Print available as:
A6 / 148 x 105mm
A5 / 210 x 148mm
A4 / 297 x 210mm
A3 / 420 x 297mm
Depicting Dinah Washington (1924 - 1963), American singer and pianist, and "Queen of the Blues".
Ready to be mounted and framed, each print is accompanied by a short bio and posted with a protective greyboard backing in a bio-degradable sleeve, in a hard-backed envelope. A3 prints are wrapped in tissue paper and shipped in a postal tube.
Dinah Washington (1924 - 1963)
Ruth Lee Jones was born in Tuscaloosa, Alabama, and moved to Chicago as a child. She became deeply involved in gospel and played piano for the choir in St. Luke’s Baptist Church while still in elementary school. After winning a talent contest at the age of 15, she began performing in clubs.
By 1941-42 she was performing in such Chicago clubs as Dave’s Café and the Downbeat Room of the Sherman Hotel (with Fats Waller). She was playing at the Three Deuces, a jazz club, when a friend took her to hear Billie Holiday at the Garrick Stage Bar. Club owner Joe Sherman was so impressed with her singing of “I Understand”, backed by the Cats and the Fiddle, that he hired her.
Band leader Lionel Hampton came to hear Dinah at the Garrick & asked her to be his female band vocalist. She stayed with Hampton’s band until 1946, when she signed for Mercury Records as a solo singer. Her first record for Mercury, a version of Fats Waller’s “Ain’t Misbehavin’”, was another hit, starting a long string of successes.
In 1959, she had her first top ten pop hit, with a version of “What a Diff’rence a Day Made”, which made Number 4 on the US pop chart. She followed it up with a version of Irving Gordon’s “Unforgettable”, and then two highly successful duets in 1960 with Brook Benton, “Baby (You’ve Got What It Takes)” and “A Rockin’ Good Way (To Mess Around and Fall in Love)”. Her last big hit was “September in the Rain” in 1961.
According to Richard S. Ginell at AllMusic:
“[Washington] was at once one of the most beloved and controversial singers of the mid-20th century – beloved to her fans, devotees, and fellow singers; controversial to critics who still accuse her of selling out her art to commerce and bad taste. Her principal sin, apparently, was to cultivate a distinctive vocal style that was at home in all kinds of music, be it R&B, blues, jazz, middle of the road pop – and she probably would have made a fine gospel or country singer had she the time.”