ELLA FITZGERALD - THE SONGS AND STORY OF -DOUBLE LP SET

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ELLA FITZGERALD

SONGS AND STORY OF

THE CATALOGUE NUMBER OF THIS BRAND NEW DOUBLE LP IS: 134 EVC 52 646/47.

My Mother's Eyes (Gilbert, Baer) ; Try A Little Tenderness (Woods, Campbell, Reg Connelly) ; I Got It Bad (Webster, Duke Ellington); Everything I Have Is Yours (Harold Adamson, Burton Lane) ; I Never Knew (I Could Love Anybody) (Pitts, Egan, Marsh, Paul Whiteman); Goodnight My Love (Gordon, Revel); Four Or Five Times (Hellmann, Gey); Maybe (Flynn, Madeen); Taking A Chance On Love (Vernon Duke, La Touche, Fetter); Elmer's Tune (Albrecht, Sammy Gallop, Jurgens); At Sun-Down (Walter Donaldson); It's A Wonderful World (Harold Adamson, Savitt, Watson); On Green Dolphin Street (Ned Washington, Kaper); How Am I To Know (Parker, King); Just Friends (Lewis, Klenner); I Cried For You (Arthur Freed, Gus Arnheim, Abe Lyman); Seems Like Old Times (Guy Lombardo, Loeb); You Stepped Out Of A Dream (Gus Kahn, Brown).

SIDE TWO:

If I Give My Heart To You (Crane, Jacobs, Brewster); Once In A While (Green, Edwards); Ebb Tide (Sigman, Maxwell); The Lamp Is Low (Mitchell Parish, Buddy De Rose, Shefter); Where Are You (Harold Adamson, Jimmy McHugh); Thinking Of You (Walter Donaldson, Ash); Candy (Hal David, Whitney Kramer); All I Do Is Dream Of You (Arthur Freed, Brown); Spring Is Here (Richard Rodgers, Lorenz Hart); 720 In The Book (Harold Adamson, Savitt, Watson); It Happened In Monterey (Rosa Wayne); What Can I Say, After I Say I'm Sorry (Walter Donaldson, Abe Lyman); No Regrets (Tobias, Ingraham); I've Got A Feeling You're Fooling (Arthur Freed, Brown); Don't Blame Me (Dorothy Fields, Jimmy McHugh); Deep Purple (Mitchell Parish, De Rose); Rain (Eugene Ford); You're A Sweetheart (Jimmy McHugh, Harold Adamson).

RECORD TWO:

SIDE ONE:

Abide With Me (H.F. Lyte, W.H. Monk); Just A Closer Walk With Thee; The Old Rugged Cross (George Bennard); Brighten The Corner (Where You Are) (I.D. Ogden, C.H. Gabriel); I Need Thee Every Hour (A.S. Hawks, R. Lowry); In The Garden (C. Austin Miles); God Be With You Till We Meet Again (Jeremiah F. Rankin, William G. Tomer).

SIDE TWO:

God Will Take Care Of You (G.D. Martin, W.S. Martin); The Church In The Wildwood (W.S. Pitts); Throw Out The Lifeline (Edward S Ufford); I Shall Not Be Moved (traditional); Let The Lower Lights Be Burning (Philip Bliss); What A Friend I Have In Jesus (Joseph Scriven, Charles G. Converse); Rock Of Ages, Cleft For Me (Augustus M Toplady, Thomas Hastings).

ELLA FITZGERALD WITH THE RALPH CARMICHAEL CHOIR AND ORCHESTRA.

The Capitol Records company was founded in Los Angeles in 1942, and a mere eight years later was one of the four most important companies.

The reason for its success is obvious: with artists like Frank Sinatra, Ella Fitzgerald, Dean Martin, Nelson Riddle, Jackie Gleason, George Shearing, Les Paul and Mary Ford and the Four Freshmen, Capitol could boast a repertoire of truly international artists who, between them, had the popular enterntainment sector pretty well sewn up.

The recordings of these artists are classics of their kind and many of them are still rare collectors items. Now, after extensive research amongst half-forgotten corners of the archives, these recordings have once again been made available in the series "Songs And Story Of....". Eight double albums featuring all the artists just mentioned - something truly special for each and every fan.

One of the few questions concerning music which can be answered immediately is: "Who are the most important female jazz singers?". The answer involves three names: Bessie Smith, Billie Holiday and Ella Fitzgerald. Of course, there have been and there still are many other names to be recokoned with, but these three have set the standard for others to follow.

In 1934, shortly after the opening of the world famous Apollo Music Theatre on 125th Street in Harlem in the heart of New York's Black area, the young and totally unknown Ella Fitzgerald performed at the Apollo for the first time in front of a large audience. She had been born on the 25th April, 1918 and had worked in a number of small amateur bands - now she was hoping for a positive response from the Apollo's audience, who could be both highly enthusiastic and highly critical.

The success of her performance, though, was only modest: the shy orphan was supposed to perform a dancing routine, but when, instead of this, she began singing, the audience was disappointed - but Benny Carter - who was on the 1930s most important alt sax players - wasn't. Carter recommended his discovery to the legendary orchestra leader Fletcher Henderson, who unfortunately showed no interest. Fortunately, though - and hot on the heels of this rejection, Chick Webb, a percussion player and the leader of a big band, gave Ella another chance. Two years later her name was known to every jazz fan and her performance of A Tisket A Tasket, accompanied by the Chick Webb Orchestra, enraptured almost everyone, being as it was a swing song which Ella performed with a childlike naivete.

When Chick died in 1939, Ella temporarily took over as leader of the orchestra - although she was only 21 at the time. This was a remarkable testimony of her artistic reputation. During the 1940s, Ella brilliantly managed the change-over from swing to bebop. She was already at this time a master of the art of scat singing and she adapted that style so well when she applied it to bebop that fans and critics alike started to talk about "bop vocals", as if Ella had developed an independent style. At this time, Ella was working not only with Chick Webb, but also with the orchestras of Louis Armstrong, Gordon Jenkins and Sy Oliver.

As the 1950s approached, she became more of a l ballad singer although she continued to use her inimitable vocal technique whilst trying out other styles. No comparable singer is as equally at home with bebop, cool jazz and the blues as Ella Fitzgerald.

One side of Ella's talent was best demonstrated by her interpretations of George Gershwin's songs, which she performed to the accompaniment of Erroll Garner-influenced pianist Ellis Larkin. Her versions of songs by Cole Porter, Irving Berlin and Jerome Kern are likewise standards, and now as then they are quite unsurpassable. Experts consider Ella to have only one serious competitor - Sarah Vaughan - which in itself is proof of Ella's incredible talent (and also a compliment for Sarah Vaughan!).

During the 1950s, Ella toured the world as part of the Jazz At The Philharmonic concerts organised by Norman Granz, and her name became a household word wherever she went. Critcis and fans alike admired her natural charm, her kindness and her good nature, which set her aside from many other show business stars. And one shouldn't forget that Ella Fitzgerald wasn't only at her best when recording or touring; she was equally at home in films such as Pete Kelly's Blues and on television.

Even more importantly, one should consider the list of people with whom Ella worked - a veritable Who's Who of jazz: the orchestras of Duke Ellington and Count Basie, the trios of Tommy Flanagan and Oscar Peterson as well as individuals like Barney Kessel, Roy Eldridge, Jim Hall, Buddy Rich, Ben Webster, Herb Ellis and Jimmy Jones.

This compilation contains the best recordings from Ella's time with Capitol Records - a rarity for connoisseurs and at the same time a representative selection of unfrogettable and unsurpassble standards.

Longer than any other female jazz singer, Ella mainatined her position at the top - and her successor (if she is to have one) is still not in sight. These recordings show the reason why.

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