Ella Fitzgerald Sings The George And Ira Gershwin Song Book (Remastered) Ella Fitzgerald

Album info

Album-Release:
1959

HRA-Release:
17.02.2017

Label: Verve

Genre: Jazz

Subgenre: Vocal

Artist: Ella Fitzgerald

Album including Album cover

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  • 1Sam And Delilah03:17
  • 2But Not For Me03:34
  • 3My One And Only02:38
  • 4Let's Call The Whole Thing Off04:29
  • 5(I've Got) Beginner's Luck03:12
  • 6Oh, Lady Be Good04:02
  • 7Nice Work If You Can Get It03:34
  • 8Things Are Looking Up03:06
  • 9Just Another Rhumba05:37
  • 10How Long Has This Been Going On?03:49
  • 11S Wonderful03:31
  • 12The Man I Love03:53
  • 13That Certain Feeling03:05
  • 14By Strauss02:33
  • 15Someone To Watch Over Me04:34
  • 16The Real American Folk Song03:47
  • 17Who Cares?03:08
  • 18Looking For A Boy03:06
  • 19They All Laughed03:05
  • 20My Cousin In Milwaukee03:10
  • 21Somebody From Somewhere03:10
  • 22A Foggy Day03:34
  • 23Clap Yo' Hands02:31
  • 24For You For Me For Evermore03:26
  • 25Stiff Upper Lip02:53
  • 26Boy Wanted03:36
  • 27Strike Up The Band02:38
  • 28Soon02:23
  • 29I've Got A Crush On You03:30
  • 30Bidin' My Time02:43
  • 31Aren't You Kind Of Glad We Did?03:31
  • 32Of Thee I Sing03:11
  • 33The Half Of It Dearie Blues03:49
  • 34I Was Doing All Right03:29
  • 35He Loves And She Loves02:50
  • 36Love Is Sweeping The Country03:26
  • 37Treat Me Rough02:59
  • 38Love Is Here To Stay03:56
  • 39Slap That Bass03:26
  • 40Isn't It A Pity03:27
  • 41Shall We Dance?03:10
  • 42Love Walked In03:54
  • 43You've Got What Gets Me02:20
  • 44They Can't Take That Away From Me03:11
  • 45Embraceable You04:53
  • 46I Can't Be Bothered Now02:51
  • 47Boy What Love Has Done To Me03:49
  • 48Fascinating Rhythm03:26
  • 49Funny Face03:25
  • 50Lorelei03:23
  • 51Oh So Nice03:40
  • 52Let's Kiss And Make Up03:52
  • 53I Got Rhythm03:11
  • 54Promenade (Walking The Dog)02:32
  • 55March Of The Swiss Soldiers02:03
  • 56Fidgety Feet02:42
  • 57Prelude I01:36
  • 58Prelude II03:48
  • 59Prelude III01:09
  • Total Runtime03:14:33

Info for Ella Fitzgerald Sings The George And Ira Gershwin Song Book (Remastered)



Capturing Ella at the peak of her artistic powers, this 4x album collection offers up some of the most definitive Gershwin interpretations ever recorded. Featuring superb arrangements by Nelson Riddle, songs here include "Let's Call the Whole Thing Off," "My One And Only," "Oh, Lady, Be Good," "Nice Work If You Can Get It," "'S Wonderful" and "Someone to Watch Over Me".

The success of Ella Fitzgerald sings The George and Ira Gershwin Song book if measured in chart terms is at best average, spending just 5 weeks on the best seller list, but that is looking at this monumental recording from the wrong perspective. Ella takes songs that are much loved, and much played and makes them sound fresh and alive, new even. It did, however, win a Grammy for the Best Vocal Performance, Female at the 1960 ceremony. And let’s not forget, this was a five album set, one that has subsequently become a 4x album set, with alternate takes and other rarities. Immerse yourself in some of the greatest singing by any singer, anytime, anywhere…

Ella Fitzgerald was forty-one when she recorded this album, and at the peak of her vocal powers, demonstrated in the earlier Ella Fitzgerald Sings the Duke Ellington Song Book, and her two greatest live albums from this period, Ella in Berlin (1960) and Ella in Rome (1958). Like the other songbooks devoted to the Broadway composers, Fitzgerald gets only a single outlet for her notable scat singing, on "I Got Rhythm".

Fitzgerald's recording of "But Not for Me" won her the 1960 Grammy Award for Best Vocal Performance, Female.

„During the late '50s, Ella Fitzgerald continued her Song Book records with Sings the George and Ira Gershwin Song Book, releasing a series of albums featuring 59 songs written by George and Ira Gershwin. Those songs, plus alternate takes, were combined on a four-disc box set, Sings the George and Ira Gershwin Song Book, in 1998. These performances are easily among Fitzgerald's very best, and for any serious fan, this is the ideal place to acquire the recordings, since the sound and presentation are equally classy and impressive.“ (Leo Stanley, AMG)

Ella Fitzgerald, vocals
Nelson Riddle, arranger, conductor
Don Fagerquist, trumpet
Pete Candoli, trumpet
Joe Triscari, trumpet
Conrad Gozzo, trumpet
Cappy Lewis, trumpet
Vito Mangano, trumpet
Mannie Klein, trumpet
Dale McMickle, trumpet
Shorty Sherock, trumpet
Milt Bernhart, trombone
James Priddy, trombone
Juan Tizol, trombone
Richard Noel, trombone
Tommy Pederson, trombone
Karl DeKarske, bass trombone
George Roberts, bass trombone
Vincent DeRosa, French horns
James Decker, French horns
Ed Gilbert, tuba
Red Callender, tuba
Ted Nash, alto saxophone
Benny Carter, alto saxophone
Ronnie Lang, alto saxophone
Plas Johnson, tenor saxophone
Chuck Gentry, bass saxophone
Paul Smith, piano
Lou Levy, piano
Herb Ellis, guitar
Barney Kessel, guitar
Joe Comfort, double bass
Ralph Pena, double bass
Alvin Stoller, drums
Mel Lewis, drums
Bill Richmond, drums
Frank Flynn, percussion
Larry Bunker, percussion

Recorded in 1959 at Capitol Studios, Hollywood on January 5-8, March 18 and 26, and July 15-17
Produced by Norman Granz

Digitally remastered


Ella Fitzgerald (1917-1996)
was, along with Sarah Vaughan and Billie Holiday, one of the most important vocalists to emerge from the big-band era. Her style is marked by a sunny outlook, a girlish innocence, and a virtuoso command of her voice.

Fitzgerald was born out of wedlock in Newport News, Virginia, to a laundress mother and a father who disappeared when she was three years old. Along with her mother and her mother’s new boyfriend who functioned as a stepfather, she soon moved to Yonkers, New York, where she began her schooling. Around the third grade she started dancing, a pursuit that became almost an obsession. In 1932, when she was fifteen, her mother died suddenly of a heart attack. Her stepfather treated her badly, but an aunt took the teenager to live with her in Harlem. This arrangement did not last long; Fitzgerald ran away in 1934 to live on the streets. Late that year she won a talent contest at the Apollo Theater; she had entered as a dancer, but nervousness caused her to sing instead. Several months later she joined drummer Chick Webb’s big band, where she mostly sang novelties like 'Vote for Mr. Rhythm'. In 1938 she recorded 'A-Tisket, A-Tasket', her own adaptation of a turn-of-the-century nursery rhyme, which took the country by storm and eventually sold a million copies. When Webb died in 1939 the band’s management installed Fitzgerald as leader.

In 1942 the band broke up and Fitzgerald became a single act, touring with various other popular names of the day. She also became interested in scat singing and the newly emerging style known as bebop, and in 1945 she recorded a landmark version of 'Flying Home.' Several tours with the Dizzy Gillespie band also contributed to her assimilation of the bebop style.

In the late 1940s Fitzgerald began to tour with the Jazz at the Philharmonic troupe, working with such leading musicians as saxophonist Lester Young, trumpeter Roy Eldridge, pianist Oscar Peterson, and bassist Ray Brown, to whom she was married for four years. JATP impresario Norman Granz became increasingly influential in her career, and in 1953 he became her manager.

Three years after that he became her record producer as well, recording her on his own Verve label. He wasted little time in having Fitzgerald record a double album of Cole Porter songs. Fitzgerald made many wonderful albums for Verve in the following decade, but the six songbooks occupy a special place in her discography. They were instrumental in expanding Fitzgerald’s appeal beyond that of a 'jazz singer' and creating a demand for her in venues not usually open to jazz artists.

For die-hard jazz fans, though, the well-polished jewels of the songbook series lack the raw energy of Fitzgerald’s live performances. Happily, Granz released several landmark concert albums by her as well. Especially exciting was a 1960 Berlin concert, which featured an electrifying performance of an impromptu take on 'Mack the Knife,' which became a Top 30 single. Fitzgerald usually performed with a trio or quartet, but there were also appearances with larger groups, such as the Duke Ellington and Count Basie orchestras. By the 1960s Fitzgerald had become wealthy enough to retire, but the love of performing drove her on — she appeared regularly until just a couple of years before her death in 1996. Sidemen came and went, but except when health problems intervened she performed as much as humanly possible, sometimes singing concerts in two different cities in one day. Source: Verve Music (Phil Bailey). Excerpted from Ken Burns’ Jazz: The Definitive Ella Fitzgerald

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