[JazzPlanet] Ella Fitzgerald & Louis Armstrong - Best Of [Eac-Flac-Cue]

Best Of Ella Fitzgerald & Louis Armstrong (1997)

Artist: Ella Fitzgerald & Louis Armstrong
Title Of Album: Ella Fitzgerald & Louis Armstrong, The Best of
Recording date:
Audio CD: August 26, 1997
Number of Discs: 1
Label: Verve Records
Genre: Jazz, Swing Jazz, Classic Vocalists

Extractor: EAC 0.99
Read mode : Secure
Utilize accurate stream : Yes
Defeat audio cache : Yes
Make use of C2 pointers : No
Codec: Flac 1.2.1; Level 3

Source: Internet
Size Torrent: 396 Mb
Cover: Included






01. Let's Call The Whole Thing Off
02. Love Is Here To Stay
03. The Nearness Of You
04. Stars Fell On Alabama
05. Gee, Baby Ain't I Good To You
06. They Can't Take That Away From Me
07. Autumn In New York
08. Summertime
09. Tenderly
10. Stompin' At The Savoy
11. Under A Blanket Of Blue
12. I Wants To Stay Here
13. I've Got My Love To Keep Me Warm
14. There's A Boat Dat's Leavin' Soon For New York
15. You Won't Be Satisfied (Until You Break My Heart)





# Trummy Young: Trombone
# Edmond Hall: Clarinet
# Billy Kyle: Piano
# Oscar Peterson: Piano
# Herb Ellis: Guitar
# Ray Brown: Bass
# Dale Jones: Bass
# Louie Bellson: Drums
# Barrett Deems: Drums
# Buddy Rich: Drums
# Russell Garcia: Arranger, Conductor





Louis Daniel Armstrong

Satchmo" redirects here. For the online store system, see Satchmo (online store).
Louis Armstrong
A picture of Louis Armstrong. Short-haired black man in his fifties blowing into a trumpet. He is wearing a light-colored sport coat, a white shirt and a bow tie. He is faced left with his eyes looking upwards. His right hand is fingering the trumpet, with the index finger down and three fingers pointing upwards. The man's left hand is mostly covered with a handkerchief and it has a shining ring on the little finger. He is wearing a wristwatch on the left wrist.
Louis Armstrong's stage personality matched his flashy cornet and trumpet playing. Armstrong is also known for his raspy singing voice.
Background information
Birth name Louis Daniel Armstrong
Born August 4, 1901
New Orleans, Louisiana, U.S.
Died July 6, 1971 (aged 69)
Corona, Queens, New York City, NY, U.S.
Genres Jazz, Dixieland, swing, traditional pop
Occupations Musician
Instruments Trumpet, cornet, vocals
Years active c. 1914–1971
Associated acts Joe "King" Oliver, Ella Fitzgerald, Kid Ory

Louis[1] Daniel Armstrong (August 4, 1901[2] – July 6, 1971), nicknamed Satchmo[3] or Pops, was an American jazz trumpeter and singer from New Orleans, Louisiana.

Coming to prominence in the 1920s as an innovative cornet and trumpet player, Armstrong was a foundational influence on jazz, shifting the music's focus from collective improvisation to solo performers. With his distinctive gravelly voice, Armstrong was also an influential singer, demonstrating great dexterity as an improviser, bending the lyrics and melody of a song for expressive purposes. He was also greatly skilled at scat singing, or vocalizing using syllables instead of actual lyrics.

Renowned for his charismatic stage presence and deep, instantly recognizable voice almost as much as for his trumpet-playing, Armstrong's influence extended well beyond jazz, and by the end of his career in the '60s, he was widely regarded as a profound influence on popular music in general: critic Steve Leggett describes Armstrong as "perhaps the most important American musician of the 20th century."[4] Flea once proclaimed that "Louis Armstrong was probably the greatest musician that ever lived...one note implies that if he wanted to he could play ten billion notes, but just one simple note is a beautiful thing.
Born August 4, 1901
New Orleans, Louisiana, U.S.

Died July 6, 1971 (aged 69)
Corona, Queens, New York City, NY, U.S.


Ella Fitzgerald

Ella Jane Fitzgerald (April 25, 1917 – June 15, 1996), also known as "Lady Ella", and the "First Lady of Song", was an American jazz vocalist.[1] With a vocal range spanning three octaves, she was noted for her purity of tone, phrasing and intonation, and a "horn-like" improvisational ability, particularly in her scat singing.

She is widely considered one of the supreme interpreters of the Great American Songbook. [2] Over a recording career that lasted 59 years, she was the winner of 13 Grammy Awards, and was awarded the National Medal of Art by Ronald Reagan and the Presidential Medal of Freedom by George H. W. Bush.
Ella Jane Fitzgerald was born in Newport News, Virginia, the child of a common-law marriage between William and Temperance "Tempie" Fitzgerald.[3] The pair separated soon after her birth and she and her mother moved to Yonkers, New York, with Tempie's boyfriend, Joseph Da Silva. Fitzgerald's half-sister, Frances Da Silva, was born in 1923. As a child, Fitzgerald was placed in the Colored Orphan Asylum in Riverdale, the Bronx.[4]

In her youth, she wanted to be a dancer, although she loved listening to jazz recordings by Louis Armstrong, Bing Crosby and The Boswell Sisters. She idolized the lead singer Connee Boswell, later saying, "My mother brought home one of her records, and I fell in love with it....I tried so hard to sound just like her."[5]

In 1932, her mother died from a heart attack [3]. Following these traumas, Fitzgerald's grades dropped dramatically, and she frequently skipped school. At one point, she worked as a lookout at a bordello and also with a Mafia-affiliated numbers runner.[6] After getting into trouble with the police, she was taken into custody and sent to a reform school. Eventually she escaped from the reformatory, and for a time was homeless.

She made her singing debut at 17 on November 21, 1934 at the Harlem Opera House in Harlem, New York. She pulled in a weekly audience at the Apollo and she won the opportunity to compete in one of the earliest of its famous "Amateur Nights." She had originally intended to go on stage and dance but, intimidated by the Edwards Sisters, a local dance duo, she opted to sing instead, in the style of Connee Boswell. She sang Connee Boswell's "Judy" and "The Object of My Affection", a song recorded by the Boswell Sisters, and won the first prize of US$25.00.
Still performing at Granz's JATP concerts, by 1955, Fitzgerald left Decca, and Granz, now her manager, created Verve Records around her.

Fitzgerald later described the period as strategically crucial, saying, "I had gotten to the point where I was only singing be-bop. I thought be-bop was 'it', and that all I had to do was go some place and sing bop. But it finally got to the point where I had no place to sing. I realized then that there was more to music than bop. Norman....felt that I should do other things, so he produced The Cole Porter Songbook with me. It was a turning point in my life."[5]

Ella Fitzgerald Sings the Cole Porter Songbook, released in 1956, was the first of eight multi-album "Songbook" sets Fitzgerald would record for Verve at irregular intervals from 1956 to 1964. The composers and lyricists spotlighted on each set, taken together, represent the greatest part of the cultural canon known as the Great American Songbook. Fitzgerald's song selections ranged from standards to rarities, and represented an attempt by Fitzgerald to cross over into a non-jazz audience.

Ella Fitzgerald Sings the Duke Ellington Songbook was the only Songbook on which the composer she interpreted played with her. Duke Ellington and his longtime collaborator Billy Strayhorn both appeared on exactly half the set's 38 tracks, and wrote two new pieces of music for the album: "The E and D Blues", and a four-movement musical portrait of Fitzgerald (the only "Songbook" track on which Fitzgerald does not sing).

The Songbook series ended up becoming the singer's most critically acclaimed and commercially successful work, and probably her most significant offering to American culture. The New York Times wrote in 1996, "These albums were among the first pop records to devote such serious attention to individual songwriters, and they were instrumental in establishing the pop album as a vehicle for serious musical exploration."[5]

A few days after Fitzgerald's death, New York Times columnist Frank Rich wrote that in the Songbook series Fitzgerald "performed a cultural transaction as extraordinary as Elvis's contemporaneous integration of white and African-American soul. Here was a black woman popularizing urban songs often written by immigrant Jews to a national audience of predominantly white Christians."[6] Frank Sinatra was moved out of respect for Fitzgerald to block Capitol Records from re-releasing his own recordings in a similar, single composer vein.

Ella Fitzgerald also recorded albums exclusively devoted to the songs of Porter and Gershwin in 1972 and 1983, the albums being Ella Loves Cole and Nice Work If You Can Get It, respectively. A later collection devoted to a single composer was released during her time with Pablo Records, Ella Abraça Jobim, featuring the songs of Antonio Carlos Jobim.

While recording the 'Songbooks' and the occasional studio album, Fitzgerald toured 40 to 45 weeks per year in the United States and internationally, under the tutelage of Norman Granz. Granz helped solidify her position as one of the leading live jazz performers.[5]

In the mid-1950s, Fitzgerald became the first African-American to perform at the Mocambo, after Marilyn Monroe had lobbied the owner for the booking. The booking was instrumental in Fitzgerald's career. The incident was turned into a play by Bonnie Greer in 2005.

There are several live albums on Verve that are highly regarded by critics: Ella at the Opera House shows a typical JATP set from Fitzgerald, Ella in Rome displays her vocal jazz canon, while Ella in Berlin is still one of her biggest selling albums; it includes a famous version of "Mack the Knife", on which she forgets the lyrics, but improvises magnificently to compensate.

Born April 25, 1917(1917-04-25)
Newport News, Virginia, U.S.

Died June 15, 1996 (aged 79)
Beverly Hills, California, U.S.









Ella Fitzgerald's voice was satin to Louis Armstrong's sandpaper, but when you put them together on a single song, their chemistry was unimpeachable. This disc selects highlights from the three albums they made together at Verve (including their Porgy and Bess), and adds a spiffy live track from the Hollywood Bowl. Though they don't harmonize much (Armstrong's voice wasn't built for harmony), Ella's dignified swing and flashes of teasing wit play off Satchmo's gritty, good-humored roar symbiotically. The material is mostly lightweight Tin Pan Alley stuff (lots of Gershwin, plus the likes of "I've Got My Love to Keep Me Warm"), and they fly it like a kite. Douglas Wolk (Amazon).

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