Ella Fitzgerald - Live At Mister Kelly's CD

Live At Mister Kelly's buy CD music On paper it seems as if such titanic and distinctive musical personalities as Thelonious Monk and John Coltrane might not mix very well, but this stellar set, recorded live at Carnegie Hall in 1957, plays almost like a blissful extended duet between the two (with support from a sensitive yet hard-swinging bassist and drummer). The opener, "Monk's Mood," for example, features the composer/pianist's typically brilliant, idiosyncratic playing, while Coltrane floats over the top in the most lyrical of modes. Monk, in particular, is a master of tension-and-release tunefulness, creating rhythmic and harmonic intricacies that seem to spur Coltrane's saxophone exploration to new heights. The quartet shines on ballads ("Sweet and Lovely"), but the leaders display their best chemistry on the Monk's thorny, uptempo bop numbers. "Evidence" and "Epistrophy," for instance," have Monk adding rhythmic, dissonant punctuation to Coltrane's torrential stream of ideas, creating a thrilling push-pull balance. A superb date, and a must for fans of both artists, AT CARNEGIE HALL captures two of jazz's most important figures working in perfect symbiosis. Recording information: Carnegie Hall, New York, NY (11/29/1957). Personnel: Thelonious Monk (piano); John Coltrane (tenor saxophone); Ahmed Abdul-Malik (bass instrument); Shadow Wilson (drums). Liner Note Authors: Larry Appelbaum; Robin D.G. Kelley; Ira Gitler; Lewis Porter; Amiri Baraka; Stanley Crouch; Ashley Kahn. Award Winner

Live At Mister Kelly's CD music At first glance, one might think that this album is another in a long line of standard-issue Duke Ellington compilations. However, this is a release created by the artist himself, and it presents sessions from May and June of 1960 with one of the best orchestras Ellington ever assembled. (Only the previously unissued "Harlem Air Shaft," one of five bonus tracks on the CD, was recorded in '61.) The title of this collection is also something of a misnomer, since PIANO IN THE BACKGROUND prominently features the piano throughout. Each track boasts fabulous bluesy piano introductions, and, at the end of each tune, the ivories usually get the last word. This dramatic conclusion sometimes comes in the form of a final blow to the lower register of the keyboard, as on "Mid-Riff," "Main Stem," and "It Don't Mean a Thing (If It Ain't Got That Swing)." These mysterioso rumblings of the piano make the tunes end with a kind of musical defiance not normally associated with jazz orchestras of the time. This is hard-swinging and inspired big-band music at its finest. Additional Tracks Liner Note Authors: Irving Townsend; Patricia Willard. Recording information: Columbia Studios, Los Angeles, CA (1960); Radio Recorders, Los Angeles, CA (1960). Photographer: Don Hunstein. Arrangers: Gerald Wilson; Bill Mathieu. Personnel: Duke Ellington (piano); Duke Ellington; Andres Merenghito, Andre Merenghito (trumpet); Lawrence D. Brown, Lawrence Brown (trombone); Billy Strayhorn (piano); Aaron Bell (double bass); Russell Procope (clarinet, alto saxophone); Jimmy Hamilton (clarinet, tenor saxophone); Harry Carney (bass clarinet, baritone saxophone); Johnny Hodges (alto saxophone); Paul Gonsalves (tenor saxophone); Eddie Mullens, Gerald Wilson, Ray Nance, Willie Cook (trumpet); Matthew Gee, Booty Wood, Britt Woodman (trombone); Juan Tizol (valve trombone); Sam Woodyard (drums). Audio Remixer: Mark Wilder.

Live At Mister Kelly's songs Sax ala Carter! was originally released in 1960, and as the liner notes point out, was meant for a general audience. That means that the songs are popular standards and the renditions offered here are fairly short (none reach the four-minute mark). Having said all this, one might expect Sax ala Carter! to resemble cocktail jazz, but it doesn't. Instead, the listener is treated to an intimate set made up of fine ensemble work by Carter, pianist Jimmy Rowles, bassist Leroy Vinnegar, and drummer Mel Lewis on favorites like "Far Away Places," "I Should Care," and "Everything I Have Is Yours." The solos by Carter and Rowles are compact, with both players sticking close to the melody line. Nonetheless, their solos are tastefully energetic and achieve an air of grace. Standouts include a bouncy take on "All or Nothing at All" and a soulful version of "I'll Never Smile Again." The walking bass of Vinnegar also adds buoyancy to the performances on Sax ala Carter!, guaranteeing that the music is always flowing freely. The 2004 release of the album adds three bonus cuts, "Ennui" and two takes of "Friendly Islands." Incredibly, this entire album was recorded in one day on February 5, 1960. A fun treat. ~ Ronnie D. Lankford Jr. 1960 Remastered + 2 Bonus Tracks. Recorded at Radio Recorders, Los Angeles, California on February 5, 1960. Includes liner notes by Ed Berger. Benny Carter Quartet: Benny Carter (soprano, alto, & tenor saxophones); Jimmy Rowles (piano); Leroy Vinnegar (bass); Mel Lewis (drums). Personnel: Benny Carter (soprano saxophone, alto saxophone, trumpet); Jimmy Rowles (piano); Mel Lewis (drums). Audio Remasterer: Malcolm Addey. Liner Note Author: Ed Berger. Recording information: Radio Recorders, Los Angeles, CA (02/05/1960).

Live At Mister Kelly's album for sale All tracks have been digitally mastered using 24-bit technology. One of Ella Fitzgerald's most overtly "pop" albums, 1964's HELLO, DOLLY! finds the beloved jazz vocalist working almost solely with orchestral backing. The arrangements (here provided by Henri Rene, Johnnie Spence, and Frank DeVol, alternately) are often soaring and string-heavy, and horns are prominent, especially on Fitzgerald's enthusiastic, solidly swinging renditions of the showtune title track, the Beatles' "Can't Buy Me Love," and Richard Rodgers's "The Sweetest Sounds." The rest of the record is filled with lush, gentle tracks, including the thoughtful "People," the lilting "How High the Moon," and the lightly swaying "Volare," which features the great Hank Jones on piano. As always, Fitzgerald's gorgeous, crystal-clear singing glides effortlessly over the instrumentation, immediately entrancing listeners with her intuitive phrasing and undeniable charisma. For fans of pop vocals, this album is an ideal portal into the extensive catalog of this legendary performer. Arrangers: Henri René; Johnny Spence; Frank DeVol. Personnel: Ella Fitzgerald (vocals); Ella Fitzgerald; Zoot Sims (tenor saxophone); Hank Jones (piano). Recording information: London, England (03/03/1964-04/07/1964); New York, NY (03/03/1964-04/07/1964).

Live At Mister Kelly's CD music This CD fills an important gap in the discographies of both Joe Williams and Ben Webster. While Williams was in town for a week-long gig at Pio's in Providence, Rhode Island, he and his group (pianist Junior Mance, bassist Bob Cranshaw and drummer Mickey Roker) were surprised to find Ben Webster in the club one night, so he was invited to sit in. A tape of this performance was given to Williams afterwards, though nothing happened until after the singer's widow gave it to Hamilton College, which finally contacted Hyena about issuing it. Everyone on the date is in terrific form and it turns out that this show was recorded on the very same night as Webster's Enja album Live at Pio's. Williams is masterful throughout the evening, inserting a touch of humor to his receptive and attentive audience as he glides effortlessly through the set. Although he confesses to not knowing all of the lyrics to a request ("That's All"), he tackles it anyway. The vocalist is especially complemented by Webster's robust tenor in a sensitive ballad like "A Hundred Years From Today" or a mid-tempo swinger like "Just A-Sittin' and A-Rockin'." It's hard to pick highlights, but Williams carries off his signature tune in great fashion. Like many club recordings made in the mid-'60s, the sound quality of the rhythm section is a tad muddy, but any fan of Joe Williams will easily adjust to it and groove along with the masterful singer and his special guest. Highly recommended. ~ Ken Dryden Personnel: Joe Williams (vocals); Ben Webster (tenor saxophone); Junior Mance (piano); Bob Cranshaw (double bass); Mickey Roker (drums). Liner Note Author: Joel Dorn.

Live At Mister Kelly's buy CD music This is the scattin', singin' force of nature that was Ella on Decca from 1947-55. This vintage collection of bepop and bluesy gems includes Lullaby of Birdland; Angel Eyes; Smooth Sailing; Oh, Lady Be Good!; Later; Ella Hums the Blues; How High the Moon; Flying Home , and more! With her impeccably clean phrasing, fluid scat-singing, and confident sense of swing, Ella Fitzgerald (1917-1996) was one of America's and the world's most popular jazz singers. Fitzgerald was a favored singing partner of Louis Armstrong, Frank Sinatra, Dizzy Gillespie (who had a profound influence on her singing during bebop's rise), and Duke Ellington, and achieved both critical and popular success during her lifetime. LULLABIES OF BIRDLAND consists of recordings from 1945 to 1955, offering a cross-section of Swing-era standards, many of which she flat-out owned by the end of her career ("Oh Lady Be Good" and "How High The Moon" among them). Personnel: Chris Griffin , Sam Taylor , Andrew Ferretti, Ray Charles Quintet, James Nottingham, Sandy Block, Dick Jacobs, Everett Barksdale, Hank Jones , Dave McRae , Jimmy Crawford , Al Grey, Ray Brown , Sid Cooper, Sy Oliver, Taft Jordan, The Ray Charles Singers, Bill Doggett, Bob Haggart, Bob Peck, Bernie Privin, Rudy Traylor, Mort Bullman, Milt Yaner, Johnny Blowers.