Ella+fitzgerald

The Ella Fitzgerald and Louis Armstrong edition of Verve's long-running Compact Jazz series of reissues condenses three remarkable albums - 1955's Ella and Louis, 1956's Ella and Louis Again, and 1958's Porgy and Bess - into a fantastic 12-track collection. Of course, you could pick and random assortment of 12 tracks from these three discs and have a collection of fantastic merit, but these specific performances are particularly outstanding. Opening with a swinging "They Can't Take That Away From Me," Compact Jazz emphasizes the more playful side of the Fitzgerald/Armstrong collaborations, downplaying the more serious Porgy and Bess material - a lovely take of "Summertime" an exception - in favor of giddy versions of standards like "I Won't Dance" and "Let's Call the Whole Thing Off." There's an exuberant joy in this music that won't fail to charm even the most hard-hearted listener.

Ella Fitzgerald and guitarist Joe Pass teamed up in a set of duets for this album. Because the emphasis is on ballads and not all of the songs are that well suited to Fitzgerald's musical personality (particularly "Lush Life" and "I Want to Talk About You"), this set is only a mixed success. Much more successful are "Don't Be That Way" and "A Foggy Day" but this is not one of the more essential Ella Fitzgerald records.

This is an eight-CD set more for Duke Ellington fanatics than for general listeners. Originally, some of the music came out as a two-LP set (Ella and Duke at the Cote D'Azur) and a single album (Ellington's Soul Call), but the great majority of the material was previously unreleased when this box came out in 1998.

It all began with a coincidence and complicity between Ronald Trisch, the head of the East German music agency, and Horst Lippmann, the West Berlin representative of major American artists. In January 1967, Ella Fitzgerald toured Europe with Duke Ellington and his orchestra. After a concert in West Berlin, January 25 was a day off. They jumped at the chance to organize a somewhat adventurous "detour" for Ella to East Berlin. At 11 p.m. on Wednesday evening, 3,000 people flocked to the Friedrichstadt Palace. This appearance in East Berlin would be the only one of her career. No big orchestra behind her, but the 3 exceptional musicians of the Jimmy Jones Trio to accompany her.

It should come as no surprise that the first collaboration between Ella and Louis was so successful that it was quickly followed by a sequel—and a double album, no less. Even the dumbest A&R man could anticipate the potential magic in the pairing; both singers were at the peak of their popularity in 1957, straying from their jazz roots yet becoming influential and noteworthy interpreters of popular song in the process. Both share a penchant for mirthful clowning and light banter, yet Armstrong’s burnished growl and Ella’s brassy swagger couldn’t be more different and still complement each other superbly. Make no mistake, this is clearly a vocal album—the only solos are Armstrong’s, and they’re few and far between—yet the music choices and delivery are enough to sustain the entire package. ~ AllAboutJazz

The Best Is Yet to Come is a 1982 studio album by the American jazz singer Ella Fitzgerald, accompanied by a studio orchestra arranged and conducted by Nelson Riddle. The last of Fitzgerald's six collaborations with Riddle, their work together on the Verve label more than fifteen years earlier is considered some of Fitzgerald's finest, both musically and critically. Fitzgerald's performance on this album won her the 1984 Grammy Award for Best Jazz Vocal Performance, Female, one of three Grammies she won for her work with Riddle.