Ella Fitzgerald

This nearly forgotten, adventurous record features "Ella" taking plenty of risks with modern music. She breaks outside the boundaries of established jazz, covering atypical selections such as “Yellow Man”, by Randy Newman and "Savoy Truffle" by The Beatles. This is the late 60's Ella, natural, direct and in rare, uninhibited form.

A true jazz classic, "Things Ain’t What They Use to Be" is one of jazz vocalist Ella Fitzgerald’s most eclectic recordings to date. Incorporating well-known standards, soulful tunes and a few bossa nova tracks, the album is a testament to Fitzgerald’s timeless brilliance and distinguished vocal range. The album features the hits “Sunny”, “I Heard It Through the Grapevine”, “Don’t Dream of Anyone but Me”, “Black Coffee,” and countless others. This high resolution download will take your breath away.

Hello Love is the 1959 album by American jazz singer Ella Fitzgerald. This is a CD released by Verve Music Group on 28 September 2004, remastered by Hideaki Nishimura.

One of the benchmark records in jazz and in the Ella Fitzgerald catalog. "The Duke Ellington Songbook" features a wonderful selection interpreted splendidly by one of the all time great voices in music. It was the first of a series of recordings by the prolific pair. Ellington's performances both at piano and directing orchestra are outstanding. This is beautifully balanced by the sweet and luscious delivery of Fitzgerald on the classics "Take The A Train", "Solitude", "I'm Just A Lucky So and So", and "Caravan". The album featured a number of legendary performers including Paul Gonsalves, Ben Webster, Ray Nance, Oscar Peterson, Ray Brown, Billy Strayhorn, Barney Kessel, Dizzy Gillespie, Sam Woodyard and many more. The Duke Ellington Songbook is a true must have for any jazz fan.

While the 1960 live album Ella in Berlin: Mack The Knife will always be the peak of Ella Fitzgerald's solo recording career, this exciting discovery is yet another example of her voice and interpretative drive being pushed to new heights by her audience. The great jazz singer's other strength as a soloist when it came to recordings—other than her fine collaborations with Louis Armstrong, which are practically their own genre—are the songbook collections she made in the studio with Norman Granz for his Verve label. While they all have their strong points, and the Duke Ellington collection where he and his band back her is exceptional, the volumes dedicated to Cole Porter and Irving Berlin rang true and sold big numbers, and it was music from those two collections that was featured in a split program at the Hollywood Bowl on August 16, 1958. The first pleasant surprise here is the sound. Project producer Gregg Field, who actually played drums with Fitzgerald for a time, has heroically recovered an enormous amount of information from the 64-year-old 1/4" tapes. Though rounded and dynamically limited, the sound is reasonably well-balanced between Fitzgerald's voice and the accompanying full orchestra. While it may be the presence of the audience spurring her on during the upbeat numbers, including many of Berlin's best-known tunes, they are delicious here.

Mastered by George Marino at Sterling Sound from the original master tapes to vinyl and PCM. The very fact that America's biggest jazz label called one of their albums quite simply Ella and Louis indicates that we are talking about something very special here. And surely enough has been said - "Satchmo" and the grande dame of jazz certainly need no further introduction. In the '50s just the mere mention of their forenames was enough to light up the eyes of jazz fans. A glance at the track list reveals that tranquility rules the day: wild stomps and improvised scats will neither be sought nor missed. Of prime importance to the jazz ballad is a feeling of "letting oneself drift" in the inspiration which gushes forth from the minds of genial American songwriters. This is no contest - for the artists all pursue a common goal with extreme sensitiveness. The background combo, made up of first-class musicians and led by Oscar Peterson, performs with great concentration and almost obtrusive unobtrusiveness.

Recognized worldwide as "The First Lady of Song," Ella Fitzgerald is arguably the finest female jazz vocalist of all time. Blessed with a highly resonant voice, wide range, and near-perfect elocution, Fitzgerald also possessed a deft sense of swing, and with her brilliant scat technique, could hold her own against any of her instrumental contemporaries. She came to initial popularity as a member of drummer Chick Webb's band in the 1930s, scoring a hit with a "A-Tisket, A-Tasket," before ascending to wide acclaim in the 1940s with Jazz at the Philharmonic and Dizzy Gillespie's Big Band, and issuing landmark performances like "Flying Home" and "How High the Moon."

For the seventh album in her celebrated Song Book series, Ella Fitzgerald tackled classic melodies written for Broadway and Hollywood by Jerome Kern, the grandfather of the modern musical comedy, with backing by the orchestra of Nelson Riddle, the dean of Hollywood pop-jazz arrangers. The album was recorded on January 5-7, 1963 at Radio Recorders Studio 10H in Los Angeles and features some of the best studio musicians of the time, including Don Fagerquist (trumpet), Plas Johnson (tenor saxophone), and Wilbur Schwartz (clarinet). For lovers of good songs and good singing, "Ella Fitzgerald Sings the Jerome Kern Song Book" is a triple treat.