Format: FLAC (tracks) Quality: lossless and Quality: Hi-Res 24bit stereo Source: Digital download for free Ella Fitzgerald, Louis Armstrong - Ella And Louis Again (1957) [Vinyl - DSD128] flac - Ella Fitzgerald, Louis Armstrong - Ella And Louis Again (1957) [Vinyl - DSD128] lossless - Music archive - Hi-Res - 24bit - Here can free download. Comments Off on Louis Armstrong & Ella Fitzgerald – Ella and Louis (1956) [HDTracks FLAC 24bit/96kHz] Louis Armstrong & Ella Fitzgerald – Ella and Louis (1956) [HDTracks FLAC 24bit/96kHz] Posted by mqs / Posted 3. Ella & Louis Again, is also worth getting. Tracklist: 01 – Can’t We Be Friends? 02 – Isn’t This A Lovely Day?
00:03:57. Walter Donaldson, Composer, Author - Ella Fitzgerald, MainArtist - Louis Armstrong, MainArtist - RAY BROWN, Double Bass - Gus Kahn, Author - Herb Ellis, Guitar - Louie Bellson, Drums - Oscar Peterson, Piano - Norman Granz, Producer - Tobago Music Co., MusicPublisher - Songwriters Guild Of America, MusicPublisher - Donaldson Publishing Co., MusicPublisher - Larry Spier Inc., MusicPublisher Copyright: A Verve Label Group Release; ℗ 1957 UMG Recordings, Inc. 3 They All Laughed. 00:05:15. Andy Razaf, Composer, Author - Ella Fitzgerald, MainArtist - Louis Armstrong, MainArtist - RAY BROWN, Double Bass - Benny Goodman, Composer, Author - Edgar Sampson, Composer, Author - Herb Ellis, Guitar - Louie Bellson, Drums - Chick William Webb, Composer, Author - Oscar Peterson, Piano - Norman Granz, Producer - Songwriters Guild Of America, MusicPublisher - EMI Robbins Catalog, Inc., MusicPublisher - Ragbag Music Publishing Corp., MusicPublisher - Rytvoc, Inc., MusicPublisher Copyright: ℗ 1957 UMG Recordings, Inc.
8 I Won't Dance (Album Version). 00:04:47. Jerome Kern, Composer, Author - Ella Fitzgerald, MainArtist - Louis Armstrong, Trumpet, MainArtist - Dorothy Fields, Composer, Author - RAY BROWN, Double Bass - Oscar Hammerstein II, Composer, Author - Otto Harbach, Composer, Author - Jimmy McHugh, Composer, Author - Herb Ellis, Guitar - Louie Bellson, Drums - Oscar Peterson, Piano - Norman Granz, Producer - EMI April Music Inc., MusicPublisher - Shapiro, Bernstein & Co., Inc., MusicPublisher - Universal PolyGram International Publishing Inc., MusicPublisher Copyright: ℗ 1957 UMG Recordings, Inc. 9 Gee, Baby, Ain't I Good To You? (Album Version).
If you're familiar with, you know that we've dedicated over two decades to supporting jazz as an art form, and more importantly, the creative musicians who make it. Our enduring commitment has made All About Jazz one of the most culturally important websites of its kind in the world reaching hundreds of thousands of readers every month. However, to expand our offerings and develop new means to foster jazz discovery we need your help. You can become a sustaining member for a modest and in return, we'll immediately hide those pesky Google ads PLUS deliver exclusive content and provide access to for a full year! This combination will not only improve your AAJ experience, it will allow us to continue to rigorously build on the great work we first started in 1995. It should come as no surprise that the first collaboration between Ella and Louis was so successful that it was quickly followed by a sequeland a double album, no less. Even the dumbest A&R man could anticipate the potential magic in the pairing; both singers were at the peak of their popularity in 1957, straying from their jazz roots yet becoming influential and noteworthy interpreters of popular song in the process.
Both share a penchant for mirthful clowning and light banter, yet Armstrong’s burnished growl and Ella’s brassy swagger couldn’t be more different and still complement each other superbly. Make no mistake, this is clearly a vocal albumthe only solos are Armstrong’s, and they’re few and far betweenyet the music choices and delivery are enough to sustain the entire package.
The first two tracks set the tone for the rest of the set, playful renditions of “Don’t Be That Way” and “Makin’ Whoopie” tailor-made for the Ella and Louis treatment. The highlight is a wistful “Autumn In New York” with a lovely vocal by Ella and a trumpet solo by Louisalthough by this time Louis was playing solos the matched people's expectations of what Louis sounded like, rather than bringing anything new to the table.
The only misfire is “Let’s Do It,” which drags on much too long. The second disc is slightly better than the first, due to the melancholy ballads “Willow Weep For Me” (all Armstrong) and “Ill Wind” (all Ella) and a duet on “Our Love is Here to Stay,” where Armstrong’s trumpet solo pokes through Ella’s graceful phrasing. The Oscar Peterson trio (joined by the fiery Louis Bellson) provides understated backing throughout, Peterson keeping his feistiness in check while Ellis delivers punchy chords, playing the best rhythm guitar of his career. Although calling this a jazz album is a bit of a stretch, anyone who is a fan of either of these two artists (or jazz singing for that matter) will definitely want to check this one out. See the column for related reviews. Visit on the web.
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I love jazz because as a teacher for 52 years and jazz performer of more than 10,000 gigs having played with Dizzy Gillespie, George Benson, Richie Cole, Gary Bartz, Bobby Hutcherson, McCoy Tyner, Frank Foster, Eddie Shu, Frank Vicari, Attila Zoller, Joe Beck, Lenny Breau, Bob Conti, Jimmy Bruno, Barry Greene and many more, jazz now defines a lot of who and what I am and how people recognize me. I was first exposed to jazz in the 1950's. My advice to new listeners is give jazz a chance. It is more than just surface music.
There are depths that can teach you many things and unlock the doors of a limited perspective. By Member since: 2015.