Customer Reviews

Stockholm Concert 1966

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If you're reading this review because you're in two minds about whether to buy a copy of the Stockholm Concert, let me cut right to the chase: buy it. If you're trying to decide between this and another CD of Ella's, then take this one (and buy the other next week).

If you're still reading, you obviously need to be given some more tangible reasons for making the purchase. What can I offer except a list of superlatives, all of which have been quite rightly applied ad infinitum to Ella before? To say that this concert finds her "at the peak of her powers" is really pretty meaningless, because this could be said of practically everything she recorded from 1950 to 1970 (and that's taking a very small-minded view of her career). To say that she exhibits formidable variety in this concert, from roaring swing and soaring scat to sotto voce wistfulness and tender reflection, is to say only that Ella was doing here what she always did while she was on that vertiginously high plateau of her career. It cannot even be claimed as remarkable that she is complemented here by an exceptionally good band performing exceptionally well, for this is, happily, one of many dazzling recorded collaborations with the Ellington orchestra. Nor, even, can it be said that the Stockholm jazzophiles were unusually responsive, for she was similarly feted at numerous venues, with even the notoriously demanding Berlin audiences whistling and stamping at her second concert there, in 1961.

So what are the defining qualities of this concert, that make it special? The short answer - putting aside issues like the wonderfully resonant acoustic of the venue and the excellent recording quality - is that there this is a performance of staggering intensity. After more than a generation, and even with the sound coming out of a metal box, there is something so electric about this Stockholm concert that it has the power to exhilirate anew, and to bring fresh joy and delight, even on the umpteenth hearing. Rarely, in any musical context, can the chemistry between a solo performer, a band and an audience have been so thrilling that it survives, seemingly in tact, the deadening impact of being recorded.

There is not one weak or badly misjudged number in this concert, and the ordering of the program is impeccable. Any possible gripes are so trivial as to be hardly worth making. Yes, it is true that, here as often in live performance, Ella occasionally fluffs her words, and her rendering of 'So Danco Samba' may swing a little too hard for the bossanova purist. The overpowering impression, though, is that every bar of every number is infused with pure delight by Ella and all her fellas.

If one number had to be singled out for special praise, it would have to be Ella's incandescent rendering of 'Let's Do It,' so breathtakingly brilliant that it must, surely, rank at least in her top fifty recorded numbers (and that's saying something). It is sometimes opined that Ella's vocal style was too artless and innocent to do justice to Cole Porter's archly suggestive lyrics: this infinitely knowing, bawdily roisterous performance reveals such a judgement for the hooey that it is.

Buy, buy, buy!

This classic recording is a testament to the natural chemistry between Ella Fitzgerald and Duke Ellington. Recorded in 1966, the audio quality is superb Hi-Fi and the performances even better. Ella is without a miss here and Duke hits all the marks with pinpoint accuracy. My personal favorite remains 'So Danco Samba', with its mix of samba and jazz it illustrates just how proficient all members of these performances truly were. My only gripe is that with only 8 songs, this CD is rather short. Almost a teaser of a CD. Nonetheless, buy it ASAP!

Recorded in 1966 in Stockholm, Ella Fitzgerald (then aged forty-eight) and Duke Ellington are in perfect sync, and both are on top of the world, professionally. In this remarkable concert, Ella's trio of Jimmy Jones on piano, Joe Comfort on bass, and Gus Johnson on drums, becomes part of the Duke Ellington Orchestra, with Ellington's sax section, especially Paul Gonsalves and Johnny Hodges, adding dramatically to Ella's solos on this CD. Ella is relaxed, making free-wheeling changes to familiar songs, and having fun.

In the blockbuster opener, "Imagine My Frustration," Ella tells the tale of a wallflower at a dance--a narrative tour de force punctuated by wailing high notes, which are echoed by the trumpet section and a solo by Johnny Hodges. "Duke's Place," another hard swing song, includes a muted trumpet, which sounds like a voice, and Ella soaring and singing some scat.

She changes pace, slowing down dramatically with "Something to Live For," one of the most beautiful, slow songs she's ever recorded, her lovely phrasing of the lyrics ending with a whisper--one of my favorites of all Ella's recordings. "Let's Do It," sung with a sexy, growly voice, is wild, assertive, and ultimately very powerful, the tempo increasing as Ella varies the melodic line and sings with increasing crescendo.

The climax of the CD is "Cottontail," on which she sings scat so fast that it's impossible to imagine anyone covering so many notes so fast and staying on key. As she trades solo lines with Paul Gonsalves on sax, she hits warp speed, a performance so stunning that no one who hears it will ever forget it.

With two great jazz artists, Ella Fitzgerald and Duke Ellington, operating on the same wavelength throughout this magnificent concert, the energy is incredible, and as they swing, play with melodies and rhythms, and highlight each other's performances, the audience is the winner. This is one of Ella's best recordings--bold, assertive, and completely loose. Mary Whipple

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This is one of the greatest live jazz performances captured on a recording. All of the performers involved are superb. The legendary creativity, musicality, personalities, dynamics, energy, wit, et al, are all superbly demonstrated. This classic recording is a must for all jazz aficionados and the lay public. -- Larry Ridley, Jazz Artist, Professor of Music, Emeritus- Rutgers, the State University of New Jersey, www.larryridley.com

This is one of Ella's best Live Recordings EVER!!!!!!!!!! The Swing Machine with Ellington!

This live set showcases all of Ella's Strengths!! if anyone wants to know why Ella was given the titles 'First Lady of Song'or'First Lady of Swing' or the Greatest Female singer ever needs to listen to this!

on 'Cottontail' for example is one of the Greatest Scat performances by her ever!!!

This is one of my favorite Ella Fitzgerald recordings because it is the one on which she swings the hardest. I think this recording gives us a glimpse into Ella's talent for swing that made her a sensation at the Savoy ballroom with Chick Webb's band in her early career, but with the addition of mature musical artistry that she had developed in the intervening years. I read somewhere that before a joint appearance with Ella, Sarah Vaughan was warned not to get into a vocal battle with Ella on a fast song because "she will tear you up." From this recording, one can hear the wisdom of that warning. The Duke Ellington band also swings harder than usual. I think Ella, the band, and the receptive audience pushed the performance to new heights in swing. In addition to some of the swingingest singing that she ever recorded, Ella also delivers one of her finest ballad performances on the hauntingly lovely "Something to Live For."

Ella Fitzgerald and Duke Ellington were two of the greatest entertainers of the twentieth century; and fortunately for us we can continue to enjoy their remarkable talents well into the twenty-first century. Ella's voice on this album is rich, warm and vibrant; and Duke Ellington & His Orchestra never sounded better! This CD gives us a great recording of their 1966 concert in Stockholm.

The CD track set begins with "Imagine My Frustration." Duke's musicians start with quite a flourish and when Ella comes in she positively takes flight! Ella swings gently and her voice is as clear as a bell. The musical arrangement makes great use of the horns, drums and percussion. Ella, her trio and Duke's band become one for this number to make "Imagine My Frustration" a total masterpiece. What a strong beginning for the album! "Duke's Place" follows and Ella continues to introduce the principle members of the band one by one as they each do a solo. Ella scats very well and she delivers the first line with a slightly gravelly voice--perhaps to remind us of Louis Armstrong. The lyrics shine in Ella's competent hands. This number swings greatly and the audience begins a knee-jerk reaction to clap along to the beat of "Duke's Place." Duke and Ella had this audience in the palms of their hands! Love that saxophone on "Duke's Place!"

"Satin Doll" is the next track and the band begins with a huge musical flourish; Ella sings this from the bottom of her heart with great sensitivity and panache. How elegant! Ella's voice never misses a beat and she does a few vocal gymnastics to enhance the quality of "Satin Doll." Great use of the percussion and horns--thank you, Duke!

"Só Danço Samba" lets us hear Ella and Duke take a bossa nova number to new heights--and they make it all seem so easy, although of course we know it really wasn't. Ella performs "Só Danço Samba" in both Portuguese and English; I like the effect this produces. Ella scats a bit to bolster her performance and she swings brightly. You can really tell Ella's enjoying herself as she sings "Só Danço Samba!" Duke's orchestra does a great job; but then again with Duke himself on the piano how could you really lose by taking in this interpretation of "Só Danço Samba?" Together Duke and Ella make this interpretation of this bossa nova classic THE definitive rendition of this ballad.

For "Let's Do It (Let's Fall In Love)" Ella sings a rarely heard opening verse which adds greatly to the sensitivity of this number. Ella swings once again as the crowd applauds with delight as soon as they recognize this number. I also like how Duke and Ella play somewhat with the tempo of "Let's Do It (Let's Fall In Love)." Ella sings, scats a bit and improvises a few lyrics with all her heart. Great!

"Cottontail" ends the track set; and the liner notes sure are right when they state that this number has a tempo that speeds faster than the speed of light! Ella scats some of her very best ever on this number; she never misses a beat as the orchestra flies through this number. The overall effect is positively electric and stunning. I am sure that you will like "Cottontail" very, very much. The audience reaction sure indicates that they did! SMILE

The liner notes give you all the names of the musicians and Norman Granz gives us a brief note about the album. The artwork reflects good judgment.

Ella Fitzgerald and Duke Ellington with his band give us an incredible performance from this concert they gave in Stockholm in 1966. I am not sure if this is the complete concert--but what you definitely do get is nothing short of heaven when you listen to this CD! Ella and Duke were two of the very best I think we'll ever see; and this CD is a "must-have" for fans of Ella Fitzgerald, jazz pop vocals and Duke Ellington.

Great job, everyone!!!

Don't judge this one by the cover. It looks like the disk is of Ella singing with Duke Ellington's piano accompaniment. Instead it is an Ellington big band playing as loud as they can and Ella belting 'em out - trying to be heard. I had hoped to hear the beautiful, clear voice of a younger Ella and sure didn't get it with this concert recording.