{"id":7035,"date":"2015-10-28T15:19:43","date_gmt":"2015-10-28T22:19:43","guid":{"rendered":"http:\/\/www.artsjournal.com\/rifftides\/?p=7035"},"modified":"2015-10-28T15:19:43","modified_gmt":"2015-10-28T22:19:43","slug":"recent-listening-dee-dee-bridgewater","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2015\/10\/recent-listening-dee-dee-bridgewater\/","title":{"rendered":"Recent Listening: Dee Dee Bridgewater"},"content":{"rendered":"<p><strong>Dee Dee Bridgewater<\/strong>, <a href=\"http:\/\/www.amazon.com\/Dee-Dees-Feathers-Bridgewater\/dp\/B00SZFQGEG\/?_encoding=UTF8&#038;camp=1789&#038;creative=9325&#038;linkCode=ur2&#038;tag=rifftidougram-20\"><em>Dee Dee\u00e2\u20ac\u2122s Feathers<\/em><\/a> (Okeh)<\/p>\n<p><a href=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2015\/10\/Dee-Dee-Bridgewater.jpg\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2015\/10\/Dee-Dee-Bridgewater.jpg\" alt=\"Dee Dee Bridgewater\" width=\"210\" height=\"210\" class=\"alignleft size-full wp-image-7036\" srcset=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2015\/10\/Dee-Dee-Bridgewater.jpg 210w, https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2015\/10\/Dee-Dee-Bridgewater-150x150.jpg 150w, https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2015\/10\/Dee-Dee-Bridgewater-100x100.jpg 100w, https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2015\/10\/Dee-Dee-Bridgewater-200x200.jpg 200w\" sizes=\"auto, (max-width: 210px) 100vw, 210px\" \/><\/a>Dee Dee Bridgewater is strong medicine, fully a match for the powerful New Orleans repertoire she performs here. Slinking and seducing her way through Harry Connick, Jr.\u00e2\u20ac\u2122s \u00e2\u20ac\u0153One Fine Thing,\u00e2\u20ac\u009d finding joy and irony in \u00e2\u20ac\u0153Saint James Infirmary,\u00e2\u20ac\u009d riding the parade beat in \u00e2\u20ac\u0153Dee Dee\u00e2\u20ac\u2122s Feathers,\u00e2\u20ac\u009d challenging Irvin Mayfield\u00e2\u20ac\u2122s wa-wa trumpet \u00e2\u20ac\u0153wa\u00e2\u20ac\u009d for \u00e2\u20ac\u0153wa\u00e2\u20ac\u009d and scream for scream in Hoagy Carmichael\u00e2\u20ac\u2122s \u00e2\u20ac\u0153New Orleans,\u00e2\u20ac\u009d Bridgewater is a force as primal as a Gulf hurricane. <\/p>\n<p>Much of the music centers on power and ruggedness, but she brings her musicality to every track, singing impeccably in tune and with flawless time even when pushing the rhythm envelope. If \u00e2\u20ac\u0153Congo Square,\u00e2\u20ac\u009d \u00e2\u20ac\u0153Whoopin\u00e2\u20ac\u2122 Blues\u00e2\u20ac\u009d and Dr. John\u00e2\u20ac\u2122s \u00e2\u20ac\u0153Big Chief\u00e2\u20ac\u009d are contrivances for summoning up the New Orleans party atmosphere, they are contrivances that work. Mayfield\u00e2\u20ac\u2122s \u00e2\u20ac\u0153C\u00e2\u20ac\u2122est Ici Que Je T\u00e2\u20ac\u2122aime,\u00e2\u20ac\u009d Duke Ellington\u00e2\u20ac\u2122s \u00e2\u20ac\u0153Come Sunday\u00e2\u20ac\u009d and Bob Thiele\u00e2\u20ac\u2122s \u00e2\u20ac\u0153What A Wonderful World\u00e2\u20ac\u009d dial back the tempo without slacking the energy. <\/p>\n<p>Having lived in New Orleans for eight years, I know what it means to miss it. Bridgewater\u00e2\u20ac\u2122s and Mayfield\u00e2\u20ac\u2122s passionate version of \u00e2\u20ac\u0153Do You Know What it Means to Miss New Orleans?\u00e2\u20ac\u009d doesn\u00e2\u20ac\u2122t make missing it any easier.   <\/p>\n","protected":false},"excerpt":{"rendered":"<p>Dee Dee Bridgewater, Dee Dee\u00e2\u20ac\u2122s Feathers (Okeh) Dee Dee Bridgewater is strong medicine, fully a match for the powerful New Orleans repertoire she performs here. Slinking and seducing her way through Harry Connick, Jr.\u00e2\u20ac\u2122s \u00e2\u20ac\u0153One Fine Thing,\u00e2\u20ac\u009d finding joy and irony in \u00e2\u20ac\u0153Saint James Infirmary,\u00e2\u20ac\u009d riding the parade beat in \u00e2\u20ac\u0153Dee Dee\u00e2\u20ac\u2122s Feathers,\u00e2\u20ac\u009d challenging Irvin [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":7036,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[4],"tags":[],"class_list":{"0":"post-7035","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-main","8":"entry"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/7035","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/comments?post=7035"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/7035\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media\/7036"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=7035"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=7035"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=7035"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}