Customer Reviews

Don't Go to Strangers

5 star:		(16)
4 star:		(1)
3 star:		(0)
2 star:		(0)
1 star:		(0)

 

 

I rarely meet people familiar with Etta Jones. And often those who say they know her work are really thinking of Etta James (a fine singer in her own right, but lacking that signature Billie Holiday timbre and phrasing that belong only to Etta). What distinguishes Etta from Lady Day is the former's perpetually gregarious, good-humored spirit that invites us to have fun with her rather than share her life experiences. That quality was in abundant evidence when I caught her recently at Chicago's Jazz Showcase. Unfortunately, the sound system was unworthy of her, producing an unwanted metallic edge. But I solved the problem by playing this album when I got home. [Postscript: I like this CD so much, I purchased the RVG 2006 remastered edition (pink cover). To my ears, the "hotter" mix, "punched-up" sound, and "enhanced" reverb of the new edition make this earlier edition (yellow cover) the better bet. Regardless, take whatever you can get.]

Sit back, turn up the volume, unplug the phone and prepare to be impressed. Jones captures the best aspects of Billie Holiday and Nancy Wilson, but she's really more than either because of her unique phrasing and interpretation, plus a great voice. She puts her mark on every song she sings. "On the Street Where You Live" may not sound right at first, but Etta's version soon becomes the only way you want to hear this standard. Not only are you going to need a screwdriver to get this CD out of the player, but you might as well buy two copies now because your friends will be asking. I've bought 4 already, 3 gift copies. A great jazz recording, a great jazz artist, your money is well spent on this one.

I've been listening to this album for 12 years -- starting when it was an LP in my parents' collection and I was in middle school -- and bought it at least twice for myself (it was stolen once) on CD. There's no saying in words what Etta Jones' voice does with music, but it's a good thing: earthy, smooth, mellifluous, her voice pours out of her like wine, intoxicating and enchanting.

Jones glides through moods and modes, speaks the languages of merry mischief ("It Could Happen to You", "Yes Sir, That's My Baby," ""I Love Paris") and haunted lovesickness ( in the eternally stunning title track, "Don't Go to Strangers," Billie Holiday's "Fine and Mellow," "Something to Remember You By") with equal fluency --and sometimes in the same song ("Bye, Bye Blackbird").

The whole world should own this album.

This is not so much a review as an unabashed fan letter.

In 1965, I walked into a "hi-fi" shop in Walnut Creek, CA. They were demonstrating the latest speaker, or amplifier, or turn table, or.... and the record they were playing was Etta Jones' "Don't Go to Strangers." Like Saul on the road to Damascus, I was transfixed and transformed. Forty years later, I still listen to this album at least a couple of times a month.

I don't know how many times I've had to say, "No, not Etta James, Etta JONES," when people ask me to name my favorite singer. Ms Jones is most often compared to Carmen McRae, Dinah Washington and, of course, Billie Holiday - whom she loved and admired. But Ms Jones was no imitator. She had a unique voice that could deliver a song straight to your heart. When Etta Jones sang a song, it was sung. There was a special warmth, a special humanity in Ms Jones' deceptively simple style that was, and is, unforgettable.

You'll notice that this fan letter is written in the past tense. Ms Jones passed away on October 16, 2001 - the day that her last album, a tribute to Billie Holiday - was released.

Any Etta Jones album is a joy to hear - even the couple that she cut with "strings," (why any jazz singer ever makes an album backed by violins is a mystery to me, but I digress...). But there are two "groups" of her records available today on CD that warrant special attention: The albums she cut for Prestige in the 1960's, including "Don't Go to Strangers;" and the albums she recorded for Muse, starting in the late 70's and continuing right up until her death, (although her last record is on High Note).

OK, ok, ok.... I love Etta Jones. What about the album? Recorded in 1960, "Don't Go to Strangers," was Ms Jones' break out album, (not that it made her a household name). Backed by Frank Wess, (flute and tenor), Richard Wyands, (piano), Skeeter Best, (guitar), George Duvivier, (bass), and Roy Hanes, (drums), "...Strangers" is a set of standards that never misses a step. From Roy Hanes opening drum whack on "Yes Sir, That's My Baby" - and by the time Ms Jones is done with that old war horse, you'll be her baby - to the last trailing notes of "All the Way" - the album is pure gold.

As for the sonics? Well there are two CD versions of "...Strangers" in print: The original gold colored OJC version and a recent purple, (passionate pink?), colored "Rudy Van Gelder" remaster. I've played 'em back-to-back. The RVG is "crisper," (that Roy Hanes whack will hit you like a dope slap to the back of the head), but there's nothing wrong with the OJC version.

If you love good music, if you care about jazz, you will love Etta Jones. If you've heard her before, you know what I'm talkin' about; if you've never heard her before, I'll simply say, "Don't go to strangers - go to Etta Jones."

Rather than the yellowish or golden cover of the previous edition, this one is magenta (?), and the audio has been somewhat "enhanced" for the sake of present-day tastes. Otherwise, there's no difference between the 1991 release (which is still in print) and this 2006 RVG remaster--which is a good thing, since where matters of perfection are concerned, no improvements should be necessary. In fact, if this one isn't in your top five female jazz recordings of all time, you may need to reconsider your desert-island necessities.

Frankly, I was hoping Rudy might be able to lighten up just slightly on the reverb for this edition, but no such luck. Instead, the mastering is predictable (more bass to suit present-day preferences) and appears to have been subjected to some curious tampering of the sound of the drums, causing the hi-hat and snare to be crisp and clear on some choruses and all but inaudible on others. I don't recall such an in-and-out problem with the drums on the previous issue of the date. Whichever edition you pick up, you can't go wrong. This recording, the most commercially successful release by the underrated vocalist, is as essential to any fan of female jazz singers as it is to those who already have some of Etta's other work.

I am mystified by the fact that this classic hasn't been reviewed more. This is definitely one hec of a great album, and simply one of the finest jazz vocalist recordings of all time. Etta was so underrated, often times getting confused with the legendary Etta James. In my opinion, she deserves much more credit than she gets and this album - "Don't Go to Strangers" - is proof positive of that statement. I would easily put this one in my top ten favorites when it comes to female jazz vocalist albums.

Besides that beautiful, affable voice, a voice that to me is sort of a cross between Nancy Wilson and Billie Holiday, she's got a pretty darn good quintet backing her up - Frank Weiss (flute, tenor sax), Richard Wylands (piano), Skeeter Best (guitar), George Duvivier (bass), and Roy Haynes (drums). I was particularly impressed by Weiss, especially on the flute; he and Etta both compliment each other very well. However, they all deserve kudos for helping Etta turn this recording in to what many believe (including this novice reviewer and music fan) to be her crowning achievement. Not that her other work for Prestige is anything to be ignored in its own right. As I stated above, this great doesn't deserve to be as underrated as she is. After listening to this truly wonderful recording, it's not a stretch to say that she justly deserves to be mentioned along side Sarah, Ella, Billie, Carmen, et al...

So pick this one up ladies and gents, and see for yourself just how great this is. Definitely a classic and worthy of five stars!

I ordered it from one of Amazon's "So you'd like to hear some great jazz vocals" -type lists, and I'm glad I did! I too, hear Billie and others in her voice, but Etta has her own style and it is a goodie. I find myself wondering how many pop singers of the 70's have been influenced by her, since I am positive I hear Etta in more than one voice from this era! Very good music, talented band and skillful singer, good arrangements. Can't wait to try my next Etta Jones album!

My favorite pick from this CD is Etta's copy of "FINE AND MELLOW". I 've heard this song perform by so many female Jazz singers, but Etta's is the Best. Listening to her, one can hear the influences of such singers such as Billie Holiday and Dinah Washington. This CD is a "must have" for those who enjoy listening to Jazz Vocals.

It is too bad that there is not more out by this lady. She rings my chimes!

the other reviewer stated something like "need a screwdriver to take it out of the CD player.." is absolutely right! i believe this albumn is not only the very best of Etta, the recording is fantastic! I understand it has been digitally remastered, but the clarity, the image, sound stage and the details of the recording is unbelievable. regardless you are buying it for the music or for you audiophiles, you will not be disappointed.
this CD is the top 10 of my collection without a doubt!