ELLA FITZGERALD - The Complete 190-61 Ella in Berlin
Essential Jazz Classics EJC55719 (Two CD Set)
CD One Tracks 1 to 11
Ella Fitzgerald ( vocal ) Paul Smith ( pno ) Jim Hall ( gtr ) Wilfred Middlebrooks ( Bass ) Gus Johnson ( drs )
Recorded Berlin 13 February 1960
Tracks 12 to 18
Ella Fitzgerald ( vocal )Lou Levy ( pno ) Max Bennett ( bass ) Gus Johnson ( drs )
Recorded Connes Jazz Festival, Connes, France, 1 July 1959
Tracks 19 & 20
Ella Fitzgerald ( vocal )Paul Smith ( pno ) Barney Kessel ( gtr ) Joe Môn dragon ( bass ) Alvin Stoller
( drs )
Recorded Hollywood Bowl, Los Angeles, 15 August 1956
CD Two Tracks 1 to 21
Ella Fitzgerald ( vocal ) Lou Levy ( pno ) Herb Ellis ( gtr ) Wilfred Middlebrooks ( bass ) Gus Johnson ( drs )
Oscar Peterson ( pno ) Ray Brown ( bass ) Ed Thigpen ( drs ) on track 20 only
Recorded Berlin 11 February 1961
Tracks 22 & 23
Ella Fitzgerald ( vocal ) Knud Jorgensen ( pno ) Jimmy Woode ( bass ) William Schiopffe ( drs )
Recorded Copenhagen, 25 August 1961
Essential Jazz Classics EJC55719 (Two CD Set)
CD One Tracks 1 to 11
Ella Fitzgerald ( vocal ) Paul Smith ( pno ) Jim Hall ( gtr ) Wilfred Middlebrooks ( Bass ) Gus Johnson ( drs )
Recorded Berlin 13 February 1960
Tracks 12 to 18
Ella Fitzgerald ( vocal )Lou Levy ( pno ) Max Bennett ( bass ) Gus Johnson ( drs )
Recorded Connes Jazz Festival, Connes, France, 1 July 1959
Tracks 19 & 20
Ella Fitzgerald ( vocal )Paul Smith ( pno ) Barney Kessel ( gtr ) Joe Môn dragon ( bass ) Alvin Stoller
( drs )
Recorded Hollywood Bowl, Los Angeles, 15 August 1956
CD Two Tracks 1 to 21
Ella Fitzgerald ( vocal ) Lou Levy ( pno ) Herb Ellis ( gtr ) Wilfred Middlebrooks ( bass ) Gus Johnson ( drs )
Oscar Peterson ( pno ) Ray Brown ( bass ) Ed Thigpen ( drs ) on track 20 only
Recorded Berlin 11 February 1961
Tracks 22 & 23
Ella Fitzgerald ( vocal ) Knud Jorgensen ( pno ) Jimmy Woode ( bass ) William Schiopffe ( drs )
Recorded Copenhagen, 25 August 1961
ELLA FITZGERALD - Ella Fitzgerald at Mister Kelly’s 1958
Essential Jazz Classics EJC55721 (Two CD Set)
CD One & CD Two Tracks 1 to 11
Ella Fitzgerald ( vocal ) Lou Levy ( pno ) Maz Bennett ( bass ) Gus Johnson ( drs )
Recorded Mister Kelly’s, Chicago,10 August 1958
Bonus tracks
CD Two 12 to 18
Ella Fitzgerald ( vocal ) Hank Jones ( pno ) Jimmy Woode ( bass )Jo Jones ( drs )
Recorded Storyville Club, Boston, 7 February 1953
CD Two track 16
Ella Fitzgerald ( vocal ) with unidentified rhythm section
Recorded Appollo Theatre, New York, fall 1954
CD Two tracks 17 & 18
Ella Fitzgerald ( vocal ) Raymond Tunia ( pno ) Herb Ellis ( gtr ) Ray Brown ( bass ) unknown ( drs )
Recorded Basin Street, New York, 3 or 7 August 1955
These two double CDs are examples of Ella Fitzgerald recorded in public performance over a ten year period either with the backing of a trio or a quartet. Ella live is an entirely different animal to Ella in the recording studio, her live performances are programmed to satisfy the audience where her studio recordings are much more considered. This is not to say either is the better approach just that she is pleasing different audiences and I am sure both are well satisfied.
As you would expect from Ella’s live performances there is plenty of scat singing and deviations from the recorded version which is appreciated by audiences. There are two schools of opinions about scat singing some people believe it demonstrates thee singers technical ability others think the song should be sung as written, but then it’s a personal preferences.
There are many highlights on these two albums and all the supporting musicians are on top form in particular pianist Lou Levy and Paul Smith has plenty of experience from working with Ella on the Songbook recordings, Gus Johnson’s drumming is supportive without over crowding the vocal.
As the Berlin album is the complete recordings it is inevitable that there are duplications of a number of songs but in most cases they are different backing groups and does not spoil the enjoyment of the music. Some of the gems from the Berlin recordings are “Rock It For Me” which is ideal concert number, all the ballads such as “Angel Eyes”, “Round Midnight” and “Misty” have something to offer. ”Mr Paganini” and “Mack The Knife” are musts for a live performance. “You’re Driving Me Crazy” one of two numbers from a different oncert and with a different rhythm section is sung by Ella in German to the delight of the audience.
The recordings from Mr Kelly’s are in front of a much more intimate audience and the rhythm section are much looser in their approach. Ella sounds much more relaxed in these surroundings nd her programming sounds more sophisticated.
“I’m Glad There Is You” and “ How Long Has This Been Going On” are programmed together and create an intimate mood a sublime experience. There are plenty of swingers including “Perdido” and “How High The Moon” with examples of her scat singing to satisfy fans of that genre.
The bonus tracks are a bit of a mish mash we are simply filler recorded at differing locations complete with those awful intros and chat by the announcers.
If you had to choose between these two releases your most satisfying choice would have to be the Mr Kelly‘s album.
Reviewed by Roy Booth
Essential Jazz Classics EJC55721 (Two CD Set)
CD One & CD Two Tracks 1 to 11
Ella Fitzgerald ( vocal ) Lou Levy ( pno ) Maz Bennett ( bass ) Gus Johnson ( drs )
Recorded Mister Kelly’s, Chicago,10 August 1958
Bonus tracks
CD Two 12 to 18
Ella Fitzgerald ( vocal ) Hank Jones ( pno ) Jimmy Woode ( bass )Jo Jones ( drs )
Recorded Storyville Club, Boston, 7 February 1953
CD Two track 16
Ella Fitzgerald ( vocal ) with unidentified rhythm section
Recorded Appollo Theatre, New York, fall 1954
CD Two tracks 17 & 18
Ella Fitzgerald ( vocal ) Raymond Tunia ( pno ) Herb Ellis ( gtr ) Ray Brown ( bass ) unknown ( drs )
Recorded Basin Street, New York, 3 or 7 August 1955
These two double CDs are examples of Ella Fitzgerald recorded in public performance over a ten year period either with the backing of a trio or a quartet. Ella live is an entirely different animal to Ella in the recording studio, her live performances are programmed to satisfy the audience where her studio recordings are much more considered. This is not to say either is the better approach just that she is pleasing different audiences and I am sure both are well satisfied.
As you would expect from Ella’s live performances there is plenty of scat singing and deviations from the recorded version which is appreciated by audiences. There are two schools of opinions about scat singing some people believe it demonstrates thee singers technical ability others think the song should be sung as written, but then it’s a personal preferences.
There are many highlights on these two albums and all the supporting musicians are on top form in particular pianist Lou Levy and Paul Smith has plenty of experience from working with Ella on the Songbook recordings, Gus Johnson’s drumming is supportive without over crowding the vocal.
As the Berlin album is the complete recordings it is inevitable that there are duplications of a number of songs but in most cases they are different backing groups and does not spoil the enjoyment of the music. Some of the gems from the Berlin recordings are “Rock It For Me” which is ideal concert number, all the ballads such as “Angel Eyes”, “Round Midnight” and “Misty” have something to offer. ”Mr Paganini” and “Mack The Knife” are musts for a live performance. “You’re Driving Me Crazy” one of two numbers from a different oncert and with a different rhythm section is sung by Ella in German to the delight of the audience.
The recordings from Mr Kelly’s are in front of a much more intimate audience and the rhythm section are much looser in their approach. Ella sounds much more relaxed in these surroundings nd her programming sounds more sophisticated.
“I’m Glad There Is You” and “ How Long Has This Been Going On” are programmed together and create an intimate mood a sublime experience. There are plenty of swingers including “Perdido” and “How High The Moon” with examples of her scat singing to satisfy fans of that genre.
The bonus tracks are a bit of a mish mash we are simply filler recorded at differing locations complete with those awful intros and chat by the announcers.
If you had to choose between these two releases your most satisfying choice would have to be the Mr Kelly‘s album.
Reviewed by Roy Booth
