75th Anniversary Collection
Ella Fitzgerald
© March 30, 1993 - GRP Records / MCA Records
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75th Anniversary CollectionElla Fitzgerald© March 30, 1993 - GRP Records / MCA Records |
Tracks Performers Album Info Artist Info Discography
Mario Bauza 
trumpet (track 1:1)
Dick Vance trumpet (track 1:2)
Bobby Stark trumpet
Taft Jordan trumpet
Sandy Williams trombone
Nat Story trombone
George Matthews trombone
Garvin Bushell reed
Louis Jordan reed (track 1:1)
Hilton Jefferson alto sax (track 1:2)
Wayman Carter reed
Teddy McRae reed
Tommy Fulford piano
Bobby Johnson guitar
Beverley Peer bass
Chick Webb drums
Taft Jordan trumpet
Sandy Williams trombone
Hilton Jefferson reed
Teddy McRae reed
Tommy Fulford piano
John Trueheart banjo
Beverley Peer bass
Chick Webb drums
Ella Fitzgerald's Famous Orchestra
Dick Vance trumpet
Bobby Stark trumpet (track 1:4)
Irving Randolph trumpet (track 1:5)
Taft Jordan trumpet
Sandy Williams trombone (track 1:4)
Nat Story trombone (track 1:4)
Earl Hardy trombone (track 1:5)
John McConnell trombone (track 1:5)
George Matthews trombone
Teddy McRae reed
Garvin Bushell reed (track 1:4)
Hilton Jefferson reed (track 1:4)
Wayman Carter reed (track 1:4)
Pete Clark reed (track 1:5)
Chauncey Haughton reed (track 1:5)
Sam Simmons reed (track 1:5)
Tommy Fulford piano
John Trueheart banjo (track 1:4)
Ulysses Livingston guitar (track 1:5)
Beverley Peer bass
Bill Beason drums
Ralph Musillo trumpet
Charles Genduso trumpet
Louis Ruggiero trumpet
William Pritchard trombone
Bernie Kaufman reed
Sid Cooper reed
Sid Rubin reed
Herry Feldman reed
Moe Wechsler piano
Hy White guitar
Felix Giobbe bass
Irv Kluger drums
Louis Jordan and His Tymphany Five
Louis Jordan alto sax & vocal
Aaron Izenhall trumpet
Josh Jackson tenor sax
Bill Davis piano
Bill Doggett piano (track 2:1)
Carl Hogan guitar (track 1:10)
Bill Jennings guitar (track 2:1)
Jesse Simpkins bass (track 1:10)
Bob Bushnell bass (track 2:1)
Eddie Byrd drums (track 1:10)
Joe Morris drums (track 2:1)
Harry Dial percussion (track 1:10)
Vic Lourie percussion (track 1:10)
Louis Armstrong trumpet & vocal
Bill Stegmeyer reed
George Koenig reed
Jack Greenberg reed
Art Drellinger reed
Milton Chatz reed
Joe Bushkin piano
Danny Perri guitar
Trigger Alpert bass
Cozy Cole drums
Chris Griffin trumpet
Andy Feretti trumpet
Bob Peck trumpet
Will Bradley trombone
Jack Satterfield trombone
Freddy Ohms trombone
Ernie Caceres baritone sax
Stan Freeman piano
Danny Perri guitar
Bob Haggart bass
Morey Feld drums
Andy Love Quintet background vocals
Bernie Privin trumpet (track 1:20,
2:7,8,13)
Tony Faso trumpet (track 1:20)
Paul Webster trumpet (track 1:20, 2:2)
Taft Jordan trumpet (track 2:7,8,10,13)
Jimmy Nottingham trumpet (track
2:7,8,10,13)
Charlie Shavers trumpet (track 2:10,13)
Henderson Chambers trombone (track 1:20,
2:10,13)
Bobby Bryne trombone (track 2:7,8,13)
Mort Bullman trombone (track 2:7,8,13)
Al Grey trombone (track 2:7,8,13)
Frank Sacarro trombone (track 2:10,13)
Hank D'amico clarinet (track 2:2)
Milt Yaner reed (track 1:20, 2:7,8,13)
Sid Cooper reed (track 1:20, 2:7,8,13)
Jerry Jerome reed (track 1:20)
Al Klink reed (track 1:20)
Frank Ludwig tenor sax (track 2:2)
Sam Taylor reed (track 2:7,8,9,13)
Dick Jacobs reed (track 2:7,8,13)
Dave McRae reed (track 2:7,8,13)
Hank Jones piano (track 1:20,
2:2,7,8,9,10,13)
Everett Barksdale guitar (track 1:20,
2:2,7,8,9,10,13)
Ray Brown bass (track 1:20, 2:2)
Sandy Block bass (track 2:7,8,9,13)
Art Baker bass (track 2:10)
Jimmy Crawford drums (track 1:20)
Johnny Blowers drums (track
2:2,7,8,9,10,13)
Bill Doggett organ
Hank Jones piano
Ray Brown bas
Rudy Taylor drums
Dick Jacobs percussion
Toots Camarata and His Orchestra
Charlie Shavers trumpet
Jimmy Nottingham trumpet
Dale McMickle trumpet
FrankSaracco trombone
Will Bradley trombone
Cutty Cutshall trombone
Ward Silloway trombone
Al Howard reed
Hymie Schertzer reed
Hal Feldman reed
Al Klink reed
Don Abney piano
Al Casamenti guitar
Eddie Safranski bass
Jimmy Crawford drums
Janet Pullman harp
This two=CD set is part of an ongoing series of reissues utilizing today's most advanced technology to preserve and restore a significant segment of Ameriva's musical heritage : the classic jazz performances originally recorded for the pioneering Decca record company.
Born April 25, 1918, in Newport News, VA. Died June 15, 1997, in Beverly Hills, CA.
Many critics consider Ella Fitzgerald "The First Lady of Song," the best female jazz singer ever, though in her customary modesty Fitzgerald hailed Sarah Vaughan as the finest vocalist of all time. Regardless, there can be no debate that Ella--the first name is all that's required--belongs in that select pantheon of incomparable voices (Vaughan, Billie Holiday) that could transform the weakest material into a masterpiece, making any song uniquely her own. She could swing with the best of them, is credited with creating the free-form singing style known as "scat," and interpreted every number with spectacularly clear diction and a powerful, versatile voice. The perpetually cheerful lilt in that voice stood in sharp contrast to an early life spent in abysmal poverty; she was a homeless 16-year-old in 1933, but turned her fortunes around the following year. Ella showed up at an amateur talent contest at Harlem's Apollo Theater and won the $25 first prize by singing an impromptu version of "Judy" in the style of her main influence, Connee Boswell. Jazz great Benny Carter was in the audience and soon landed Fitzgerald a spot singing with Chick Webb's orchestra; by 1937, she was the featured attraction. Her first successful recordings included "Love and Kisses," "Undecided," and "A-Tisket, A-Tasket"--created, the legend goes, as a nonsensical ditty to lift the spirits of Webb, who was critically ill. Webb died in 1939, and Fitzgerald took over as leader of his orchestra until 1941 when she broke up the band to go solo. In the '40s, Ella collaborated with acts like the Ink Spots and the Delta Rhythm Boys, eventually finding a home with Norman Granz's Jazz at the Philharmonic. She began performing more jazz and bop numbers, teaming with Dizzy Gillespie and doing raucous, scat-filled numbers in her sets. She hit the charts with "Lady Be Good" and "Flying Home," married bassist Ray Brown in 1948 (a union that would last only four years), appeared in the films St. Louis Blues and Jack Webb's Pete Kelly's Blues, and made many TV appearances starting in the '50s and continuing throughout her career. All these events were concurrent with Ella's signing to Granz's Verve label and beginning her project of making her seminal and very popular "songbook" recordings. She achieved the pinnacle of her career in 1960 with her European concert tour, notably the Berlin show featuring her scat-heavy spoof of "Mack the Knife." Fitzgerald's radiance lost some luster in the late '60s as she tried to cash in on the popular music of the day, but she rebounded with live recordings in the '70s, working with Count Basie, Oscar Peterson, and Joe Pass. In the 1980s, however, Ella began to fade. Her health declined and she lacked the "verve" she had displayed so effortlessly in her younger years. Heart and eye trouble prevented her from performing or recording for long stretches. Ella was, interestingly, at once shy and yet not given to introspection. Consequently, she was never self-conscious as an artist and, thus, never prone to self-imitation. She was simply an extraordinary singer. She didn't merely sing; she played herself like a musical instrument. By 1994, she had completely retired. Ella Fitzgerald died in the spring of 1996, though her legacy lives on in more than 100 available recordings and a reputation that has made her name synonymous with great singing, great jazz, and scat coolness.
Source: MusicHound R&B: The Essential Album Guide
Ella Fitzgerald, often referred to as "the First Lady of Song," built a solid
reputation as a jazz musician, and gained notoriety around the world as possibly the best
vocalist of the twentieth century. Her clear-ringing sound, far-reaching range, and
rhythmically, her innate swing, all helped to set Fitzgerald apart from other vocalists.
Throughout her life, she claimed that Connee Boswell was her single most important
influence. Although the tales concerning Fitzgerald's debut often vary, most agree that
she entered an amateur contest at the Apollo Theater (some sources say it was the Harlem
Opera House) in 1934, intending to dance. But, intimidated by the Edwards Sisters who
preceded her, Fitzgerald opted to sing instead. Stepping up to the microphone, she sang
"Judy." Encores ensued as the world was introduced to Fitzgerald. She soon met
Chick Webb through Bardu Ali, who fronted Webb's band and had heard the young vocalist at
her stage debut. Other sources say that Benny Carter was responsible for the introduction.
Regardless, Fitzgerald auditioned, and although Webb was hesitant at first, he hired her,
and took her under his wing, legally taking on the responsibilities as her guardian. In
1935 she recorded "Love and Kisses" and "I'll Chase the Blues Away,"
Fitzgerald's first recordings with the band, on which she sang only on the second chorus.
In April 1936 she recorded "Rhythm and Romance," and had progressed to coming
back in for a sixteen-bar out chorus, in addition to singing the second chorus. Her voice
quickly became a main feature of Webb's band, and in October 1936, when she recorded
"You'll Have to Swing It (Mr. Paganini)" with the band, Fitzgerald opens the
song, and additionally, sings short scat phrases. During the big band years, orchestras
had to swing and satisfy the dancers. Webb's band, performing regularly at the Savoy and
showcasing Fitzgerald, accomplished this with ease and style. By 1937 Fitzgerald was,
without a doubt, the main feature of the band. In 1938 she had an idea for a song,
"A-Tisket, a-Tasket," adapted from the nursery rhyme. With the music and
arrangement by staff arranger Van Alexander, the tune was recorded by Decca on May 2,
1938, and almost immediately shot to the top of the charts, giving the band national
recognition, and establishing Fitzgerald as a star. With a sound and a distinctive
developing style, Fitzgerald continued to perform and record with the Chick Webb Band.
When Webb passed away on June 16, 1939, she took over as leader of the band, until 1941,
when she began to pursue a solo career, continuing to record with Decca. During the
mid-1940s, she traveled with Dizzy Gillespie, which put her into the midst of the bop
movement, and created an experience that was an important influence on her subsequent
work. In addition, Fitzgerald's association with Norman Granz began in 1946, when she took
part in his newly created Jazz at the Philharmonic. In 1945 she had a hit with
"Flying Home," her first solely instrumental recording, and in 1947 her
"How High the Moon" became a hit. Both tunes are examples of Fitzgerald's
abilities as a bop singer, demonstrating her fine ear, extraordinary musicianship, and
flexible voice, as well as her progression as an artist. During this time she also
recorded with the Ink Spots, Louis Jordan, the Delta Rhythm Boys, and Louis Armstrong. In
1948 she married bassist Ray Brown, whose ensembles often accompanied her, including on
the recording "Airmail Special" in January 1952, with Fitzgerald masterfully
scatting the choruses in the true spirit of Benny Goodman and Charlie Christian. A
highlight of her Decca years is a duo recording of Gershwin tunes with Ellis Larkins in
1950. After appearing in the film Pete Kelly's Blues in 1955, Fitzgerald left
Decca, and signed with Granz, beginning her Verve years. Within the next few years, she
recorded the famous Songbooks series, ated to the various great American
songwriters, including Cole Porter, Harold Arlen, Rogers and Hart, Irving Berlin,
Gershwin, Jerome Kern, Johnny Mercer, and Duke Ellington. In addition, many live
recordings were issued, including the classic 1960 Ella in Berlin, with her famed
rendition of "Mack the Knife." The Verve years, with Granz as her manager, took
her around the world, and offered her the opportunity to record prolifically. When Granz
formed the Pablo label, Fitzgerald was again consistently featured in jazz settings. In
1972 she performed her first concert with the Boston Pops, and by 1975, Fitzgerald had
performed with more than 40 American symphony orchestras. During these years, the quality
of her voice began to decline, and because of eye trouble that had begun in 1971, she
gradually began to cut back on her working schedule until personal appearances became rare
events. Throughout her working years, Fitzgerald accumulated 11 Grammy awards, and for 18
consecutive years, she was voted Best Female Singer in the Down Beat Reader's Poll.
The name Ella Fitzgerald remains synonymous with jazz. There's so much out there, once you
become a fan and start collecting all that's in print for the songstress, you'll find
plenty to keep you holed up listening for months. If you're compulsive and have to start
at the beginning, check out the Fitzgerald series on the import label Jazz Chronological
Classics. The series captures the singer's performances with the Chick Webb Band in
one-year spans (e.g., 1937-38) into the 1940s. If you're new to Ella and want to test the
waters, start with a collection such as the highly acclaimed two-CD set 75th Birthday
Celebration [Rating: 5.0] (Decca, 1938-55/GRP, 1993, prod. Milt Gabler, Orrin Keepnews),
which was compiled in recognition of Fitzgerald's 75th birthday. Tracking her work between
1938 and 1955, the compilation begins with her classic, "A-Tisket, a-Tasket,"
and includes recordings with Louis Jordan ("Stone Cold Dead in the Market"),
Louis Armstrong ("You Won't Be Satisfied"), and the Ink Spots ("Cow Cow
Boogie"), as well as numerous other memorable Fitzgerald moments. For jazz purists,
her first recorded renditions of "Flying Home" (October 4, 1945) and
"Airmail Special" (January 4, 1952) are also included. Additionally, "How
High the Moon," recorded on December 20, 1947, is important because it demonstrates
her first recorded scat solo on this tune, a vocal technique she continued to develop
throughout her career. This two-CD set is vital to any jazz collection. To check out
Fitzgerald in a more intimate setting, The Intimate Ella [Rating: 4.5] (Verve, 1960/1990,
prod. Norman Granz), originally released as
Source: MusicHound Jazz: The Essential Album Guide
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