Ella Fitzgerald - Ella At Zardi's (Live At Zardi’s/1956) '2017

24bit

Artist	Ella Fitzgerald Related artists
Album name	Ella At Zardi's (Live At Zardi’s/1956)
Country
Date	2017
Genre	Vocal Jazz
Play time	: 01:07:30
Format / Bitrate	24 BIT Stereo 5375 Kbps / 192 kHz
Media	WEB
Size	: 1604 mb
Price	Download $8.95

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Tracks list

	Tracklist
---------
01. It All Depends On You
02. Tenderly
03. Why Don't You Do Right
04. Cry Me A River
05. In A Mellow Tone
06. Joe Williams's Blues
07. A Fine Romance
08. How High The Moon
09. Gone With The Wind
10. Bernie's Tune
11. 'S Wonderful
12. Glad To Be Unhappy
13. Lullaby Of Birdland
14. The Tender Trap
15. The Angels Sing
16. I Can't Give You Anything But Love
17. Little Boy
18. A-Tisket, A-Tasket
19. My Heart Belongs To Daddy
20. Airmail Special
21. I've Got A Crush On You


"The First Lady of Song," Ella Fitzgerald was arguably the finest female jazz
singer of all time (although some may vote for Sarah Vaughan or Billie Holiday).
Blessed with a beautiful voice and a wide range, Fitzgerald could outswing
anyone, was a brilliant scat singer, and had near-perfect elocution; one could
always understand the words she sang. The one fault was that, since she always
sounded so happy to be singing, Fitzgerald did not always dig below the surface
of the lyrics she interpreted and she even made a downbeat song such as "Love
for Sale" sound joyous. However, when one evaluates her career on a whole, there
is simply no one else in her class.

One could never guess from her singing that Ella Fitzgerald's early days were as
grim as Billie Holiday's. Growing up in poverty, Fitzgerald was literally
homeless for the year before she got her big break. In 1934, she appeared at the
Apollo Theater in Harlem, winning an amateur contest by singing "Judy" in the
style of her idol, Connee Boswell. After a short stint with Tiny Bradshaw,
Fitzgerald was brought to the attention of Chick Webb by Benny Carter (who was
in the audience at the Apollo). Webb, who was not impressed by the 17-year-old's
appearance, was reluctantly persuaded to let her sing with his orchestra on a
one-nighter. She went over well and soon the drummer recognized her commercial
potential. Starting in 1935, Fitzgerald began recording with Webb's Orchestra,
and by 1937 over half of the band's selections featured her voice. "A-Tisket,
A-Tasket" became a huge hit in 1938 and "Undecided" soon followed. During this
era, Fitzgerald was essentially a pop/swing singer who was best on ballads while
her medium-tempo performances were generally juvenile novelties. She already had
a beautiful voice but did not improvise or scat much; that would develop later.

On June 16, 1939, Chick Webb died. It was decided that Fitzgerald would front
the orchestra even though she had little to do with the repertoire or hiring or
firing the musicians. She retained her popularity and when she broke up the band
in 1941 and went solo; it was not long before her Decca recordings contained
more than their share of hits. She was teamed with the Ink Spots, Louis Jordan,
and the Delta Rhythm Boys for some best-sellers, and in 1946 began working
regularly for Norman Granz's Jazz at the Philharmonic. Granz became her manager
although it would be nearly a decade before he could get her on his label. A
major change occurred in Fitzgerald's singing around this period. She toured
with Dizzy Gillespie's big band, adopted bop as part of her style, and started
including exciting scat-filled romps in her set. Her recordings of "Lady Be
Good," "How High the Moon," and "Flying Home" during 1945-1947 became popular
and her stature as a major jazz singer rose as a result. For a time (December
10, 1947-August 28, 1953) she was married to bassist Ray Brown and used his trio
as a backup group. Fitzgerald's series of duets with pianist Ellis Larkins in
1950 (a 1954 encore with Larkins was a successful follow-up) found her
interpreting George Gershwin songs, predating her upcoming Songbooks series.

After appearing in the film Pete Kelly's Blues in 1955, Fitzgerald signed with
Norman Granz's Verve label and over the next few years she would record
extensive Songbooks of the music of Cole Porter, the Gershwins, Rodgers & Hart,
Duke Ellington, Harold Arlen, Jerome Kern, and Johnny Mercer. Although (with the
exception of the Ellington sets) those were not her most jazz-oriented projects
(Fitzgerald stuck mostly to the melody and was generally accompanied by string
orchestras), the prestigious projects did a great deal to uplift her stature. At
the peak of her powers around 1960, Fitzgerald's hilarious live version of "Mack
the Knife" (in which she forgot the words and made up her own) from Ella in
Berlin is a classic and virtually all of her Verve recordings are worth getting.

Fitzgerald's Capitol and Reprise recordings of 1967-1970 are not on the same
level as she attempted to "update" her singing by including pop songs such as
"Sunny" and "I Heard It Through the Grapevine," sounding quite silly in the
process. But Fitzgerald's later years were saved by Norman Granz's decision to
form a new label, Pablo. Starting with a Santa Monica Civic concert in 1972 that
is climaxed by Fitzgerald's incredible version of "C Jam Blues" (in which she
trades off with and "battles" five classic jazzmen), Fitzgerald was showcased in
jazz settings throughout the 1970s with the likes of Count Basie, Oscar
Peterson, and Joe Pass, among others. Her voice began to fade during this era
and by the 1980s her decline due to age was quite noticeable. Troubles with her
eyes and heart knocked her out of action for periods of time, although her
increasingly rare appearances found Fitzgerald still retaining her sense of
swing and joyful style. By 1994, Ella Fitzgerald was in retirement and she
passed away two years later, but she remains a household name and scores of her
recordings are easily available on CD. 




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