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1953: Billy Eckstine Sings Tenderly (MGM) 1953: Earl Hines – Billy Eckstine: A Treasury Of Immortal Performances – recorded 1940–1942; 1953: The Great Mr. B: Billy Eckstine and His All-Star Band (DeLuxe/King) – recorded 1944; 1954: I Let a Song Go Out of My Heart: Billy Eckstine Sings 8 Great Duke Ellington Songs (MGM)
The Golden Hits of Billy Eckstine is a 1963 studio album by the American singer Billy Eckstine. It was arranged by Billy Byers , conducted by Bobby Tucker , and produced by Quincy Jones . [ 2 ] [ 3 ]
Perhaps the best-known version of the song was recorded by Billy Eckstine. This recording was released by MGM Records (catalog number 10903). It first reached the Billboard Best Seller chart on February 23, 1951, and lasted for 19 weeks on the chart, peaking at No. 8. [2] It was awarded the Grammy Hall of Fame Award in 1999. [3]
The song was a hit twice in 1949, with successful recordings in the U.S. by Billy Eckstine and Mel Tormé. In 1961, "Blue Moon" became an international number-one hit for the doo-wop group the Marcels, on the Billboard 100 chart and in the UK Singles Chart, and later that same year, an instrumental version by the Ventures charted at No. 54.
Billy Eckstine Sings with Benny Carter is a 1986 album by the American singer Billy Eckstine, accompanied by the alto saxophonist Benny Carter. [2] The singer Helen Merrill appears in duet with Eckstine on the first and last songs of the album. This was Eckstine's only LP released on Verve Records, and marked his final album recordings. [3]
No Cover, No Minimum is a live album by Billy Eckstine that was recorded in Las Vegas. [2] The album was released by Roulette in 1960 and reissued by Blue Note in 1992 with ten additional tracks. Track listing
Sarah Vaughan & Billy Eckstine at Monterey Jazz Festival 1981. Sarah Vaughan and Billy Eckstine Sing the Best of Irving Berlin is a 1957 studio album featuring Billy Eckstine and Sarah Vaughan, and the songs of Irving Berlin. [1] Although Vaughan had made many recordings with Eckstine, this was their only complete album together.
The 2002 reissue of the album was reviewed by Ken Dryden at Allmusic who critiqued the marketing of the album as a jazz album. Dryden described the music as "very listenable, with a solid performance throughout by Eckstine" though the arrangements he felt were "very predictable, lacking any significant improvising or solos, awash in strings with a rhythm section that seems on autopilot ...