Like Someone In Love (Remastered) Ella Fitzgerald
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- 1There's A Lull In My Life03:28
- 2More Than You Know03:18
- 3What Will I Tell My Heart03:33
- 4I Never Had A Chance02:49
- 5Close Your Eyes02:58
- 6We'll Be Together Again03:22
- 7Then I'll Be Tired Of You03:15
- 8Like Someone In Love03:12
- 9Midnight Sun03:59
- 10I Thought About You02:57
- 11You're Blase04:00
- 12Night Wind03:21
- 13What's New03:08
- 14Hurry Home04:42
- 15How Long Has This Been Going On?05:53
Info for Like Someone In Love (Remastered)
An album of sensitive arrangements by the underrated Frank DeVol, this collection was staple diet for 50s lounge romantics. Perched with a martini and a cherry in one of those triangular glasses, this is immaculate music. Fitzgerald stepped outside the pattern of recording the Songbook series and used some lesser-known writers. Both 'Hurry Home,' by Meyer, Emmerick and Bernier, and 'Night Wind,' by Rothberg and Pollock, are strong tracks. She later re-recorded 'How Long Has This Been Going On,' while the title track is so perfect it could never be done again.
„I generally don't like it when jazz singers are accompanied by string orchestras, as such backings can dilute the jazz content. However, the accompaniments here are sufficiently discreet not to get in the way of that great jazz vocalist, Ella Fitzgerald. In fact, the general understatement of the backings helps to highlight Ella's supreme vocal qualities.
This album contains the second and third sessions that Ella recorded with Frank DeVol in 1957 for the Verve label. Ella was at the peak of her powers, having signed with Norman Granz in 1955 and already recorded the first of her pioneering 'Songbook' albums for Verve. She savours every song with devoted care, and she can continually surprise the listener with how she handles songs which mostly come from the Great American Songbook.
To take a few examples of how Fitzgerald brings her individuality to these songs, hear how she inserts a little sway into the second line of More Than You Know; how the ending of We'll Be Together Again diverges slightly from what you were probably expecting; and the way she confidently handles the difficult intervals of Midnight Sun.
It goes without saying that her intonation is pitch-perfect and that she delivers each song as if she is thinking about what the lyrics mean. On several tracks the effect is enhanced by the mellifluous sound of Stan Getz's tenor sax. And the final track is a bonus instrumental version of the title-track, played by Stan's quartet without vocals.
Most of the songs are slow or mid-tempo, so you might say that this is an 'easy listening' album. But it's also as near perfection as a jazz singer's album can be.“ (Tony Augarde, MusicWeb International)
Ella Fitzgerald, vocals
Ted Nash, alto saxophone
Stan Getz, tenor saxophone
Lou Levy, piano (track 20)
Leroy Vinnegar, bass (track 20)
Stan Levey, drums (track 20)
Frank DeVol Orchestra
Frank DeVol, conductor
Ella Fitzgerald (1917-1996)
was, along with Sarah Vaughan and Billie Holiday, one of the most important vocalists to emerge from the big-band era. Her style is marked by a sunny outlook, a girlish innocence, and a virtuoso command of her voice.
Fitzgerald was born out of wedlock in Newport News, Virginia, to a laundress mother and a father who disappeared when she was three years old. Along with her mother and her mother’s new boyfriend who functioned as a stepfather, she soon moved to Yonkers, New York, where she began her schooling. Around the third grade she started dancing, a pursuit that became almost an obsession. In 1932, when she was fifteen, her mother died suddenly of a heart attack. Her stepfather treated her badly, but an aunt took the teenager to live with her in Harlem. This arrangement did not last long; Fitzgerald ran away in 1934 to live on the streets. Late that year she won a talent contest at the Apollo Theater; she had entered as a dancer, but nervousness caused her to sing instead. Several months later she joined drummer Chick Webb’s big band, where she mostly sang novelties like 'Vote for Mr. Rhythm'. In 1938 she recorded 'A-Tisket, A-Tasket', her own adaptation of a turn-of-the-century nursery rhyme, which took the country by storm and eventually sold a million copies. When Webb died in 1939 the band’s management installed Fitzgerald as leader.
In 1942 the band broke up and Fitzgerald became a single act, touring with various other popular names of the day. She also became interested in scat singing and the newly emerging style known as bebop, and in 1945 she recorded a landmark version of 'Flying Home.' Several tours with the Dizzy Gillespie band also contributed to her assimilation of the bebop style.
In the late 1940s Fitzgerald began to tour with the Jazz at the Philharmonic troupe, working with such leading musicians as saxophonist Lester Young, trumpeter Roy Eldridge, pianist Oscar Peterson, and bassist Ray Brown, to whom she was married for four years. JATP impresario Norman Granz became increasingly influential in her career, and in 1953 he became her manager.
Three years after that he became her record producer as well, recording her on his own Verve label. He wasted little time in having Fitzgerald record a double album of Cole Porter songs. Fitzgerald made many wonderful albums for Verve in the following decade, but the six songbooks occupy a special place in her discography. They were instrumental in expanding Fitzgerald’s appeal beyond that of a 'jazz singer' and creating a demand for her in venues not usually open to jazz artists.
For die-hard jazz fans, though, the well-polished jewels of the songbook series lack the raw energy of Fitzgerald’s live performances. Happily, Granz released several landmark concert albums by her as well. Especially exciting was a 1960 Berlin concert, which featured an electrifying performance of an impromptu take on 'Mack the Knife,' which became a Top 30 single. Fitzgerald usually performed with a trio or quartet, but there were also appearances with larger groups, such as the Duke Ellington and Count Basie orchestras. By the 1960s Fitzgerald had become wealthy enough to retire, but the love of performing drove her on — she appeared regularly until just a couple of years before her death in 1996. Sidemen came and went, but except when health problems intervened she performed as much as humanly possible, sometimes singing concerts in two different cities in one day. Source: Verve Music (Phil Bailey). Excerpted from Ken Burns’ Jazz: The Definitive Ella Fitzgerald
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