Customer Reviews

Ella and Louis Again

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This is probably my favorite jazz/pop vocal album of all time. My best friend introduced me to it years ago, and I am overjoyed to see it properly reissued, complete, at long last. There's something magical in the way that Ella's elegance and Armstrong's robust humor combine to produce music of such overwhelming warmth and sophistication. When you hear Armstrong sing the deliciously quaint and suggestive verse to "Let's Do It," all about the little bluebell in the dell, and the little blue bird ("boid" in New Orleanian), and the little blue clerk, marrying Cole Porter's arch '30s wit to his own much deeper knowledge of human need, you will be won over forever. Likewise Fitzgerald's treatment of even the most mundane lyric -- as in "Don't Be That Way" -- makes it seem like pure gold, AND the most natural advice in the world.

Which is not to say that the material is inferior! These are well-chosen standards, lovely tunes that everyone ought to be humming. It's just that these two great singing musicians transform them into something really special. Get this! Get two copies, and give one to *your* best friend. You'll both be happy every time you listen.

Besides being the world's BEST jazz pianist (Oscar), jazz songstress (Ella), and trumpet player (Louis), they loved each other's talents and knew how to have fun which rubs off on us listeners. Louis originated scat singing and Ella perfected it. To hear Louis' voice makes us smile and is such a sublime contrast to that perfect vocal instrument that Ella uses to soothe and thrill our ears. The recording is a masterpiece that entertains as few will ever do.

This is definetely one of my top five favourite albums ever. I listen to it regularly and I never get tired of it. This occasionally amazes me. After all, this music is simple enough: standard jazz tunes, two voices, and a very discreet accompaniment by only a piano (and Peterson, who is so incredibly virtuoso when playing alone, is excellent at understating and remaining in background on this album), drums, a bass and sometimes Louis' trumpet. But the result is magical. Ella and Louis are perfect together, although their voices and styles couldn't be more different. Another reviewer described the blend as "gravel and molasses", and I couldn't put it better. Ella's sweet, pure voice and Louis' rough growl create a contrast that is just ravishing to the ear. And each song is filled with that discreet, subtle, intoxicating swing (kudos to the musicians as well as the singers, for that). Music like this can just brighten your day.

Ella & Louis Again is classic jazz at it's best, two legends in the studio jamming with Oscar Peterson's jazz combo, it doesn't get any better then this.

Here are ten essential jazz vocal albums some are avaiable on CD(domestic, English or Japanese imports) some you'll have to hunt 2nd hand stores for, but all are worth looking for

1 Ella & Louis Again by Ella Fitgerld &Louis Armstrong, 2 Connee Boswell & The Memphis 5 In Hi-Fi 3 Mel Torme Sings Fred Astaire 4 Anita O'Day-At Mr. Kelly's 5 Bing Crosby-Bing With a Beat 6 Sarah Vaughan & Her Trio-Swingin' Easy 7 John Coltrane+Johnny Hartman 7 Anita O'Day-Live In person 8 Lee Wiley-The Gershwin & Cole Porter Songbooks 9 Helen Humes-Swingin' With Humes 10 Frank Sinatra-Live In Australia

There are hundreds more, but this will get you inroduced to just a couple of the main jazz vocalists and albums (try to stay away from compilation of artists if you can get origional reissues unless the music is before the 50's and all there are are compilations)

The only time Louis and Ella really shake it loose here, on "Stompin at the Savoy" -- which everybody feels forever compelled to remind you was a lucky run of the tape during some fooling around that Verve decided was so good they just had to include it on the release -- there's a moment when Armstrong riffs something like "one more time, Ella, Norman Granz must be looking at Lionel Hampton." I could visualize, when he sings this, Armstrong looking up into the recording booth and a delirious Granz gesturing wildly with his hands for everybody to play on -- Louie, baby, this is the magic! Whatever, even the liner notes writer on this "Dig" release acknowledges this set isn't exactly wheelhouse stuff for Louis and Ella. It's more white tablecloth Louis and Ella for the cocktails set. No burly blues, jazz and Dixieland here. Kind of jarring, hearing Louis sing the Cole Porter "Let's Do It," but, don't get me wrong for a moment, he's definitely making it happen. It's not hard to imagine Ella laying into "Ill Wind" or scatting her head off on "Stompin at the Savoy," but some of the other stuff walks a finer line, and this set -- as Disc 2 almost - almost - begins to -- could have had an uneasy, forced feeling. These, however, are the two oldest and best pros in the business. Ella and Louis never sound like they're working to find the center of the song; they've got the whole program under control. With the "tasteful", yet completely commanding swing of the Oscar Peterson Trio to carry them along, they find an easy sweet spot and appear to relax. But relax doesn't give them due credit for the complete mastery these two have of their art. They are both among the few very greatest and most distinctive singers in the long history of American popular song. I would suspect that the reason they work so well together is the joy and respect they take in each other's art and company. Both the gorgeous, slow balladry and lightly swinging fun are full of pleasures, and both voices are in first-rate form. There's not much trumpet here, but Louis' mouth is a gravel-filled horn.

No matter what your musical taste, it's hard to imagine that you won't love this combination. Ella & Louis are, of course, the standards by which all other jazz vocalists learn and are judged; the songs are the brightest gems from the jewel box that is the great American standard songbook; and oh, by the way, the accompanists are the redoubtable Oscar Peterson trio. Just the best in the biz, that's all. If you're a jazz aficionado, you'll find a wealth to love and appreciate; if you're a casual listener, count on it!...This is music that'll just make you happy. Get it and enjoy it for the rest of your life.

Seriously, while Ella often neaded great musical company to really shine (Satchmo, Basie, Peterson...), Satchmo was great even in mediocre company, but one can say that he sounded even better than usual when both Ella and Oscar were presentt...
This album is top class, but there is a track that deserves to enter the all-time jazz classical list of recordings:
"Stompin' at the Savoy", allegedly taped accindentaly, during an exercise, proved to be an improvisation extravaganza above all songs on this and most songs on all other albums.

Ella stars swinging gently, accompanied by the rhythm section (Oscar's rhythmic abbilities are well known and here he is joined by Herb Ellis and Ray Brown, his great trio buddies, plus dynamic Louis Bellson on drums, also an old pal).
Satchmo's trumpet stepps in after her introduction, but the fire is only starting at this point. It is the last third of the song when the things really explode, proving old Pops to be the greatest singer in jazz - Satchmo lets loose all his improvisational powers and Ella sounds at her best when propelled and liberated by his energy.
Other musicians listen them closely and give them space for their original performance, boosting it with appropriate rhythmical accents (pling, bing, ka-boom).
This is and always will be the essence of jazz; one of my favorite moments is when Satchmo starts a chorus singing outside the constrictions of the tune: "When we was in Atlantic City..." but then stops "Noo, we weren't talking about that"; after that he returns to the tune splitting with laughter. He not only laughs, he grumbles, roars and ad libs in a way only the best can (actually, very very few besides him) and Ella's scat singing finds perfect context here.

Other great songs and performances of this album are Don't be that way, Autumn in New York, A fine romance, Love is here to stay, I wan't dance...

You can't go wrong with this album. Everyone knows what both of them sound like,and you probably wonder how they can make this work. Fear not, they really complement each other well, with his gruff voice telling Ella to "sing it" and pushing her on one cut. What I really enjoy about this album is the emotion that comes through from both of them. You can tell they really enjoyed working with each other. Perfect. Easily one of the best purchases I have ever made.

I made a tape of a scratchy vinyl recording of this years ago, and it is still one of my favorites. Both Ella and Louis are absolutely wonderful on this. "Stompin at the Savoy" and "Autumn in NY" are both great, but they are all great. You can't go wrong.

This album is Ella and Louis at their best. Ella and Louis together could run the full spectrum of emotion in a tune. From the gentle longing of "Autumn in New York" to the mad cap swinging, scat, and improvisation of "Stompin' at the Savoy, they could do it all. This album is great for Ella fans, Armstrong fans, or music fans in general!