ELLA FITZGERALD AND ANDRÉ PREVIN — Nice Work If You Can Get It (1983) Two Version (1984, Pablo Today – 3112-50 Japan) + (1987, Pablo Records – 00025218014021) FLAC (tracks+.cue), lossless

Ella Fitzgerald, who in the late '50s recorded the very extensive George and Ira Gershwin Songbook, revisits their music on this duet outing with pianist André Previn. Her voice was past her prime by this point, but she was able to bring out a lot of the beauty in the ten songs, giving the classic melodies and lyrics tasteful and lightly swinging treatment. Nice Work If You Can Get It is not an essential CD but is a reasonably enjoyable outing. Scott Yanow
Tracklist :
1 A Foggy Day 6:10
George Gershwin / Ira Gershwin
2 Nice Work If You Can Get It 5:14
George Gershwin / Ira Gershwin
3 But Not for Me 3:54
George Gershwin / Ira Gershwin
4 Let's Call the Whole Thing Off 2:46
George Gershwin / Ira Gershwin
5 How Long Has This Been Going On? 5:01
George Gershwin / Ira Gershwin
6 Who Cares? 4:30
George Gershwin / Ira Gershwin
7 Medley: I've Got a Crush on You/Someone to Watch Over ... 4:56
George Gershwin / Ira Gershwin
8 They Can't Take That Away from Me 3:27
George Gershwin / Ira Gershwin
Credits :
Ella Fitzgerald - Vocals
André Previn - Piano
Niels-Henning Ørsted Pedersen - Bass

ELLA FITZGERALD AND JOE PASS — Easy Living (1986-2011) RM | Original Jazz Classics Remasters Series | FLAC (tracks+.cue), lossless

For her third duo recording with guitarist Joe Pass, Ella Fitzgerald swings 15 mostly familiar standards that range from "My Ship" and "Don't Be That Way" to "Why Don't You Do Right?" and "On a Slow Boat to China." Although her voice was visibly fading, Fitzgerald's charm and sense of swing were still very much present. But this CD is not one of her more significant recordings, other than being one of the final chapters. Scott Yanow

Tracklist :

1 My Ship 4:24

2 Don't Be That Way 2:58

3 My Man 3:28

4 Don't Worry 'Bout Me 4:38

5 Days Of Wine And Roses 3:03

6 Easy Living 4:14

7 I Don't Stand A Ghost Of A Chance With You 6:03

8 Love For Sale 4:38

9 Moonlight In Vermont 4:20

10 On Green Dolphin Street 3:27

11 Why Don't You Do Right? 2:56

12 By Myself 3:25

13 I Want A Little Girl 2:46

14 I'm Making Believe 2:37
15 On A Slow Boat To China 5:05
– BONUS TRACK –
16 Don't Be That Way (Take 3, Alternate)    3:12
17 Love For Sale (Take 1, Alternate)    4:27
Credits :
Guitar – Joe Pass
Vocals – Ella Fitzgerald

LOUIS ARMSTRONG – 1950-1951 | The Classics Chronological Series – 1233 (2002) FLAC (tracks+.cue), lossless

This chapter in the Chronological Classics Louis Armstrong series continues during a particularly fertile period with Armstrong surrounded by great sidemen and performing with others. A pair of tracks here, "Life Is So Peculiar" and "You Rascal You," showcase Satchmo in front of Louis Jordan's Tympani 5, and "Dream a Little Dream of Me" and "Can Anyone Explain?" are duets with Ella Fitzgerald. The sidemen on Armstrong's dates are a venerable crew from a fascinating era, and include Barney Bigard, Jack Teagarden, Cozy Cole, Hank Jones, Ray Brown, and Earl Hines, among others. There are also three Armstrong-led cuts featuring Velma Middleton on vocals: "Baby, It's Cold Outside," "The Hucklebuck," and the collection's closer, "Big Daddy Blues."  -> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa'<-
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LOUIS JORDAN AND HIS TYMPANY FIVE – 1945-1946 | The Chronogical Classics – 921 (1997) FLAC (tracks+.cue), lossless

Louis Jordan was at the top of his fame when the 23 recordings reissued on this Classics CD were cut. The influential altoist/singer/entertainer during this era led a version of his Tympany Five that also featured trumpeter Aaron Izenhall, Josh Jackson on tenor and pianist Wild Bill Davis (years before he switched to organ). Among the hits included on the set are "Beware," "Don't Let The Sun Catch You Cryin'," "Choo-Choo Ch'Boogie," "Ain't Nobody Here But Us Chickens," "Let the Good Times Roll" and "Jack You're Dead," but even the lesser-known tracks are entertaining. In addition, a couple of unlikely duets with Ella Fitzgerald ("Stone Cold Dead In the Market" and "Petootie Pie") are quite fun. Recommended to listeners not satisfied with owning only Louis Jordan's hits. Scott Yanow
Tracklist + Credits :

LOUIS JORDAN AND HIS TYMPANY FIVE – 1947-1949 | The Chronogical Classics – 1134 (2000) FLAC (tracks+.cue), lossless

Louis Jordan was at the height of his fame during the period covered by this Classics CD. His last session from 1947 is here along with the music recorded during his first five recording dates of 1949. Among the hits are "Safe, Sane and Single," "Beans and Corn Bread," "School Days," and the two-part "Saturday Night Fish Fry." Jordan's Tympany Five had grown to seven pieces by late 1947 and expanded to nine in 1949; among his sidemen were trumpeter Aaron Izenhall, Eddie Johnson, or Josh Jackson on tenor and pianist (and future organist) Bill Doggett. In addition to such favorites as "Don't Burn the Candle at Both Ends," the catchy "Cole Slaw," and "Hungry Man," there are two songs ("Baby, It's Cold Outside" and "Don't Cry, Cry Baby") in which Jordan shares the vocals with Ella Fitzgerald. Highly enjoyable music. Scott Yanow
Tracklist + Credits :

LOUIS JORDAN AND HIS TYMPANY FIVE – 1950-1951 | The Chronogical Classics – 1238 (2002) FLAC (tracks+.cue), lossless

The eighth in Classics' chronological study of the recordings of Louis Jordan covers the last period in which he had hits. Best known among the 21 recordings on this set are the two-part "Blue Light Boogie" and the catchy "Chartreuse." Ella Fitzgerald duets with Jordan on "'Ain't Nobody's Business My Own" and "I'll Never Be Free" while Louis Armstrong drops by for memorable versions of "Life Is So Peculiar" and "You Rascal You." Louis Jordan & His Tympany Five during this period had either pianist Bill Doggett or Wild Bill Davison on organ or piano, plus the underrated trumpeter Aaron Izenhall and tenor-saxophonist Josh Jackson. Even the lesser-known selections all have their moments of joy. Scott Yanow
Tracklist + Credits :

ELLA FITZGERALD – 1935-1937 | The Classics Chronological Series – 500 (1990) FLAC (tracks+.cue), lossless

The first of six Ella Fitzgerald CDs in the European label Classics "complete" series has her earliest 25 recordings with two numbers ("My Melancholy Baby" and "All My Life") from a session with Teddy Wilson, three songs (including "Goodnight My Love") cut with Benny Goodman's big band, four tunes from her initial session as a leader and the remainder with Chick Webb's Orchestra which mainly acted as a backup band for the young singer. Even at the age of 17, Ella Fitzgerald had a beautiful voice and a strong sense of swing (although she would not seriously scat for another decade). "I'll Chase the Blues Away," "When I Get Low I Get High," "Sing Me a Swing Song" and "You'll Have to Swing It" are among the highpoints of this fine set. Scott Yanow
Tracklist + Credits :

ELLA FITZGERALD – 1937-1938 | The Classics Chronological Series – 506 (1990) FLAC (tracks+.cue), lossless

The second of six CDs in the Classics label's complete reissue of Ella Fitzgerald's early recordings features the singer as a teenager with the Chick Webb Orchestra, in addition to leading two sessions that use Webb's sidemen and performing a pair of songs ("Big Boy Blue" and "Dedicated to You") with the Mills Brothers. Highlights include "I Want to Be Happy," "If Dreams Come True" and her big hit, "A-Tisket, A-Tasket." Although not yet the brilliant jazz singer she would become, Fitzgerald already had a highly appealing voice and the ability to swing on any song she was given. Scott Yanow
Tracklist + Credits :

ELLA FITZGERALD – 1938-1939 | The Classics Chronological Series – 518 (1990) FLAC (tracks+.cue), lossless

After her giant hit of "A-Tisket, A-Tasket," the already-popular Ella Fitzgerald became the main attraction with the Chick Webb Orchestra and the majority of their recordings from 1938 feature the singer who was then 20. She is particularly strong on the ballads (such as "You Can't Be Mine") and had a hit in "Undecided" (the lone 1939 selection on this CD) although her work on the novelties is less memorable. All of these Classics releases are worth picking up for a definitive (and very complete) look at early Fitzgerald. Scott Yanow
Tracklist + Credits :

ELLA FITZGERALD – 1939 | The Classics Chronological Series – 525 (1990) FLAC (tracks+.cue), lossless

Unlike GRP, which has merely reissued the "best" of early Ella Fitzgerald domestically, the European Classics label has released all of the great singer's early recordings (from the 1935-41 period) on six CDs. This, the fourth volume, has her final recordings with Chick Webb's Orchestra (before the legendary drummer's premature death) and her first after she took control of his big band. Fitzgerald is best on "'Tain't What You Do" and the ballads (particularly "Don't Worry About Me," "Little White Lies," "Stairway to the Stars" and "Out of Nowhere") although she is less memorable on such uptempo novelties as "Chew-Chew-Chew Your Bubble Gum" and "I Want the Waiter with the Water." This CD is well worth acquiring along with the other entries in this definitive series. Scott Yanow
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ELLA FITZGERALD – 1939-1940 | The Classics Chronological Series – 566 (1991) FLAC (tracks+.cue), lossless

This fifth in the six-CD series by the European Classics label documents Fitzgerald's recordings during a nine-month period starting shortly after she took over the late Chick Webb's Orchestra. During this era she was much better on the ballads than on the uptempo novelties, many of which (such as "My Wubba Dolly") were not worth saving. Fortunately this CD has a good sampling of ballads (such as "My Last Goodbye," "Moon Ray," "Sugar Blues" and "Imagination") along with two rare instrumentals by her big band. The music is not essential but fans will enjoy this look at her early days. Scott Yanow
Tracklist :

ELLA FITZGERALD – 1940-1941 | The Classics Chronological Series – 644 (1992) FLAC (tracks+.cue), lossless

The sixth in Classics' six-CD series that completely reissues all of Ella Fitzgerald's early recordings has her final 23 performances as the head of what was formerly the Chick Webb Orchestra. Just 22 during most of this period, she is generally in superb voice and the ballads (highlighted by "Shake Down the Stars," "Taking a Chance on Love," "The One I Love" and "Can't Help Lovin' Dat Man") are frequently exquisite; her expertise at scatting would come a few years later. It's recommended as are all of the entries in this valuable series (which is superior to GRP's Decca program). Scott Yanow
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ELLA FITZGERALD – 1941-1944 | The Classics Chronological Series – 840 (1995) FLAC (tracks+.cue), lossless

This Classics CD traces Ella Fitzgerald's recordings from the beginning of her solo career. Having finally broken up the Chick Webb ghost orchestra, Ella mostly recorded ballads during her first few years as a solo artist; her jazz and scat singing would develop much more quickly starting in 1945. On some selections she is joined by a mundane vocal group called the Four Keys, but her three collaborations with the Ink Spots (particularly "Cow Cow Boogie" and "Into Each Life Some Rain Must Fall") are quite delightful. Other highpoints from this release (which finds Ella at 24 to 27 years old) include "This Love of Mine," "My Heart and I Decided" and "I'm Confessin'." Scott Yanow
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ELLA FITZGERALD – 1945-1947 | The Classics Chronological Series – 998 (1998) FLAC (tracks+.cue), lossless

Welcome to a richly rewarding segment of the all too often overlooked plateau that lies between Ella Fitzgerald's recordings with Chick Webb's orchestra during the second half of the 1930s and her triumphant reign as one of the world's most popular jazz singers during the 1950s, '60s, and '70s. The recordings she made between February 26, 1945, and March 1, 1947, illustrate this woman's amazing versatility as she teamed up with an extraordinarily variegated range of vocalists and instrumentalists. Her pleasant collaborations with the Ink Spots and the Delta Rhythm Boys and a few titles with big-band accompaniment serve as appetizers for "Stone Cold Dead in the Market (He Had It Coming)," a disturbingly funny calypso number featuring Louis Jordan & His Tympany 5. Here Ella and Louis put across a performance even more outrageous than Sarah Vaughan's eccentric West Indian suicide song "De Gas Pipe She's Leaking, Joe." While Jordan's band grinds out spicy Caribbean dance music, Ella proudly explains how, fed up with being physically abused, she beat her husband to death with various kitchen utensils. Jordan, who calmly states that he's singing his portion of the duet while stretched out inanimate in the shopping district, admits that he was an abusive drunkard who often beat his wife. This incredibly humorous sendup of the horribly tragic and all too common specter of domestic violence leading to homicide is sustained largely by the female vocalist, who repeatedly describes her husband-killing technique, defiantly exclaims "he had it coming," and even communes with the spirit of Bessie Smith by insisting that she'd do it again even "if I was to die in the electric chair." This interesting compilation also contains a pair of duets with Louis Armstrong, some pleasant performances backed by bands led by pianists Billy Kyle and Eddie Heywood, and some really wild V-Disc collaborations with drummer and scat singer Buddy Rich. Never a dull moment! arwulf arwulf  
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ELLA FITZGERALD – 1947-1948 | The Classics Chronological Series – 1049 (1999) FLAC (tracks+.cue), lossless

This segment of the Classics Ella Fitzgerald chronology focuses upon the recordings she made for the Decca label between March 1947 and November 1948. Most of these sides include polished group background vocals, generating a certain campy slickness that some listeners might find overly affected. This kind of ensemble singing rose to prominence with Tommy Dorsey and Glenn Miller and manifested itself throughout the late '40s and early '50s, even popping up in the form of the Dave Lambert Singers behind Charlie Parker. Bop scatting at times like a Roman candle, Ella sounds fully in command, a seasoned improviser well on the way to stylistic maturity. Nothing interferes with her honeyed, seamless delivery, not even the Andy Love Quintet, the Song Spinners, or the Day Dreamers. The collective instrumental personnel includes bassists Bob Haggart and Ray Brown, trumpeter Idrees Sulieman, saxophonists Illinois Jacquet and Ernie Caceres, organist Sir Charles Thompson, pianist Hank Jones, and drummer J.C. Heard. Ella imitates a Slam Stewart bass solo on "Oh, Lady Be Good" and tears up "How High the Moon" in a manner that would serve her well for the rest of her illustrious career. A fascinating chunk of history is here to be savored. Just don't be surprised if a mixed choir begins hooting and harmonizing behind Ella Fitzgerald. arwulf arwulf  
Tracklist :

ELLA FITZGERALD – 1949 | The Classics Chronological Series – 1153 (1999) FLAC (tracks), lossless

In her live performances of 1949, Ella Fitzgerald (who turned 33 that year) often showed the influence of bebop in her phrasing and improvising. However, her studio recordings for Decca (all 21 selections that she cut that year on are on this CD) are surprisingly absent of bebop, instead alternating ballads and bluish pieces with a few swing-oriented numbers. Fitzgerald sounds typically wonderful and cheerful, but the arrangements (for the orchestras of Sy Oliver, Gordwillon Jenkins, and Sonny Burke) are often closer to middle-of-the-road pop music than to jazz. Fitzgerald sounds in fine form on such numbers as "Old Mother Hubbard," "Happy Talk," "Black Coffee," "In the Evening," and "I Hadn't Anyone Till You," imitating Louis Armstrong a bit on "Basin Street Blues." In addition, there are two numbers with Louis Jordan's Tympany Five (including "Baby It's Cold Outside") and two forgettable selections with the Mills Brothers. This CD is a real gap-filler (few of these selections are ever reissued), but not essential. Scott Yanow
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ELLA FITZGERALD – 1950 | The Classics Chronological Series – 1195 (2001) FLAC (tracks+.cue), lossless

Few vocalists have managed to succeed so well in both jazz and pop music as did Ella Fitzgerald. The 11th installment in her complete Classics chronology presents 24 Decca recordings made between February 2 and December 20, 1950. On eight of these she is backed by Sy Oliver & His Orchestra, sometimes singing duets with Oliver himself. Fitzgerald seems to have been able to make sense out of any routine and had the ability to put a song across in virtually any company. During this period she collaborated with two vocal groups: the aggressively wholesome Four Hits & a Miss and the Ink Spots, with whom she'd made records back in 1944. She also rendered up a suite of eight Gershwin tunes with Ellis Larkins at the piano, sat in with Louis Jordan & His Tympany 5, cut a pair of delightful duets with Louis Armstrong, and rattled off a couple of idiotic novelty tunes, accompanied by a giggling, unidentified vocal group composed of either children or foolish adults. "Molasses, Molasses" was also recorded by Spike Jones & His City Slickers with a falsetto group vocal led by squeaky-voiced George Rock, a capable trumpeter who had an annoying habit of impersonating little boys. Ella Fitzgerald's version is better, if that means anything. For a much hipper and funnier song about molasses, see Bob Howard (1937-1947, Classics 1055). arwulf arwulf
Tracklist + Credits :

ELLA FITZGERALD – 1951 | The Classics Chronological Series – 1261 (2002) FLAC (tracks+.cue), lossless

Most of Ella Fitzgerald's recordings from 1951 (all of which are on this CD) are obscure and have rarely been reissued. "The First Lady of the American Song" turned 34 that year and was in peak form, as she would be throughout the decade. The music ranges from novelties ("Two Little Men In A Flying Saucer," and a cover of "Come On-A My House,") to worthy versions of "Love You Madly," "Smooth Sailing," and "Baby Doll." The settings range from tunes with Sy Oliver's Orchestra and occasional background singers, to a date with Hank Jones, and four lesser-known but delightful duets with Louis Armstrong: "Necessary Evil," "Oops," "Would You Like To Take A Walk," and "Who Walks In When I Walk Out." Scott Yanow
Tracklist :

ELLA FITZGERALD – 1952 | The Classics Chronological Series – 1328 (2003) FLAC (tracks+.cue), lossless

The 13th installment in the Classics Ella Fitzgerald chronology documents her recording activity during a period extending from early January to late November 1952. The two opening tracks constitute a veritable scat fest with accompaniment by the Ray Charles Singers and a small band anchored by organist Bill Doggett and pianist Hank Jones. The next nine titles document Fitzgerald's continuing collaborations with bandleader Sy Oliver. Matt Dennis' ballad "Angel Eyes" is rendered beautifully, even if it is nestled among silly titles like "Goody Goody," "A Guy Is a Guy," and "Ding-Dong Boogie," a rowdy novelty better suited for Teresa Brewer; it benefits greatly from a gutbucket sax solo by Sam "The Man" Taylor. Accompanied by Bobby Orton's Teen-Aces, Ella makes her own stunning "Contribution to the Blues," revives Una Mae Carlisle's magnum opus "Walking by the River," and presents "My Bonnie Lies Over the Ocean" as a West Indian dance number bristling with bongos and conga drums. This was not Ella's first venture into Caribbean territory; her infamous calypso outing "Stone Cold Dead in the Market," recorded with Louis Jordan & His Tympany 5 during the mid-'40s, is still a force with which to be reckoned (see 1945-1947, Classics 998). Throughout her tenure as a Decca recording artist, Fitzgerald demonstrated an uncanny ability to sing anything; she would convert weak material into good stuff or transform great songs into masterpieces. It is now known that during the early '50s producer Norman Granz "harshly criticized" the A&R management at Decca Records for consistently handing Ella Fitzgerald patently inferior material and sometimes teaming her up with musicians who were either not in her league or were incapable of tuning in to her wavelength. Until this vocalist's Decca contract expired, Granz could only include her in his touring Jazz at the Philharmonic package (those concert performances were assiduously recorded in their entirety for later release) while making plans for their eventual studio collaborations, which would include the multiple great American composer Song Book projects. arwulf arwulf
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ELLA FITZGERALD – 1953-1954 | The Classics Chronological Series – 1404 (2005) FLAC (tracks+.cue), lossless

The 14th installment in the Classics Ella Fitzgerald chronology examines a trail of Decca recordings made between February 13, 1953, and March 30, 1954. Aside from a pair of sentimental numbers sweetened by the Ray Charles Singers, Fitzgerald spent most of the year 1953 making records with Sy Oliver's orchestra. "Somebody Bad Stole de Wedding Bell" is yet another chapter in Fitzgerald's ongoing involvement with West Indian or calypso-styled repertoire; earlier Caribbean manifestations were "Stone Cold Dead in the Market" and "My Bonnie Lies Over the Ocean." Ella closed out the year by recording with a string-laden orchestra led by John Scott Trotter, then famous for his work with Bing Crosby. Her next three studio sessions occurred toward the end of March 1954. The first of these involved the dreaded Gordon Jenkins string orchestra and chorus. Although few singers could have withstood the avalanche of refined white sugar represented by Jenkins and his soporific ensemble, Fitzgerald stood her ground and sounded great. At the beginning of the following week she made her second collaborative series of recordings with pianist Ellis Larkins; their first studio duets had taken place in September of 1950 (see Classics 1195). These beautiful performances benefit from the sort of professional autonomy and artistic integrity that Ella Fitzgerald would soon enjoy after ditching Decca and signing on with Norman Granz. arwulf arwulf
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