Miss Ella Fitzgerald & Mr Gordon Jenkins Invite You to Listen and Relax
Miss Ella Fitzgerald & Mr Gordon Jenkins Invite You to Listen and Relax is a collection of material recorded by Ella Fitzgerald between 1949 and 1954, all tracks were arranged by Gordon Jenkins. All tracks were only available on 78rpm singles; the album was compiled and released by Decca in 1955. "I Wished on the Moon" – 3:08 "Baby" – 2:44 "I Hadn't Anyone Till You" – 3:02 "A Man Wrote a Song" – 3:11 "Who's Afraid" – 2:45 "Happy Talk" – 2:25 "Black Coffee" – 3:03 "Lover's Gold" – 3:04 "I'm Gonna Wash That Man Right Outa My Hair" – 2:53 "Dream a Little Longer" – 2:59 "I Need" – 2:40 "Foolish Tears" – 2:57 Ella Fitzgerald – vocal Gordon Jenkins – arranger
Ella Fitzgerald Sings the Cole Porter Song Book
Ella Fitzgerald Sings the Cole Porter Song Book is a 1956 studio album by American jazz singer Ella Fitzgerald, accompanied by a studio orchestra conducted and arranged by Buddy Bregman, focusing on the songs of Cole Porter. This was Fitzgerald's first album for the newly created Verve Records Granz decided to have Fitzgerald record well-established popular works becauseI was interested in how I could enhance Ella’s position, to make her a singer with more than just a cult following amongst jazz fans. So I proposed to Ella that the first Verve album would not be a jazz project, but rather a song book of the works of Cole Porter. I envisaged her doing a lot of composers; the trick was to change the backing enough so that and there, there would be signs of jazz. Fitzgerald's time on the Verve label would see her produce her most acclaimed recordings, at the peak of her vocal powers; this album inaugurated Fitzgerald's Song Book series, each of the eight albums in the series focusing on a different composer of the canon known as the Great American Songbook.
The album was recorded February 7 -- 9 & March 27, 1956, in Los Angeles. Fitzgerald's manager, the producer of many of her albums, Norman Granz, visited Cole Porter at the Waldorf-Astoria, played him this entire album. Afterwards, Porter remarked, "My, what marvelous diction that girl has." This album was inducted into the Grammy Hall of Fame in 2000, a special Grammy award established in 1973 to honor recordings that are at least twenty-five years old, that have "qualitative or historical significance." In 2003, it was one of 50 recordings chosen by the Library of Congress to be added to the National Recording Registry. All tracks written except when noted. Side one "All Through the Night" – 3:15 "Anything Goes" – 3:21 "Miss Otis Regrets" – 3:00 "Too Darn Hot" – 3:47 "In the Still of the Night" – 2:38 "I Get a Kick Out of You" – 4:00 "Do I Love You?" – 3:50 "Always True to You in My Fashion" – 2:48Side two "Let's Do It, Let's Fall in Love" – 3:32 "Just One of Those Things" – 3:30 "Ev'ry Time We Say Goodbye" – 3:32 "All of You" – 1:43 "Begin the Beguine" – 3:37 "Get Out of Town" – 3:22 "I Am in Love" – 4:06 "From This Moment On" – 3:17 Side three "I Love Paris" – 4:57 "You Do Something to Me" – 2:21 "Ridin' High" – 3:20 "You'd Be So Easy to Love" – 3:24 "It's All Right with Me" – 3:07 "Why Can't You Behave?"
– 5:04 "What Is This Thing Called Love?" – 2:02 "You're the Top" – 3:33Side four "Love for Sale" – 5:52 "It's De-Lovely" – 2:42 "Night and Day" – 3:04 "Ace in the Hole" – 1:58 "So in Love" – 3:50 "I've Got You Under My Skin" – 2:42 "I Concentrate on You" – 3:11 "Don't Fence Me In" – 3:19 1997 reissue unreleased bonus tracks "You're the Top" – 2:08 "I Concentrate on You" – 3:00 "Let's Do It, Let's Fall in Love" – 5:25 Personnel adapted from the liner notes of CD reissue. Buddy Bregman's memories of working with Ella on the Cole Porter Song Book
William Thomas Strayhorn was an American jazz composer, pianist and arranger, best remembered for his long-time collaboration with bandleader and composer Duke Ellington that lasted nearly three decades. His compositions include "Take the'A' Train", "Chelsea Bridge", "A Flower Is a Lovesome Thing", "Lush Life". Strayhorn was born in Ohio, his family soon moved to the Homewood section of Pennsylvania. However, his mother's family was from Hillsborough, North Carolina, she sent him there to protect him from his father's drunken sprees. Strayhorn spent many months of his childhood at his grandparents' house in Hillsborough. In an interview, Strayhorn said that his grandmother was his primary influence during the first ten years of his life, he first became interested in music while living with her, playing hymns on her piano, playing records on her Victrola record player. Strayhorn returned to Pittsburgh, attended Westinghouse High School attended by Erroll Garner and Ahmad Jamal. In Pittsburgh, he began his musical career, studying classical music for a time at the Pittsburgh Music Institute, writing a high school musical, forming a musical trio that played daily on a local radio station, while still in his teens, composing the songs "Life Is Lonely", "My Little Brown Book", "Something to Live For".
While still in grade school, he worked odd jobs to earn enough money to buy his first piano. While in high school, he played in the school band, studied under the same teacher, Carl McVicker, who had instructed jazz pianists Erroll Garner and Mary Lou Williams. By age 19, he was writing for Fantastic Rhythm. Though classical music was Strayhorn's first love, his ambition to become a classical composer was shot down by the harsh reality of a black man trying to make it in the classical world, which at that time was completely white. Strayhorn was introduced to the music of pianists like Art Tatum and Teddy Wilson at age 19; these musicians guided him into the realm of jazz. His first jazz exposure was in a combo called the Mad Hatters. Strayhorn's fellow students, guitarist Bill Esch and drummer Mickey Scrima influenced his move towards jazz, he began writing arrangements for Buddy Malone's Pittsburgh dance band after 1937, he met Duke Ellington in December 1938, after an Ellington performance in Pittsburgh.
Here he first told, showed the band leader how he would have arranged one of Duke's own pieces. Ellington was impressed enough to invite other band members to hear Strayhorn. At the end of the visit, he arranged for Strayhorn to meet him. Strayhorn worked for Ellington for the next quarter century as an arranger, occasional pianist and collaborator until his early death from cancer; as Ellington described him, "Billy Strayhorn was my right arm, my left arm, all the eyes in the back of my head, my brain waves in his head, his in mine." Strayhorn's relationship with Ellington was always difficult to pin down: Strayhorn was a gifted composer and arranger who seemed to flourish in Duke's shadow. Ellington was arguably a father figure and the band was affectionately protective of the diminutive, mild-mannered, unselfish Strayhorn, nicknamed by the band "Strays", "Weely", "Swee' Pea". Ellington may have taken advantage of him, but not in the mercenary way in which others had taken advantage of Ellington.
Though Duke Ellington took credit for much of Strayhorn's work, he did not maliciously drown out his partner. Ellington would make jokes onstage like, "Strayhorn does a lot of the work but I get to take the bows!" On the other hand, Ellington did not oppose his publicists' crediting him without any mention of Strayhorn, despite the latter's attempts to hide his dissatisfaction, "Strayhorn revealed", at least to his friends, "a deepening well of unease about his lack of public recognition as Ellington's prominence grew."Strayhorn composed the band's best known theme, "Take the'A' Train", a number of other pieces that became part of the band's repertoire. In some cases Strayhorn received attribution for his work such as "Lotus Blossom", "Chelsea Bridge", "Rain Check", while others, such as "Day Dream" and "Something to Live For", were listed as collaborations with Ellington or, in the case of "Satin Doll" and "Sugar Hill Penthouse", were credited to Ellington alone. Strayhorn arranged many of Ellington's band-within-band recordings and provided harmonic clarity and polish to Duke's compositions.
On the other hand, Ellington gave Strayhorn full credit as his collaborator on larger works such as Such Sweet Thunder, A Drum Is a Woman, The Perfume Suite and The Far East Suite, where Strayhorn and Ellington worked together. Strayhorn often sat in on the piano with the Ellington Orchestra, both live and in the studio. Detroit Free Press music critic Mark Stryker concludes that the work of Strayhorn and Ellington in Anatomy of a Murder is "indispensable... too sketchy to rank in the top echelon among Ellington-Strayhorn masterpiece suites like Such Sweet Thunder and The Far East Suite, but its most inspired moments are their equal." Film historians have recognized the soundtrack "as a landmark -- the first significant Hollywood film music by African Americans comprising non-diegetic music, that is, music whose source is not visible or implied by action in the film, like an
Ella and Oscar
Ella and Oscar is a 1975 album by Ella Fitzgerald, accompanied by pianist Oscar Peterson and, for the second half of the album, double bassist Ray Brown. Fitzgerald's two previous albums with piano accompaniment were 1950's Ella Sings Gershwin and 1960's Ella Fitzgerald Sings Songs from Let No Man Write My Epitaph with Paul Smith. "Mean to Me" – 3:30 "How Long Has This Been Going On?" – 4:59 "When Your Lover Has Gone" – 4:58 "More Than You Know" – 4:37 "There's a Lull in My Life" – 4:58 "Midnight Sun" – 3:40 "I Hear Music" – 5:12 "Street of Dreams" – 4:08 "April in Paris" – 8:37 Ella Fitzgerald – vocals Oscar Peterson – piano Ray Brown – double bass
Lullabies of Birdland
Lullabies of Birdland is a 1956 studio album by Ella Fitzgerald, issued on the Decca Records label. The album features tracks recorded during the late 1940s and early 1950s, issued on 78rpm single. MCA Records re-issued the complete album in 1998, together with the 1955 album Sweet and Hot. Side one: "Lullaby of Birdland" – 2:51 "Rough Ridin'" – 3:14 "Angel Eyes" – 2:54 "Smooth Sailing" – 3:06 "Oh, Lady Be Good!" – 3:08 "Later" – 2:32Side two: "Ella Hums the Blues" – 5:13 "How High the Moon" – 3:15 "Basin Street Blues" – 3:07 "Air Mail Special" – 3:02 "Flying Home" – 2:27 Ella Fitzgerald - vocals Sy Oliver and His Orchestra - Tracks 1,3,4,6 and 9. Ray Brown and His Trio - Tracks 2 and 10. Bob Haggart and His Orchestra - Track 5. Don Abney, Joe Mondragon, Larry Bunker - Track 7. Ray Brown, Leonard "Idrees Sulieman" Graham - Track 8. Vic Schoen and His Orchestra - Track 11
John Herndon Mercer was an American lyricist and singer. He was a record label executive who co-founded Capitol Records with music industry businessman Buddy DeSylva and Glenn E. Wallichs, he is best known as a Tin Pan Alley lyricist, but he composed music. He was a popular singer who recorded his own songs as well as songs written by others. From the mid-1930s through the mid-1950s, many of the songs Mercer wrote and performed were among the most popular hits of the time, he wrote the lyrics including compositions for movies and Broadway shows. He received nineteen Academy Award nominations, won four Best Original Song Oscars. Mercer was born in Georgia, his father, George Anderson Mercer, was a prominent attorney and real-estate developer, his mother, Lillian Elizabeth, George Mercer's secretary and second wife, was the daughter of a Croatian immigrant father and a mother with Irish ancestry. Lillian's father was a merchant seaman who ran the Union blockade during the U. S. Civil War. Mercer was George's fourth son, first by Lillian.
His great-grandfather was Confederate General Hugh Weedon Mercer and he was a direct descendant of American Revolutionary War General Hugh Mercer, a Scottish soldier-physician who died at the Battle of Princeton. Mercer was a distant cousin of General George S. Patton; the construction of Mercer House in Savannah was started by General Hugh Weedon Mercer in 1860. Neither the General, nor Mercer himself lived there, his mother's father was born in Lastovo, Croatia in 1834 to mother Ivana Cucevic and father Marijo Dundovic. Mercer liked music as a small child and attributed his musical talent to his mother, who would sing sentimental ballads. Mercer's father sang old Scottish songs, his aunt told him he was humming music when he was six months old and she took him to see minstrel and vaudeville shows where he heard "coon songs" and ragtime. The family's summer home "Vernon View" was on the tidal waters and Mercer's long summers there among mossy trees, saltwater marshes, soft, starry nights inspired him years later.
Mercer's exposure to black music was unique among the white songwriters of his generation. As a child, Mercer had African-American playmates and servants, he listened to the fishermen and vendors about him, who spoke and sang in the dialect known as "Geechee", he was attracted to black church services. Mercer stated, "Songs always fascinated me more than anything." He had no formal musical training but was singing in a choir by six and at 11 or 12 he had memorized all of the songs he had heard and became curious about who wrote them. He once asked his brother who the best songwriter was, his brother said Irving Berlin, among the best of Tin Pan Alley. Despite Mercer's early exposure to music, his talent was in creating the words and singing, not in playing music, though early on he had hoped to become a composer. In addition to the lyrics that Mercer memorized, he wrote adventure stories, his attempts to play the trumpet and piano were not successful, he never could read musical scores with any facility, relying instead on his own notation system.
As a teenager in the Jazz Era, he was a product of his age. He hunted for records in the black section of Savannah and played such early black jazz greats as Ma Rainey, Bessie Smith, Louis Armstrong, his father owned the first car in town, Mercer's teenage social life was enhanced by his driving privilege, which sometimes verged on recklessness. The family would motor to the mountains near Asheville, North Carolina to escape the Savannah heat and there Mercer learned to dance and to flirt with Southern belles, his natural sense of rhythm helping him on both accounts. Mercer wrote a humorous song called "Arthur Murray Taught Me Dancing in a Hurry". Mercer attended the exclusive Woodberry Forest School in Virginia until 1927. Although not a top student, he was active in literary and poetry societies and as a humor writer for the school's publications. In addition, his exposure to classic literature augmented his rich store of vocabulary and phraseology, he began to scribble ingenious, sometimes strained, rhymed phrases for use.
Mercer was the class clown and a prankster, member of the "hop" committee that booked musical entertainment on campus. Mercer was somewhat of an authority on jazz at an early age, his yearbook stated, "No orchestra or new production can be authoritatively termed'good' until Johnny's stamp of approval has been placed upon it. His ability to'get hot' under all conditions and at all times is uncanny." Mercer began to write songs, an early effort being "Sister Susie, Strut Your Stuff", learned the powerful effect songs had on girls. Given his family's proud history and association with Princeton, New Jersey, Princeton University, Mercer was destined for school there until his father's financial setbacks in the late 1920s changed those plans, he went to work in his father's recovering business, collecting rent and running errands, but soon grew bored with the routine and with Savannah, looked to escape. Mercer moved to New York in 1928, when he was 19; the music he loved and blues, was booming in Harlem and Broadway was bursting with musicals and revues from George Gershwin, Cole Porter, Irving Berlin.
Vaudeville, though beginning to fade, was still a strong musical presence. Mercer's first few jobs were as a bit actor. Hole
Ella and Louis Again
Ella and Louis Again is a 1957 studio album by Ella Fitzgerald and Louis Armstrong. It is the "sequel" to their 1956 album and Louis, it was reissued in 2006 on a 2 CD-set as Verve 0602517036918. Writing for Allmusic, music critic Alex Henderson wrote of the album:One could nit-pick about the fact that Satchmo doesn't take more trumpet solos, but the artists have such a strong rapport as vocalists that the trumpet shortage is only a minor point. Seven selections find either Fitzgerald or Armstrong singing without the other, although they're together more than not on this fine recording. For the original 1957 double LP, Verve MGV 4006-2 Side one: "Don't Be That Way" – 5:01 "Makin' Whoopee" - Louis Armstrong solo vocal – 3:59 "They All Laughed" – 3:50 "Comes Love" - Ella Fitzgerald solo vocal – 2:28 "Autumn in New York" – 6:00Side two: "Let's Do It, Let's Fall in Love" - Louis Armstrong solo vocal – 8:44 "Stompin' at the Savoy" – 5:16 "I Won't Dance" – 4:47 "Gee, Ain't I Good to You" – 4:11Side three: "Let's Call the Whole Thing Off" – 4:15 "These Foolish Things" - Ella Fitzgerald solo vocal – 7:40 "I've Got My Love to Keep Me Warm" – 3:12 "Willow Weep for Me" - Louis Armstrong solo vocal – 4:21 "I'm Putting All My Eggs in One Basket" – 3:28Side four: "A Fine Romance" – 3:56 "Ill Wind" - Ella Fitzgerald solo vocal – 3:45 "Love Is Here to Stay" – 4:01 "I Get a Kick out of You" - Louis Armstrong solo vocal – 4:21 "Learnin' the Blues" – 7:11 Louis Armstrong — vocals.
Ella Fitzgerald — vocals Oscar Peterson — piano Herb Ellis — guitar Ray Brown — bass Louie Bellson — drums