Ella And Louis Again (Remaster) Ella Fitzgerald

Album info

Album-Release:
1957

HRA-Release:
19.05.2016

Label: Verve Records

Genre: Jazz

Subgenre: Vocal

Album including Album cover

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  • 1Don't Be That Way04:59
  • 2Makin' Whoopee03:57
  • 3They All Laughed03:50
  • 4Comes Love02:28
  • 5Autumn In New York06:00
  • 6Let's Do It (Let's Fall In Love)08:43
  • 7Stompin' At The Savoy05:16
  • 8I Won't Dance04:47
  • 9Gee, Baby, Ain't I Good To You?04:14
  • 10Let's Call The Whole Thing Off04:16
  • 11These Foolish Things (Remind Me Of You)07:41
  • 12I've Got My Love To Keep Me Warm03:13
  • 13Willow Weep For Me04:20
  • 14I'm Puttin' All My Eggs In One Basket03:29
  • 15A Fine Romance03:54
  • 16Ill Wind03:45
  • 17Love Is Here To Stay04:01
  • 18I Get A Kick Out Of You04:21
  • 19Learnin' The Blues07:11
  • Total Runtime01:30:25

Info for Ella And Louis Again (Remaster)

Recorded in 1957, „Ella And Louis Again“ re-teams Ella Fitzgerald and Louis Armstrong after the success of their first album and a popular series of concerts at the Hollywood Bowl the previous year. This is not a mere retread, however, and if anything, „Ella And Louis Again“ is the stronger of the two records. Fitzgerald shines particularly brightly, singing with sassy confidence throughout, as if goosed by Pops' infectious good humor. A warmly teasing "Don't Be That Way" opens the record, and the warmhearted joy of that song continues throughout the other 11 tracks. The backing quartet, led by the great Oscar Peterson on piano and featuring guitarist Herb Ellis, bassist Ray Brown, and drummer Louis Bellson, is up to the challenge of playing with these two magnificent singers.

"There isn't much one can say about an album whose title is Ella And Louis Again. The 'again' obviously means they've already done one album together and beyond that, what can you say about two people like Ella and Louis? I doubt that there's anyone today who loves music, who doesn't know Ella Fitzgerald and Louis Armstrong. About all that can be pointed out, I suppose, is that we've again selected some of the best product of some of the best songwriters of our age. The backing, with the Oscar Peterson Trio and Louis Bellson substituting for Buddy Rich, remains, as in the first album, quiet, discreet, swinging." (Norman Granz, from the original liner notes of Ella and Louis Again)

Louis Armstrong, vocals, trumpet (on tracks 5, 7, 9, 13, 17 and 19)
Ella Fitzgerald, vocals
Herb Ellis, guitar
Oscar Peterson, piano
Ray Brown, double bass
Louie Bellson, drums
Buddy Rick, drums

Recorded July 23, July 31 and August 13, 1957 at Capital Studios, Radio Recorders in Los Angeles
Engineered by Val Valentin
Produced by Norman Granz, Bryan Koniarz

Digitally remastered


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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