Cobb, King Curtis, Budd ... [Tout afficher]
Description:
Musicians :
Ruth Brown (vocals), Ed "Tiger" Lewis, Steve Lipkins, Joe Wilder (trumpet), Jimmy Cleveland, Richard Harris (trombone), Jimmy Mitchell, Jerome Richardson (alto saxophone), Arnett Cobb, King Curtis, Budd Johnson, Sam Taylor (tenor saxophone), Sylvester Thomas (baritone saxophone), Lee Anderson, Dick Hyman, Bu Pleasant, Mike Stoller (piano),Mickey Baker, Al Caiola, Allen Hanlon, Mundell Lowe, Charles Macey (guitar), Abie Baker, Percy Heath, Benny Moten, Lloyd Trotman (bass), Connie Kay, Joe Marshall, Noruddin Zafer (drums), Jerry Duane, Bob Harter, Artie Malvin, Bill Marine, Robert Miller, Ralph Nyland, The Rhythmakers, Maeretha Stewart (backing vocals)
Miss Rhythm contains music by Ruth Brown recorded between 1954 and 1959 for the Atlantic label.
Once fired from Lucky Millinder's band, it was the great Duke Ellington who recommended Ruth Brown to Herb Abramson and his fledgling Atlantic Records in 1949. Good thing, too, because it was Ruth Brown who put Atlantic on the map, make no mistake. She did that with 24 R&B hit singles from 1949 to 1960, five of which crossed over to the Billboard Pop charts.
"Ruth Brown's second LP is a minor masterpiece, built around a handful of hit singles and B-sides from the prior year ("Book of Lies", "Just Too Much", "When I Get You Baby", "This Little Girl's Gone Rockin'", "Why Me") and containing a pair of current single sides, "Jack O' Diamonds" and "I Can't Hear a Word You Say". Brown is amazing in her range, from the upbeat, romantic "I Hope We Meet (On the Road Someday)" to the jaunty shouter "Why Me" her timbre ranges from sweetly romantic to hard and raspy, and listening to the transformations, between the smooth, quick tempo "Just Too Much" to the hard, lusty "Somebody Touched Me", one thinks of a distaff Sam Cooke. Brown's accompaniments may have lacked the polish of Cooke's sides, and she wasn't really shooting for pop-crossover success (though she saw some). Her singing even overcomes excessively pop-oriented arrangements on "When I Get You Baby". At various times, in her upper register, Brown recalls Clyde McPhatter's falsetto singing, while in her middle and lower registers, as on "I Can't Hear a Word You Say", she comes up with a power that could melt a microphone stand". - Bruce Eder / AMG
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