Customer Reviews

Ella Fitzgerald Sings The Cole Porter Songbook

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If I had to choose only one recording that would accompany me to a desert island, it would be this two disc set. I first heard it when I was a teenager and am still loyally playing it many years later. I have been through two sets on vinyl, three cassette versions and I now own one CD set for my house and one CD set for my car. Do I sound obsessed? Guilty! This is simply superb music making on every level. Ella was in her prime and her voice has, perhaps, sounded this sweet on other recordings but certainly never any sweeter. If she, as usual, gives some of the lyrics short shrift, this is undoubtedly made up for by the way she sounds: pure and sassy and loaded with charm and sophistication. The arrangements are clever and/or romantic and lush and lift Ella to an even higher level. Porter was, of course, one of the 3 or 4 finest lyricists/composers that the American theatre has ever known and all of his songs in this album sound as if they were written for Ella and not for the Broadway stage. If you can only buy one CD set this year or can only afford to give one gift this coming holiday season, believe me this is the set to buy.

I have thousands of cds in my collection, but, if I were ever forced to chuck them all, except for one, this collection is very probably the one I would hang on to. These readings constitute some of the purest pop in all of American music.

Unlike the drama of a Streisand or a Celine Dion or the vocal gymnastics of a Whitney or Mariah, here especially, "The First Lady of Song" shows her greatness by not ever pushing. As a fellow vocalist, I must say that I have been strongly influenced by Ella's pure, straight-ahead singing.

And the tunes...Cole Porter wrote truly elegant, "tasty" songs with clever lyrics. I learned many of these great tunes and a good bit of technique by listening to this album. A treasure that's included is the often-bypassed "Do I Love You," which is one of the most elegant love songs ever written. Buddy Bregman's arrangements are brilliant--everything from simple piano accompaniment ["Miss Otis Regrets," where Ella's understated delivery actually heightens the drama of this unusual song] to small combo ["Let's Do It (Let's Fall In Love)," where the slow, "love-making pace" actually creates a sexiness and extra sense of fun)] to full string and horns [the best arrangement ever of "Begin The Beguine," truly a WONDER!!].

All of Ella's songbooks are masterpieces, but this one is the "TOP," the Coliseum... A delicious treat from beguine-ing to end. [I need to stop!] So many of Mr. Porter's great tunes are included.

Viva Ella, The First Lady of Song! Viva Cole Porter, master tunesmith.

ESSENTIAL FOR ANY COLLECTOR.

The late great Ella Fitzgerald had probably the best jazz voice ever put down on tape.

This collection of Cole Porter songs was the first of the "Song Book" collection issued by Verve and was so successful that they followed it up with an Gershwin and Rodgers and Hart collections, though in my opinion the Porter song book is the best.

The recordings were laid down in 1956, the year after Porter's final Broadway musical, Silk Stockings, opened. Ella recorded them with the Buddy Bregman orchestra at Capitol Studios, L.A.

The one flaw (if it is a flaw) with this set is that almost all the songs are so commonly recorded that you find yourself comparing them to other artists. Unsurprisingly Ella's voice compares well, some of the orchestrations are, however, not quite up to later standards as those by such masters as Nelson Riddle. Don't mistake me, Buddy Bergman did a fine job for 1956 but at times the orchestration seems dated and at others tries a little too hard to keep up with Ella.

The style of the tracks varies greatly, according to the mood of the song. Ella picks up the beat and syncopation in such masterpieces as "You're The Top" and slows and sexifies the voice in "I Love Paris" and "Love For Sale." Overall the collection has a mellow, jazzy feel that varies between romantic and downright sexy.

If you are looking for a good collection to load into the CD player for a romantic dinner, a quiet night watching the lights on Sydney Harbour with a brandy in one hand or just appreciate the varied styles and depth of talent of Miss Ella Fitzgerald then it is hard to go past this two CD set.

I am a HUGE Ella fan & I like most of what she recorded, but this set is one of my favorites. Cole Porter's music is pretty near perfect & the lyrics are wonderfully cheeky. Ella's voice is at it's peak here-- pure and clear as a bell. I love the way she sings songs like "Let's do it" with her seemingly "innocent" style..... this recording also has some great ballads, like my all time favorite, "Easy to Love." If you like Ella, you'll like this one!

Oh Ella! I wish I could tell her how much I have enjoyed this CD. She is the stuff dreams are made of. That voice! How did you do it Ella? So effortless for you. Incredible. This is my all time favorite CD. I listen to all kinds of music and cannot go a day without hearing Ella sing Cole Porter. Don't hesitate to buy this- you'll listen to it the rest of your life. Cole Porter's lyrics pour out of her so perfectly. Those songs were made for her to sing! Her phrasing is impeccable. I just cannot express how amazing this Songbook is. BUY IT!

Having only heard Ella Fitzgerald's Cole Porter and Rodgers and Hart Songbooks, I think I slightly prefer this recording, but only slightly. Every single song is consistently strong and memorable, whereas on the Rodgers and Hart album there are a few weak selections; not many, but enough to be noticeable enough to diminish the album's overall impact just a little bit. It's kind of silly to compare the two, though, because any album featuring Ella's one-of-a-kind voice and honest, direct interpretations of songs is almost surely bound to be great and delight, touch, or at the very least engage the listener. These songbooks and the others in the series are a fantastic showcase for her range and versatility. She can be sassy, sly, and sexy in such uptempo jazz/swing numbers as "Anything Goes," "Too Darn Hot," "Let's Do It," "Just One Of THose THings," "From This Moment On," "Ridin' High," "What Is THis Thing Called Love," "You're The TOp," "It's De-Lovely," "Ace In the Hole," I've Got YOu Under My SKin," and "Don't Fence Me In," and then with consumate ease turn around and give a tender, sensitive and intimate reading of a ballad or love song like "Do I Love You?" "Begin the Beguine," "Get Out OF Twon," "Love For Sale," "I Concentrate On You," the gently swung "All Through the Night," "I Get A Kick Out Of You," and "Night And Day," the Latin-falvored "In the Still Of the Night," "I Am In Love," and "So In Love," and especially "Miss Otis Regrets." (And trust me, these are just a few of the many treasures on this album. Talk about versatile! Porter was just as versatile as Ella!) His lyrics range from his legendary sly, devilishly clever wit to a haunting romanticism, and his music. sublimely orchestrated here by Buddy Bregman, runs the gamut of all the musical styles mentioned above and many more. THis two-disc recording is a must-have for fans of Fitzgerald, Porter, and music in general. Whatever your taste, ya gotta love it.

So count your blessings. They don't make records like this any more.

The wonderful songs of Cole Porter, sung by the incomparable Ella Fitzgerald... it does not get any better than this. I've loved this set since buying the original CDs, issued in the late 1980s. The new remasterings are excellent, with improved sound (the originals were not bad at all, but the new versions seem to have a broader, more open sound) and attractive new packaging, including expanded liner notes. The cardboard case may not be as durable as plastic jewel boxes, but it's a lot cooler in appearance. As for the songs, there's not a bad one in the bunch, and Ella delivers them in her own inimitable style: sophisticated without putting on airs, intimate without being overly familiar... the perfect voice and the perfect style for Porter's lyrics. Several other reviewers have called these "desert island discs", and once you've heard them, you're likely to agree.

This is the stuff dreams are made of -- arguably the finest jazz voice of all time interpreting the essential works by one of the greatest songwriters of the 20th Century. How could it possibly be any better?

These recordings, dating from 1956, were made in Hollywood -- Ella accompanied by the outstanding Buddy Bregman Orchestra. They possess an astounding clarity for their time -- in mono, but with amazing fidelity -- and stand to remind us not only of Ella's gift, but that of Cole Porter as well. Most of these tunes are from stage shows, a few from films, with 'Miss Otis regrets' added for good measure -- most, if not all, familiar to anyone who has been exposed to music since the 1940s.

Cole Porter's artistry is almost without peer among songwriters of any genre. His melodies are memorable and imaginative, uniquely expressive. His lyrics are a monument to his appreciation of all the nuances of the English language -- filled with emotion and humor, masterfully crafted, containing some of the most inventive uses of internal rhymes and wordplay I've ever heard in song.

Teamed with Ella's legendary interpretive prowess, this is a combination that would be hard to beat. She holds the lyrics with her voice as if she were caressing them with her hands -- every note is perfect, her voice cooing or soaring as emotion leads it.

The treatment here is the full big-band arrangement -- soaring strings, piano, nudging but muted horns. The orchestra surrounds her, but never overpowers her voice (if that were indeed possible). It serves to remind us what a great talent she was -- thankfully, through her massive recording output, we can enjoy this gift forever.

This is a lovingly assembled package -- 2 cds that contain the entire original 2-lp set plus alternate takes of three of the songs (including one where we can hear spoken exchanges in the studio between Ella and the musicians and engineers) -- complete with copious notes (including the original artwork and notes from the album). Verve has done a great service to music lovers by making this available in this form.

It's hard to imagine that anyone has never heard Ella. There are so many ways to enjoy and appreciate her -- this is probably one of the finest showcases featuring her with a big band, but all the groupings in which she worked are worth investigating, in order that each listener can find a personal favorite. Check out her albums done as a duo with guitar great Joe Pass, or ones with her working with a solo piano, or with a small combo. They're all beautiful settings for the jewel of her voice.

Though Irwin Winkler's 2004 Cole Porter biopic DE-LOVELY was a near-disaster in trying to explain what made Porter and his songs so special, it at least made me interested in hearing more of his music. It was in that spirit of adventure that I came upon this 2-disc collection of Cole Porter songs sung by the much-celebrated Ella Fitzgerald. The experience of hearing such great, unflashy singing and Porter's witty, sophisticated, and even sometimes touching music and lyrics (in some stellar orchestral arrangements) turned out to be quite memorable.

The booklet that accompanies this set has an essay from Fred Lounsberry, supposedly an expert on Cole Porter. He does an intriguing (if maybe overly academic) job of articulating what makes Porter's music so appealing. Read his essay to perhaps get the larger picture. For me, though...I just love the way that Porter writes all these songs about romance and love, and writes about it with such intelligence. In light of all the cheesy, cliched love ballads that seem to be proliferating on the radio airwaves (Hoobastank's power ballad "The Reason" is a nauseating recent example), who couldn't treasure words like "What is this thing called love? / This funny thing called love? / Just who can solve its mystery? / Why should it make a fool of me?" It was the mystery---and the pain---of love that Cole Porter so eloquently portrayed in many of his songs, and very few songwriters have done it better.

And very few artists have sung Porter's songs better than Ella Fitzgerald. Or, at least, I can hardly imagine many other artists (other than, maybe, Frank Sinatra) singing such a wide range of Porter with such consistency, versatility, and sheer polish. Listening to these recordings, you hardly doubt that both she and Porter were made for each other. Both bring wit and sophistication to their art without making a big show of themselves. Okay, I could imagine some listeners perhaps feeling that Fitzgerald's singing is slightly too aloof when a particular song demands something a little more emotionally intense. But, for me, I found her singing often thrilling anyway. In song after song, she shows a real sense of style, and certainly her diction is beyond reproach. You can understand every word she sings, and sometimes you can even feel those words, too. (Listen to the poignant "Miss Otis Regrets", Track 3 of Disc 1; you'll see what I mean.) Such clarity, style, and breathtaking control count for a lot with these multi-layered tunes; with Fitzgerald, you feel like you're listening to Cole Porter rather than hearing Ella Fitzgerald flashily dominating the substance of these wonderful songs. In a time when grotesque belting seems to pass for great singing (thank you, "American Idol," for making tastelessness in singing acceptable), it's almost refreshing to hear Ella Fitzgerald's stylish, un-pretentious, ego-free interpretations of these classic American songbook staples.

On a whole, "Ella Fitzgerald Sings the Cole Porter Songbook" offers nearly 2 hours of unadulterated pleasure. With so many songs offered here, it's amazing how consistently good these performances are; it's hard to pick a favorite, because they're almost all worthwhile. Almost. The only real dud I can find in this collection is "Let's Do It (Let's Fall in Love)" (Track 9, Disc 1); it is simply too slow for my taste. Fitzgerald and arranger Buddy Bregman seem to be trying to emphasize slow, sexy sultriness over the youthful impetuosity the lyrics imply; but, despite Fitzgerald's best efforts, the result simply sounds leaden. (Alanis Morrissette might have massacred the song in DE-LOVELY, but at least the much-faster tempo sounded more convincing there than the slow tempo does here.)

That, though, is the only real failure in a set that steps right much more often than it steps wrong. Perhaps you shouldn't restrict yourself to hearing only Ella Fitzgerald's take on these classic songs. Still, if you're interested in Cole Porter, you certainly can't go wrong with this set. At her best, Fitzgerald will help you understand what is so entrancing about Porter and his uniquely witty take on being in love in this world. Highly recommended.