Dinah Washington – What A Diff'rence A Day Makes!
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Dinah Washington - vocals
Milt Hinton - double bass
Kenny Burrell – guitar
Charles Davis - baritone saxophone
Jerome Richardson – flute
David "Panama" Francis - drums
Joe Zawinul – piano
Belford Hendricks -conductor
Arranged by Belford Hendricks
Written by Johnny Mercer (A1, A2), Victor Schertzinger (A1), Jimmy Van Heusen (A2), Clyde Otis (A3, B2), Kelly Owens (A3), Al Frisch (A4), Fred Wise (A4), Fud Livingston (A5), Gus Kahn (A5), Matty Malneck (A5), Arthur Hamilton (A6), Maria Grever (B1), Stanley Adams (B1), Belford Hendricks (B2), Brook Benton (B2), Lorenz Hart (B3), Richard Rodgers (B3), Jule Styne (B4, B5), Sammy Cahn (B4, B5), Anita Leonard (B6), Barbara Belle (B6), Louis Prima (B6), Stan Rhodes (B6)
1 LP, standard sleeve
Original analog Master tape : YES
Heavy Press : 180g
Record color : black
Speed : 33RPM
Size : 12”
Stereo
Studio
Record Press : Optimal Media
Label : Verve Vault Series
Original Label : Mercury
Recorded 19 February – August 1959 at Fine Recording Studios, New York City
Engineered by George Piros
Mastered by Ryan K. Smith at Sterling Sound
Design by Edward Odowd
Photography by Chuck Stewart
Originally released in 1959
Reissued in December 2025
Tracks :
Side A:
1. I Remember You
2. I Thought About You
3. That’s All There Is To That
4. I Won’t Cry Anymore
5. I’m Thru With Love
Side B:
1. Cry Me A River
2. What A Diff'rence A Day Makes
3. Nothing In The World (Could Make Me Love More Than I Do)
4. Manhattan
5. Time After Time
6. It’s Magic
7. A Sunday Kind Of Love
Awards:
The title track won Washington the Grammy Award for Best R&B Performance at the 2nd Annual Grammy Awards held in November 1959.
Reviews :
“One of the more notorious albums in the history of vocal music, What a Diff'rence a Day Makes! is the lush session that bumped up Dinah Washington from the "Queen of the Blues" to a middle-of-the-road vocal wondress -- and subsequently disenfranchised quite a few jazz purists. Washington had been praised in the same breath as Holiday and Fitzgerald for more than a decade, but Mercury nevertheless decided to back her with mainstream arrangements (by Belford Hendricks), heavy strings, and wordless vocal choruses similar to the radio hits of the day. Apparently, the mainstream backings didn't faze Washington at all; she proves herself with a voice as individual and evocative as ever. To be honest, the arrangements are quite solid for what they're worth; though it's a bit jarring to hear Washington's voice wrapped in sweet strings, the effect works well more frequently than not. Most of the songs here are familiar standards ("I Remember You," "I Thought About You," "Cry Me a River," "Manhattan," "Time After Time"), but they've been transformed by Washington as though they'd never been sung before. The Top Ten title track is by no means the best song on the album, but its title proved prophetic for Washington's career. Though her vocal style hadn't changed at all, one day she was a respected blues singer; the next, according to most of the jazz cognoscenti, she had become a lowbrow pop singer. Thankfully, the evidence against Washington's "transformation" is provided right here.” AllMusic Review by John Bush
Rating:
AllMusic 5 / 5 , Discogs 4.27 / 5