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Blue

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Editorial Reviews

Barnes & Noble - Dave Gil de Rubio
Long before Linda Ronstadt or Natalie Cole delved into the Great American Songbook, Diana Ross took the plunge during her Oscar-nominated turn as Billie Holiday in the 1972 film Lady Sings the Blues. Her vocal interpretations on the soundtrack amply proved that, despite her pop beginnings, the former Supreme had a genuine feel for jazz. Though she went on to record this follow-up album, Blue languished in a vault for 30 years. Rumors abound that Motown chief Berry Gordy, then Ross's paramour, felt she was straying too far from her Top 40 roots and shelved the project. Accompanied by many of the same musicians who'd played alongside Holiday, including trumpeter ...
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Editorial Reviews

Barnes & Noble - Dave Gil de Rubio
Long before Linda Ronstadt or Natalie Cole delved into the Great American Songbook, Diana Ross took the plunge during her Oscar-nominated turn as Billie Holiday in the 1972 film Lady Sings the Blues. Her vocal interpretations on the soundtrack amply proved that, despite her pop beginnings, the former Supreme had a genuine feel for jazz. Though she went on to record this follow-up album, Blue languished in a vault for 30 years. Rumors abound that Motown chief Berry Gordy, then Ross's paramour, felt she was straying too far from her Top 40 roots and shelved the project. Accompanied by many of the same musicians who'd played alongside Holiday, including trumpeter Harry "Sweets" Edison, Ross's singing on Blue subtly swings, whether she's infusing sly seduction into a string-caressed reading of Cole Porter's "Let's Do It" or affecting a slight growl amid the swanky arrangements of "T'Ain't Nobody's Bizness if I Do." And when she's not darting amid the vibes dotting a snappy rendition of "Love Is Here to Stay," Ross's yearning phrasing helps to conjure romantic images of a late-night rendezvous on the Benny Green-flavored guitar peppering "Can't Get Started with You." Blue is as relevant today as when it was recorded, and shows how multifaceted this dynamic diva really is.
All Music Guide - Rob Theakston
For soul fanatics, the Motown archives are the musical equivalent to the Wonka building in Charlie & the Chocolate Factory. Every twist and turn is filled with the possibility of resuscitation, preservation, and in some instances surprise discoveries. Such is the case with Blue, which was supposed to be the follow-up album to Diana Ross' wildly successful Lady Sings the Blues, but was shelved when Motown maestro Berry Gordy took Ross back in a more pop direction with Touch Me in the Morning. This direction, while proving successful at the time, is unfortunate, as the performances on Blue rival and in some instances best the performances on Lady Sings the Blues. A few of these tracks would later see the day on other albums "Little Girl Blue" on Touch Me in the Morning and "Smile" on Diana Ross in 1976 but with alternate vocal takes and mixes. But Ross' portrayal of Billie Holiday was effective; it wasn't just a carbon copy reenactment of Holiday, but a cultivation of her essence when placed on-stage or in the studio behind a microphone. Gil Askey's arrangements are top-notch without sounding like dinner theater knock-offs. Blue is an album every bit as bold an artistic statement as her contemporaries Stevie Wonder and Marvin Gaye, who were recording the opuses Where I'm Coming From and What's Going On around the same time, and for Ross fans, Blue is every bit as enjoyable as her sultriest moments as the supreme Supreme.
Billboard - Gail Mitchell
This album is one of the tastier testaments to timeless music. Ross intuits Holiday's relaxed interpretive approach but makes it her own.
The Guardian - Dorian Lynskey
A pleasant diversion. While the great jazz singers had voices marbled with pain, Ross is as bright and clear as coloured glass, and arranger Gil Askey mostly steers her down the sunny side of the street.

This album is one of the tastier testaments to timeless music. Ross intuits Holiday's relaxed interpretive approach but makes it her own.
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Product Details

  • Release Date: 6/20/2006
  • Label: Motown
  • UPC: 602498870037
  • Catalog Number: 000569402
  • Sales rank: 54,726

Album Credits

Performance Credits
Diana Ross Primary Artist
Gil Askey Conductor
Technical Credits
George Gershwin Composer
Richard Rodgers Composer
Vernon Duke Composer
Stanley Adams Composer
Gil Askey Producer
Toots Camarata Composer
Guy Costa Engineer
Eddie DeLange Composer
Duke Ellington Composer
Ira Gershwin Composer
Porter Grainger Composer
Lorenz Hart Composer
Bill MacMeeken Engineer
Larry Miles Engineer
Cole Porter Composer
Ralph Rainger Composer
Kevin Reeves Mastering
Leo Robin Composer
Art Stewart Engineer
Russ Terrana Engineer
James Van Heusen Composer
Harry Weinger Liner Notes
Albert Willemetz Composer
David Ritz Liner Notes
Bill Carey Composer
Carl Fischer Composer
Geoff Parsons Composer
Harry Langdon Cover Photo
DuBose Heyward Composer
Richard A. Whiting Composer
Jacques Charles Composer
Channing Pollack Composer
Everett Robbins Composer
Maurice Yvain Composer
Sidney Keith Russell Composer
Pat Lawrence Executive Producer
John B. Norman Engineer
Ryan Null Photo Coordination
Michele Horie Producer, Artwork
Cal Harris Jr. Engineer
Richard Jacques Composer
Bernard Yuffy Composer
Charles Daniels Composer
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Customer Reviews

Average Rating 5
( 2 )
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Sort by: Showing all of 2 Customer Reviews
  • Anonymous

    Posted October 1, 2010

    Stunning!

    Smooth, touching vocals and melodies makes this the the best we've heard from Ross since Touch Me in the Morning

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  • Anonymous

    Posted December 19, 2008

    No text was provided for this review.

Sort by: Showing all of 2 Customer Reviews