Just Jazz; Singer Dinah Washington: 1943-63, Pt. 2

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Mae'n siie Kabul ydych chi yn dirblwng bandோ yw'n fr woysio'r mynd preid maen nhw ond o'r Dyna Washington o'r Seleccion o'r recordig o'r 1943 i'n 1963. Llywodraeth i'n gweithio. Mae'n gweithio. Mae'n gweithio. Mae'n gweithio. Mae'n gweithio. Mae'n gweithio. Mae'n gweithio. Mae'n gweithio. Mae'n gweithio.

Mae'n gweithio. Mae'n gweithio. Mae'n gweithio. Mae'n gweithio yn fwyft eu gwaith Τaput eu. Mae'n gweithio yn dydau. Sylwym ei plawi a جெw galw'r i ddiorget IO Don't agree with my shutdown Mae'n gweld yn dwi'n ddi par un pan Fel am bwaigdisaig mae glowi'r föl lacking I tried to push a subway train and poured whiskey in my hair. I'm a gal who blew a fuse. I've got those blow hoards, I blew a fuse. Last night I was five feet tall.

Today I'm eight feet ten. Every time I fall downstairs, I float right up again. When someone turned the lights on me, it liked to drove me blind. I woke up this morning in Bellevue, but I've left my mind behind. I'm a gal you can't excuse. Because I've got those blow hoards, I blew a fuse. Well, I got high last night and I took my man to his wife's window. Oh, she was a forty-five pack in mama, and I ain't going to try that no more. Oh, oh, oh, oh, oh, oh. Those acute lyrics are quite witty.

And that was well known too. And again, one of London's feathers, contributions to Dynas book, as to her repertoire. And a number of good blues lyrics for her. And arranged that very first session under her own name as December 43. New blow top blues by London Feather. And that was Paul Kunise on tenor with some light and less story and backing for her. It was Dynas vocal throughout. Let's see, this was fairly early too, wasn't it? The steak was this and blow top. Blow top, a little later, 52 it was in Chicago. No, that's right. Kunise, Whitney Kelly on piano, worked with Dynas for a while. It was a copy of this. Keeta Betz on bass and Jimmy Cobb on drums. That was the lineup. Just a quartet. New blow top blues, 52s. Dynas.

Miss Jeff Maker. Don't even go to a movie show. If you're not by my side. I stay home by my radio. But I'm satisfied. All my flirting days are gone. On the level from now on. Don't go for any excitement now. Books are my best company. All my opinions have changed somehow. Old-fashioned eyes can be. When you really learn to care. There's a thrill in solitaire. Keeping out of mischief now.

Really am in love and how. I'm through playing with fire. It's you whom I desire. All the world can plainly see. You're the only one for me. I've told them in advance. They can't break up our romance. Living up to everybody. I'm keeping out of mischief now. All the world can plainly see. That you're the only one for me. Say I'll tell them, tell them in advance. That you're the only one for me.

Say I'll tell them, tell them in advance. That you're the only one for me. That they can't break up our romance. Living up to everybody. I'm keeping out of mischief now. Stab. And find set of fads while the songs are those associated with them. I've got it in New York in 1957. Only Wilkins excellent arrangements. And they're averse we don't hear often, certainly. And the verse is keeping out of mischief. It turns out very seldom. I've played a song out of tempo. And then straight ahead. And let's see if we had piano spot 2. On the second go, it's a short chorus tune only.

Only 20 bars. All of Spartans was on the verse with them. The voice. Keep in out of mischief now. That's while Andy Razzaf's lyrics, Miss Diana Washington, making them very much her own. All the blues ain't nothing. But a woman crying for her moon. I said the blues ain't nothing. But a woman crying for her moon. When she wants some loving,

I'm sure your women will understand. I said the blues ain't nothing. But a feeling that will get too dark. I said the blues ain't nothing. But a feeling that will get too dark. All in out with your man. You feel like he ain't in town. All the blues ain't nothing. But a good woman feeling bad. All the blues ain't nothing.

But a good woman feeling bad. Always blue and lonely. Disgusting and feeling silent. Yeah, yeah, yeah, the blues ain't nothing. But a woman loving a married man. I know you heard me, I said the blues ain't nothing. But a woman loving a married man. Can't see him when she wants. She's got a cat tip that'll love him when she can't.

No, no, no, no, the blues ain't nothing. The blues ain't nothing. But a good woman feeling bad. All the blues ain't nothing. But a common load on hard to see. Try to keep your man happy. I know you're finding real hard to believe. You notice how she built that? Oh, she had a fine sense of drama too. Very lazy beat.

A tempo. A bit of the backbeat. She increased the intensity throughout. It's a late recording from 1962. 63 her last dates. For roulette. And with Fred Norman and Charles of the orchestra. That's pretty well known. One J. Mayo Williams. The blues ain't nothing. But it was fun. Big band of New York pros. You somewhat sparingly as far as much of the writing is concerned. With backing spots for Joe Newman and Trump. Billy Butler who you heard there in guitar. Eddie Chambley was in the band on tenor. Diana Washington back to the blues. On roulette. Maybe if you love me.

Then show me that you can. Of course every time I need you. You make sure that you're not there. Don't drift too far daddy. You're not there. You're not there. You're not there. Don't drift too far daddy. Stick around so that you'll be near. Please don't drift too far daddy. Stick around so that you'll be near. You don't need to go out for anything.

Of course I'm here everything you need by me. If you love me then go all the way. Well if you love me you'll see this. Here is understanding of something that makes everything just fine. M화빔� ei j sworeng gyda gallu aprwdaro hynnydd hyn yn mysion d Grahu'u ffordd

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O'r tenadualdd o'r iawn mis Natura-tall, cyloeddol â'r lle honna'r FIFA, dwi… sou�ain yn clyfa. Oafdol ti wneil. Oohd yn cly Amn yn cael Un'гaydu. O'r ag y Tw.. awain oedd wneud. Noah Greel Naим yn y brydystu'r fel hynny ag y honny i'r fŵing? Liverpool Bryant got ythも. Clen cy Star II ni gysten nhwren i'r Champ o meddwlau. Mae o rhywbeth tro. Mae'n ryd dau. Mae dew Shmring崙af s상을g bführ bers�� Chamosor dis castod ddat os o d fix per teusell. Queig le si отдел Ilawn ond uhun y trywy llwanau. Cymru wedi'n mynd. I wonder who he can be. Somebody loves me. I wish I knew who he can be. What is me?

For every guy who passes me, I shall hey, maybe. You were meant to be my loving baby. Somebody loves me. I wonder who maybe it's you. I wish I knew who he can be. I wish I knew who he can be. I wish I knew who he can be. I wish I knew who he can be. I wish I knew who he can be.

I wish I knew who he can be. I wish I knew who he can be. For every guy who passes me, I shall hey, maybe. You were meant to be my loving baby. Somebody loves me. I wonder who maybe, or maybe it's you. It's great to hear in front of a punching big jazz band. Somebody loves me with three instrumental solos.

That was Tony Ortega Anthony Ortega on alto. The first half of that second chorus, and Jimmy Cleveland was a very nice contribution. Splitting that one with Tony. And then Don Elliott on vibes, also, into the third chorus. Quincy Jones in the orchestra, backing Diana here, a several arranges contributed to the date. I think this was Quincy's. But I said the Gershwin tune I wrote was involved in this in the lyrics. Music was my ballad McDonald. But it disilvers also was to this co-composer. Somebody loves me. I wonder who he can be. 1956, a New York band behind Misty here, the swinging Misty, Diana Washington, with Quincy Jones and his orchestra. If I could be with you, I'd love you strong. If I could be with you,

I'd love you long. I want you to know. I wouldn't go until I told you honey why I loved you so. If I could be with you, one hour tonight, if I was free to do, the things I might. I'm telling you true, I'd be anything but blue, if I could be with you. I'd love you long. I'd love you long.

I'd love you long. I'd love you long. I'd love you long. I'd love you long. I'd love you long. I'd love you long. I'd love you long. I'd love you long. Now if I could be with you, I'd love you strong. If I could be with you, I'd love you long. I want you to know. I wouldn't go until I told you honey why I loved you so. If I could be with you,

one hour tonight, if I was free to do, the things I might. I'm telling you true, I'd be anything but blue, if I could be with you, one hour, if I, if I could be with you. If I could be with you one hour tonight, James B Johnson, Henry Creme is old old standard. That was then husband, Eddie Chambley, his band back to on a regular basis, because most of the recordings had the tennis all of that. Smallish band was recorded in Chicago in January of 1950,

it was, yeah. Chopper, Julian preacher, Charlie Davidson Bertone, and her capitalist Jack Wilson, Robert Lee Wilson on bass, and James Slaughter on drums. Bessie sings, Dynas sings Bessie, Bessie Smith. Bessie sang it all, Dynas Washington with Eddie Chambley in his orchestra. It's called M.R.C.'s Cheers. It's Blues, and again, it's with Chambley. Got some stop time breaks at two. I'm used to misfortune, baby. Used to the bitter end. I'm used to trials and troubles, cause I never had a friend a bad luck. Well, well, bad luck. Well, I'm used to trials and troubles,

and bad luck don't bother me. I'm used to taking beatings. Used to being alone. Used to being mistreated with nobody to call my own bad luck. Not, not, not, not, not bad luck. Yes, I'm used to being mistreated. And bad luck don't bother me. I'm used to being broke. Used to being sad.

I'm used to lousy folks, and I'm used to being mad. A bad luck. Yeah, yeah, yeah, bad luck. Ah, bad luck and lousy people. No, no, no, they don't bother me. I've been taken for fool. I've been taken for square. I've been used for two, and I've been told that I'm no bad luck. Ah, ah, ah, ah, bad luck. Yeah, yeah, bad luck, bad luck. No, no, it don't bother me. Right now, I'm just a cool little fool. And bad luck don't bother me.

Bad luck and lousy people. Yeah, she was a marvelous blue singer attack. Not just her feeling. She had the whole apparatus and technique instinctively, but she had it down to a precise team. Miss D, Diana Washington, let it jambel his band. Smallest band made up of New York made up, I believe, most of these sides of this collection come from the mid-50s. 1955, 1957. The bad luck is from 1957. Drawn from a large band of New York pros, but specific. Personnel is not given for all the titles. Jack Wilson was on piano as her captain is standing,

Richard Evans, I believe, on bass and Charlie Percipp, on drums and jambel he was in the band again. So, tenor, turned up in a set, called the Queen, Diana Washington. Bad luck. Diana Washington, part two about two-part presentation, on the superb blue singer, and a fine single of standards to another material. But she was a unique blue singer. Miss D, here on Just Jazz at Beach with you, and a selection from great many recordings made between 1943 and 1963. All right, let's start the thing, the bastard. Riverside Radio, WRB, R106.7 FM, New York doesn't mean too much now. If that kid doesn't stop playing that music,

I'll take him and the records and throw them all out of this house. Can't understand why young adults listen to rock music. Listen to the evening September 2nd at 10 o'clock, when Riverside Radio presents... Listen to that track. An hour of taste for rock music. Selections include compositions by the Beatles, Simon and Garfunkel, Chicago, Blood Sweat and Tears, The Who, and Richard Strauss. So, you're invited to... Listen to that track. When's the evening September 2nd at 10 o'clock on WRB R? Let's hear something pretty from Diana. Missed of Time. Well, I'm leaving you, baby. What, please, don't ban. No, girl. Come on, be sensible about it.

Let your conscience be your judge. Could you stand on the misery? All the suffering I went through? No, I couldn't stand on the misery. All the suffering I went through. So, I finally decided... It was my time to do some two-time and two. I didn't take no drivers.

Even left your whole bankroll. No, I didn't take the clothes you brought me. Even left your whole bankroll. I didn't take nothing. But my part weak body heart and soul. Don't hold against me, baby. Even though you know what we're doing. So, please, don't hold it against me, baby. Even though you know what we're doing. Cause if you hold it against me, baby.

I can make it hard for you. That was a diner with the big Ike Carpenter band. Pianist Ranger had a big band in the West Coast in the late 40s. Yeah, the sound's pretty dim, but there she was. It comes through. Pretty good lyrics and that blues too. Don't hold it against me. Not that they've specifiqued it on this. I would've wasn't that democor discollection in Washington sings. The best in blues and it was done from Macarry, originally. Ike Carpenter is big band. Don't hold it against me. Miss Jynnau, and the men up from you know where. Rydym eu cyn weddar iau un goodaeth, cargo'n'n feithio'r cyyllitio ac foedd hyn yn gwla�믴 hyn.

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a'r eu cyndwydd eu pethu aidingeddarnoedd y ffusrool varodau lle dal einel, gyniadau ei d werlyr yn gif o'r gyf canon. Mae'n mynd ei amgt, mae'r unlonST, syj cymedd cynnodd i ei sy'n mash. Scoedd y DAY fe'n ragu. So boedd bat â hunii mewnegodd. Wel â gyfle g completed ie". Iolgy'n i'n ce колain niefan ni. dist состоau malawn. Mae'n gwaith iawn anierawnas yn datwnais, yn gallwch am strapdol yn je mechanism i'r gall mi dysgu. Ham rei ddiad cyfu enn wneud ac yn ddyniadol pand ranging a cael offer ond y Madis Lindsay, I need you I need my idol I need my idol I need my idol

Searching The f за Honey Remember Everyone Don't Look As soon as I picked our V cheering Mae'n gweithio'n gweithio'n gweithio'n gweithio'n gweithio'n gweithio'n gweithio'n gweithio'n gweithio'n gweithio'n gweithio'n gweithio'n gweithio'n gweithio'n gweithio'n gweithio'n gweithio'n gweithio'n gweithio'n gweithio'n gweithio'n gweithio'n gweithio'n gweithio'n gweithio'n gweithio'n gweithio'n gweithio'n gweithio'n gweithio'n gweithio'n gweithio'n gweithio'n gweithio'n gweithio'n gweithio'n gweithio pe gwaithio'n gweithio'n gweithio'r peuwaithio'n gweithio'n gweithio'n gweithio'n gweithio'n gweithio'n gweithio'n mound comptehtio'now y définffau nhéch doelemosol sy'n gweithio'n gweithio'n gweithio' nerfau un gweithio'n gweithio'n gweithio'n gweithio'n gweithio'n gweithio'n gweithio'n gweithio'n gweithio'n gweithio'n gweithio'n gweithio'n gweithio'n gweithio'n gweithio'n gweithio'n a45 gweithio' o teithio'n gweithio'na y postsau' Oxiadegar am sy'n got»

»Y hwi'r glydd cu cymry además Coddol o'n cad fwsc eich gwaith eich softer Gyd pireddi gynhyr ''Conn ramur'' N cancer maybe I can borrow us more maybe tell some joke of you what? who's got the learn? the learn to laugh At my broken hearts Ydd jagu agol gyda chi ga'r gyddwch 9. Rozdog ddi daon gyda undesto.

Gdych eisiau i'r boufi gwyllunast. Bastatiaw, anhymdw i ni'n golg gadiau. Mae'n ddod falle blaed cu yng Nghymli本au'i bod yn eileg ac fel Martyr Ridd, Dyna g Ysnidmet observations, Sixoc cael gyfer, a chroddyn, BJ Spicy Fizzle Hai, Amy St Ryd workshops a hynny sbyth, 1962, Amazingwell a onzebychans, Danaa, 62, Samother of Gly��мов o Gymnod picking

Greif a myna llunai byddi'n FIFA plans a oedyn yn furious, ardeş, готов sagte'n herod, dŵme hwnnig du wedi'n ryd排n.'" Ll yma'r am yn fy'n wrong mesnod, Lag trwy low rolii'r recognised gweith sy'n pall dellau … µ qualcosa wedi sap ym yn gweithio. Chao bu'zg yw wedi rha'r un, Before she went away, imported ten ten Excuse me for theöl Without you I know

Because of one caresh my world was overturned At the vergis doct all my bridges burned ...le syddwch im incrediblyu gallu gallu. Diolch pan yw goud. Pau ddim i'r gallwch dysgu dew iio a neu cyfo. Dei iidd mis di estrANS podéis ofмен. Mae'r rai sy'n eu rhlished o dew lach, mae'r bi'r amser yfan diw'n fforddion Mae'n gwaith catfow! R Presents

Mae ydy'n Uhl, At the very start, all my bridges burned by my flaming heart. You'd never leave me, would you? You couldn't hurt me, could you? Never let me go. Never let me go. Never let me go. Nice song. Red Evans, Charlie Livingston. An unusual construction, two truck cars, two 8-bar phrases, just typical Nana. A B-section, it's 12, and that ends it. He's written some fine songs. Red Evans, Charlie Livingston.

Brother Tendor died of that. She sang it a choir style. Torch songs. She could be most touching. There was Lucky Thompson, this big sound. We heard on that early date from 1945 in LA. Lucky's leader, here's the side man, in a Benny Goldson arrangement. The MRC set the swing in Miss D. Quincy Jones and Charge of the Oxford, recorded in New York in 1956. Never let me go. The falling down song. The falling down song. The falling down song. The falling down song.

The falling down song. The falling down song. The falling down song. The falling down song. The falling down song. The falling down song. The falling down song. The falling down song. The falling down song. I'm flying high. But I've got a feeling I'm falling. Falling for nobody else. You. You caught my eye. And I've got a feeling I'm falling.

Show me the ring. And I'll jump right through. I used to travel. Single oh. We chance to mingle oh. Now I'm a tangle over you. Hey, Mr. Parsons. Stand by. For I've got a feeling I'm falling. Falling falling in love with you. That's Walla.

Collaboration and a rather hard one. That's the case with Billy Rose and Harry Link. For the lyrics. Originally 1929. I've got a feeling I'm falling. Down the Washington sings. That's Walla. New York. 1957. With only Wilkins in charge of the orchestra. Did all the writing. It's short cars too. No, it's full of cars. We had Eddie Chambley opening, which is unusual. With a tennis solo. With a half-cars. Then Diana taking it up. For a full one. Now that Walla catalog. Yes. I think. Diana may have had a hand writing this tune. Let me rate. It's a blues. Well, if I never get to heaven.

It won't be because I ain't a try. If I never get to heaven. It won't be because I ain't a try. You see I've got myself an angel. That's all I need to be my guide. If I never hit seven. You never want to twice ain't bad. I said if I never hit seven. You never want to twice ain't bad. You see I've got myself an angel. And that's more than I ever had. He builds me up.

He cuts me down. He treats me good when he's around. Sometimes he takes me out. He's yellow little feet. So start that looking colors. Everything I need. You see I've got myself an angel. Standing here by my side. You see I've got myself an angel. You see I've got myself an angel. You see I've got myself an angel. You see I've got myself an angel.

You see I've got myself an angel. You see I've got myself an angel. You see I've got myself an angel. You see I've got myself an angel. You see I've got myself an angel. You see I've got myself an angel. You see I've got myself an angel. You see I've got myself an angel. You see I've got myself an angel. You see I've got myself an angel. You see I've got myself an angel. You see I've got myself an angel. You see I've got myself an angel. You see I've got myself an angel. You see I've got myself an angel.

You see I've got myself an angel. Mae'r yw mael diwy adwni'r yn adifatio am i mewn 기분. Ubwg ddod, ac rhwchai. Ong dragu b if I never get to heaven and three instrumental solos there by the people who did the most of the backing for her, the Abla Gata work and short solos spots here and there. Joe Newman on chapter 1, and then Billy Butler's guitar, and then Eddie Chambley's tenor, Fael nhw'n Djurdall yn sgdwy nicl��n orin fixing,

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Mae™r yna wedig yUST shyasau dweud yn gwylности. Nghymriag Your sweetness thing Bloom Wch haw wer inflation moneyion— entud £ Foreburn its My plastic Is there any greater love in all the world it's true Vorigling

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Mwини chod y met y rhwy aegen honol ei cyfugりfon I'm real dog on lonely If we rode I walked along was with you No wonder I am lonely Well the day has passed Love had its day It couldn't last He's gone away This ego out of money is singing Say lover Oh lover Oh lover where can you be? How it's getting in there for only the final chord

And the final rhythm section The 16 bar contributions from Witt and Kelly are a couple of stead And for the section And Max Roton drums Paul West was the bassist She did that as a matter of fact The assessment we just heard from before The horns laying out entirely Four years earlier in Los Angeles It was the same tune But that was a big stretch out performance With the extended instrumental solos So I'm not using that one This is Newport in 1958 That's the title of the old MRC LP 2 Newport 58 We heard two tracks from this on part 1 All of me Surouser And one about two versions of Backwater Blues But as is Smith

Also from Newport 58 Diana Washington 1943 1963 here on Just Jazz Ed Beach with you Blues standards And a few songs A bit more on the obscure side This presentation On this great jazz singer Let's bust it right here Riverside Radio Wavio It's 106.7F In Soporific and Soggy Old Neo That certainly is a handsome tint To light be like a sound But probably it really is Jazz scheduled time Cheers By George's Friday It's almost the last week The month is the last four weeks Months sort of ends Oddly Next Monday

You can get that schedule by Perhaps Monday or at least Tuesday You send us that stamp Self-addressed envelope Soon Right away in fact And we'll send the schedule The September schedule out to you She has everybody listed nice and neatly there A few week day on the Saturday shows The Times and all that stuff And our address for forget it Which better not It's Wavio 490 Riverside Drive, New York 10027 September jazz schedule Yes, Diana And it's back to the blues With a fine strong performance And by Diana With some Ellingtonians I Ain't sure I know what love is But I think I've got it back

I ain't sure I know what love is But I sure must have it back Well, it's all just a gamble And that's enough to drive a woman there These say loves a proposition Say it strictly give and take Well, my heart is full I give him that proposition Stalks of fame

Well, I don't claim to be no gambler And I'd hand it with a dice No, I don't claim to be no gambler And I don't know much about a dice But I'll wager my man nose I'd the kind to crap out twice Say love will make you drink and gamble Love will make you steal all my love Yes, love will make you drink and gamble Love will make you steal all my love Yes, love will make you do things baby

But you know it's wrong Now you left me with no honor Don't know the reason why You just got up one morning Didn't even say goodbye But I love you baby Oh, I know you made me cry Yes, there's other men who are big But who are you satisfied Man, she could make those things really Sale couldn't say any tempo It's probably gifted Intuitive blue singer

Developed great individual style Is she matured And this is early on too Fairly early on 1952 I believe it wasn't Chicago With a few Wellingtonians That was Russell Prokope sounding quite That was Paul Zabligato on her second carus And Prokope on the first and third carus Down a straight through All hers, no instrumental solos Let's see the rhythm section had A girl booker, a girl pianist It was quite good And Keter Betz on bass What put down her for time And Clark Terry was also on track on the date It was Jimmy Cobb's date With down her featured Cobb was on drums I believe that was the lineup Shum

Gambler's Blues Diana Washington Yeah Pianna sets it up For yet another 12-bonic skirt Your mind is too full of shame Yes, let me tell you baby Your mind is too full of shame Don't forget pretty daddy That this world is full of hope for me I'm not going to be your servant

I've told you time and time again No, I'm not going to be your servant I've told you time and time again Try to find yourself another woman Cause I've got myself another man So leave me alone baby You're not going to worry my mind Yes, leave me alone baby You're not going to worry my mind Before I'd keep you proper

I'd take any kind of man I could find You had me one steady You could have kept me all to yourself Yes, you had me one steady You could have kept me all to yourself But now I'm sorry baby I belong to somebody else You know the Regental Blues The 1945 obsession in Los Angeles Lucky Thompson's old stars And arranged backing two all the way Trappin three reads

Saxus Carl George's Trappin, Jill Grant, Jean Potter And Lucky on Saxus, Alto Bertona, Tenor respectively And Mill Jackson down vibes And he's dying straight through Mill was playing that And then I'll be gone for it on the third cast With him sectioned had young Charles Mingus on bass Lee Young on drums Wilbert Barraka on piano And for the Paolo originally Later picked up on Grand Award Down a Washington, Lucky Thompson's old stars Wise woman blues Wise woman blues We heard down on part one And at least one Jerome Kern song Why was I born Here's another Oh he's just my baby

And ordinary boy He hasn't got a thing And that I can brag about And yet to be Up on his knee So coffee and roomy Feels natural to me And I really can't explain It's surely not his brain Mmm, that makes me thrilled I love him Because he's wonderful And because he's just my baby I love him

And he's just my baby And he's just my baby And he's just my baby And he's just my baby And he's just my baby And he's just my baby And he's just my baby And he's just my baby And he's just my baby And he's just my baby And he's just my baby And he's just my baby And he's just my baby And he's just my baby And he's just my baby And he's just my baby And he's just my baby I can't explain It's surely not his brain Ii... diary... …bwerb llan chael hyn hyn... …ig engi hod''n rwy sou'n Ziak distractinghwyllów.... …eg wohir o lowни arrangol an branch...

…ig wrth yna o'r datblygu... Yn yn y himil. grave ynن coerglennu i dal, achlo'r 싫. Mae'n deur mari'r petrooul bod yma rhyafn Bagangoli fascett excitement. Disynch dod sef hyderwm i hoping... Mae cael yng Nghymru? Mae f máxim blin, mae'n ei sef hyderwmai glaedig yr hefn Все Lat блidageld maith bai f military應ioed os'ch tew i dod fluorescent ac y teat yn ich gradi gerellb. At baby fixing c desire.

Ond mae yma. blygu'nchen完andol sy'n sut ar gyfer. Mae'n eit sy'r pyr程. Siol ni'n done. Mae oedd yma gyfer yn rhwb. Ond doel uni a ffridonio os chi amel? I'm saving my love for you. I know for certain the one I love. I'm through with burden. It's just you I'm thinking of. I'm saving my love for you. I'm saving my love for you. I'm jack of honor in the corner. Don't go nowhere.

What do I care? Your kisses are worth my waiting for. Really? I don't stay out late. Don't care to go. I'm home about eight. Just me and my radio. Ain't misbehaving. Just saving my love for you. I'm in love for you. I'm a jack of honor in the corner. I'm a jack of honor in the corner. I'm a jack of honor in the corner. You don't go nowhere. What do I care?

Your kisses are worth my waiting for. ymw eu elch arwoo. Ni'n ce清. byddygut. Im am my garwchionhein. Yw hidlo. A aionаботan. Tyrj哪裡. Aionboten! Aion cocla il. Aionb Mae rhaid y gwa'r dymael. Ag Of BB is a phai yn llaub Taxi y p draw. Mae ymlaed m saying y hyn y dynol, i'rul beth o symud. A gynにu'r deadel yn gwiliauosti Gymraeg. Ieud wrth gyn intolad o'r udaStorty a'n colyn, a sobln, felly sabi buffb皆, a Caorddog perod. Yn mai Dw i'n edryd? Unigag—donor Llywodau Llywodau bydgan unig negaziau i laughauwem Gasta

apefan. Groeddu o' d intrinsu, trwyfyng mor unig wneud eftruu Mae'r byrn i nidnymoli holl. Mae'r fadeon π judgingae. Dyna hynny'n nidd gymiedraedd neu ddwi deirio yma. Mae'rор, a dyna'n fel ysfo i rhywbeth wne語rIE. Mae ie organisationsر j Housingolo i yr آfn ednaau yn rhan ymwm ei hwnאדar fel ni wne flux. Dyna gwrddyn holl ddw stop oful虊 ddó açıl! Taill ni math o ni rhw yn ddefnyddiaeth ter fel ni am ddwnyddu.

Idyg, am pan ymdwi'ch dynybod. Ruby bat wneud i gwneud i gwleith, I Pwn everything That I had this morning Yeah, yeah, yeah, upon everything

I could get my hands on this morning Aa'r, arwu ypabilu sydd yng Ngwy il ap Brenda. Llywnau My'scause I am afraid I get me dull My motherевorcerororororororororororororororororororororororororororororororororororororororororororororororororororororororororororororororororororororororororororororororororororororororororororororororororororor Or I smoke that Scream and cry this morning OS Feeling liketo scream scream

feeling liketo scream hallef for I'm too stag I'd ...maen nhw… ...haen nhw… I say it if you're mad, this days I don't come home till morning. Don't waste your breath by fussing at him.

Just mall him on the head with your rolling chin. Cause nobody knows, nobody knows. How I feel this morning. Yeah, yeah, I feel like I get scream. Scream and cry. This morning. Yeah, scream and cry. This morning. I feel like screaming. And I hit the cry. But I'm too stout hot. Don't you know I don't come home till morning. I feel like screaming. And I hit the cry.

And now I'm too stout hot. Don't you know I don't come over tonight. Cause nobody knows the trouble I see. And nobody knows the way I feel this morning. I'd rather be a singer on a fishing line. U pat pat pat pat pat pat pat pat pat pat pat pat pat pat pat pat pat psayg. Aktu pat pat pat pat pat pat pat pat pat pat pat pat pat pat pat pat pat pat pat pat pat pat pat pat pat pat pat pat pat pat pat pat pat pat pat pat pat pat pat pat pat pat pat pat pat pat patērek doblорfon roedd ym. Felly Hawkins-B Mae'n ﷺ

Mae' bwchdyarlo Mae bwchwl'p 11 Maewen yn nefel Mae'w meth shocking Mae'r ategro Mae'r flavour Wohnung tinta tinta tinta tinta tinta Yn gweithio'n gweithio'n gweithio'n gweithio'n gweithio'n gweithio'n gweithio'n gweithio'n gweithio'n gweithio'n gweithio'n gweithio'n gweithio'n gweithio'n gweithio'n gweithio'n gweithio'n gweithio'n gweithio'n gweithio'n gweithio'n gweithio'n gweithio'n gweithio'n gweithio'n gweithio'n gweithio'n gweithio'n gweithio'n gweithio'n gweithio'n gweithio'n gweithio'n gweithio'n gweithio'n gweithio'n gweithio' I ain't gonna hallow But I'm not squeal Cause nobody knows Nobody knows The way I feel this morning I'm not even here On a southbound train this morning

Oh I'm leaving here On a southbound train this morning I'm leaving here On a southbound train Nothing's gonna bring your secret back here again Cause nobody knows The way I feel this morning

Yeah an extended take on that final traditional tune It's not a strict blues, call it 16 bar blues Tom Delaney, Jasmine Blues fame Spended Diner, her vocal throughout Bill for sustain and rather subtly Intensified throughout all sorts of obligato behind her and arranged back in two for sacks as an ensemble Joe Newman viewed a trumpet A bit of baritone there Cecil Payne Joe Newman again And some alto And Billy Butler's guitar mainly for the backing work A solo backing work The fine roulette set with arrangements by Fred Norman

Diner Washington back to the blues New York in 1962 and 1963 Blue to blue Oh Ain't these tears in my eyes Tellin' you Am I blue You'd be too

If each plan with your man done fell through There was a time I was the only one Oh And now The sad and lonely one Laught it Was I gay Till today Now he's gone and we're through And my blue

There was a time I was the only one Laught And now The sad and lonely one Laught it Was I gay Till today Now he's gone and we're through And my blue And my blue And my blue

The pretty Diner, almost delicate Almost with that strength Nice old tune, too, said Claire, how'd he act? In my blue There was that date in 53 again, we've heard about three things from that Paul Quinishay on tenor Sounding nice behind Diner there Jackie Davidson organ, Jimmy Cobb's drums Bersprey Sleepy Anderson's piano New York in 53 We better do our bus thing, we're kind of late Riverside Radio, WRVR106.7FM in New York America's Summer Playground Think of a problem, any problem, got it? Sooner or later you're going to hear it discussed on problems and perspectives You probably won't agree with what you hear because we always try to offer at least two

and possibly more points of view Unless we're trying out a new or a different angle on you Then we may just let the fella go on Make his case even though it may seem unorthodox and we'll see how you react to it For a healthy debate or a new perspective Join us Friday evenings at 730 on problems and perspectives over WRVR Yes, Diner This being the second of our two-part feature On this superb American artist, singer And a selection of her recordings from 1943 to 1963 We record, we closed out part one with most amusing tune, blues We called Fat Daddy, which Diner originally recorded In the early 50s Well, this is a later version, Fine Fat Daddy Fine Fat Daddy

Don't reduce Stay as sweet as pudding and apple juice Fine, fine, fine Fat Daddy Stay as sweet as pudding and apple juice Fine, fine, fine Fat Daddy You're in style Fine, fine, fine Fat Daddy You're just my style Cause, baby You always have that crazy smile Fine, fine, fine Fat Daddy

Please, don't reduce Fine, fine, Fat Daddy I don't want you to reduce Don't you know if you're well and happy It ain't no use Fine, fine, fine Fine, fine, fine Fine, fine, fine Fine, fine, fine trusted Mr teachers

I said I love to be your bride I said I'd really like to be your bride 👌 because what really counts is the way you're feeling high 😻 Not a newer version but sequel in a sense and a different set of blues lyrics and a different feel to this too ...寸ach but a good blues nonetheless recorded a twyd dal or herself pressured we жortu sythio'r ladeddwys na'n proses'r torb wneud i'n traffaad ynionedd. i'n pion o Robert Lee Wilson's Bay's James Slaughter on drums i'n deddw i'n chambl i'n chambl i'n tenna.

January 1958. Down the Sings Bessie Smith this tune onn m'n related of course to Bessie and Charlie. It was a filler track, but nice to have. Down the Washington with Eddie Chambl i. And his orchestra. Fine, fat, dead air. Shoes, you may remove them, but no socks, baby. And let us fly away to the rock candy mountains just you and I. Where the blue birds sing by the champagne sprays. We'll kiss the blues goodbye. Let us wander down to a roll pedal. I'm swaying at if you feel inclined. Take your shoes off, baby. Take your shoes off, baby. And quick run in, up through my mind. And after we've reached the end of the world.

And stand at the edge of time. We're gonna sail away on an ocean of love. On the rickland, the rills of the brine. Let me guide my love through the strangest places. Where love is blind. Take your shoes off, baby. Take your shoes off, baby. And start. Run in through mama. And after we've reached the end of this orbit.

And we'll stand on the edge of time. We'll sail away on an ocean of love. On the rickland, the rills of the brine. Let me guide my love through the strangest places. Where love is blind. Come on, take your shoes off, baby. Take your shoes off, baby. Take your shoes off, baby. Take your shoes off, baby. Take your shoes off, baby. And start. And start. It's cute tune by the old singer, Gene Austin. Take your shoes off, baby. And start running through my mind.

It's inspired title, Lines. Dinos 62, that set on roulette and recorded in New York in 1962. The fine band, New York Man, with Fred Norman and Charge. Let's. Take your shoes off, baby. We have a new personnel here. It was a brief piano spot. And one for the saxophone section. And one for the ensemble. You can tear it up a tune like that. I'll tell you. This is about our third current song. Second of this part of our two-part feature. Pretty old ballad, which she sees swung. And when I told them how wonderful you are. They didn't believe me. No, they didn't believe me. Your lips, your eyes, your curly hair.

They're in a class beyond compare. You're the loveliest thing I've ever seen. Oh, and when I tell them I'm certainly going to tell them. That I'm the girl whose boy one day I hope you'll be. They'll never believe me. No, they'll never believe me. That from this great big world you have chosen me. And when I tell them I'm the girl whose boy one day I hope you'll be. And when I tell them I'm the girl whose boy one day I hope you'll be. And when I tell them I'm the girl whose boy one day I hope you'll be. And when I tell them I'm the girl whose boy one day I hope you'll be. And when I tell them I'm the girl whose boy one day I hope you'll be.

And when I tell them I'm the girl whose boy one day I hope you'll be. And when I tell them I'm the girl whose boy one day I hope you'll be. And when I tell them I'm the girl whose boy one day I hope you'll be. And when I tell them I'm the girl whose boy one day I hope you'll be. And when I tell them I'm certainly going to tell them that you're the boy whose boy one day I hope to be. They'll never believe me. No, they'll never believe me. That from this great big world you've chosen me. They couldn't believe that you had asked for me. Yeah, it's fine swung that way.

And a strong ensemble pass it's too from Quentin Jones and the orchestra. And they didn't believe me. They didn't believe that you had asked for me. Donna Ed's on that, it's an old one, two written in 1914, the song. Yeah, there were some short solar spots too. Trumpets. Don Elliott, Nick Travis, Charlie Shavers and Clark Terri, all sharing a chorus with eight bars each. And the ensemble to really punch. And Donna back in of the last half. And when I told them how wonderful you are, they didn't believe me. The Swing and Miss D, Donna Washington to Quentin Jones and his orchestra. Quentin's arrangement here I imagine. New York in 1956. We heard Benny Goldson's arrangement earlier of that pretty red Evans ball. I remember, never let me go.

Well, this time it's all Benny's. I know he'll never be forgotten. He was a king on crown. I know I'll always remember the warmth of his sound. Linger so long, I'm sure he's still around. For those who hurt, they repeat him yet. So those who hear won't forget the sound of his phrase. It goes a time uncoverable by days. The things he played are with us now.

And they'll endure shit time for life. Oh, yes. I remember Clifford. I seem to always feel him near somehow. Every day I hear his lovely tone. In every trumpet sound that has a beauty on its own. So how can we say someone so real has really gone away? I hear him now. And always will believe me. I remember Clifford still. And beautiful ballad attribute to the trumpet Clifford Brown.

By Benny Goldson just came a modern jazz standard. I remember Clifford one chorus. She had it at nicely too. I think Ben this time turned up in the collection The Queen, Dad of Washington with tracks from 1955 to 1960. This was recorded in 1960. No other information on it. I remember Clifford. Dad of hits the road. Big blues road. I got a key. To the highway.

I'm all packed up to go. I'm going to leave here on it. Because the walkin' is much too slow. I'm going back to the border where I'm better known. Because you ain't done nothin' but a run a good gal from home. Now in the moon comes over the mountain. Yeah, you know I'll be on my way. I wanna walk that old road until the break of day. Yeah.

it's your first time on this list,…. N frequency Yes I had to say goodbye Because when I walked that long road Until the day I died I'm gonna walk that long road

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