Ella Fitzgerald - Ella in Japan: 'S Wonderful CD

Ella in Japan: 'S Wonderful 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

Ella in Japan: 'S Wonderful album for sale Initial pressings of SEVEN STEPS are packaged with a deluxe metal spine. Also includes a 92-page booklet with rare photos, complete discography and essays by Michael Cuscuna and Bob Blumenthal. All tracks have been digitally mastered using 24-bit technology. In the 1960s, trumpeter Miles Davis became a star outside of the jazz world, first with what history refers to as "the Quintet" with Wayne Shorter and Herbie Hancock, then with his highly influential post-BITCHES BREW electric bands. But there was a "transitional" period, after John Coltrane left Davis's employ and before the Shorter/Hancock era, which the SEVEN STEPS box set based around the SEVEN STEPS TO HEAVEN album documents in its entirety, often in a live context. Davis was seeking the right combination of musicians for his sonic flights, where hard-bop and modal styles could be combined with a wide-open, increasingly elastic sound. Before settling on Shorter (present here), he tried the conventionally hearty, blues-accented bop approach of saxophonist George Coleman and the rippling, somewhat more avant-garde Sam Rivers. Both soar and sear at their respective best, providing remarkable contrast to Davis's magically cool horn. UK-born pianist Victor Feldman plays on some tracks, Hancock on others; the drum chair features Tony Williams (also an explorer of avant expression) and Frank Butler (a crackling, swinging mainstream bopper). SEVEN STEPS includes material originally available on the early-'60s albums IN EUROPE and FOUR & MORE, among others, with (attention, collectors!) the inclusion of eight previously unreleased tracks. Personnel: Miles Davis (trumpet); Miles Davis; Ron Carter (double bass); Tony Ruption Williams , Tony Williams (drums); George Coleman, Sam Rivers, Wayne Shorter (tenor saxophone); Victor Feldman, Herbie Hancock (piano); Frank Butler (drums). Audio Remixer: Mark Wilder. Liner Note Authors: Michael Cuscuna; Bob Blumenthal. Recording information: Berlin Philharmonic Hall, Berlin, Germany (04/16/1963-09/19/1964); Columbia 30th Street Studio, New York, NY (04/16/1963-09/19/1964); Columbia Studios, LA (04/16/1963-09/19/1964); Kohseinenkin Hall, Tokyo, Japan (04/16/1963-09/19/1964); Philharmonic Hall, New York, NY (04/16/1963-09/19/1964); The Festival Mondial Du Jazz Antibes, Juan-Les-Pins, Fr (04/16/1963-09/19/1964). Introduction bys: Billy Taylor ; André Francis; Terry Isono; Mort Fega. Photographers: Vernon Smith; John Wilkes; Ted Williams ; Joe Alper; Jan Persson; Roger Marshutz; Lee Tanner; Chuck Stewart.

Ella in Japan: 'S Wonderful buy CD music Ella Fitzgerald didn't lack for live recording opportunities in the late '50s, which on the surface, would make this first issue of a 1958 Chicago live club date an easy one to pass on. Verve label head Norman Granz recorded her often in the '50s with an eye to releasing live albums, which he did with her shows at Newport in 1957 and Los Angeles' Opera House in 1958 (not to mention another 1958 concert in Rome that was released 30 years later to wide acclaim). Those shows, however, differed widely from this one, which found her in front of a very small audience at Chicago's jazz Mecca Mister Kelly's (Sarah Vaughan's landmark At Mister Kelly's was recorded there four months earlier). Fitzgerald's artistry is basically a given in this situation, but much of the material recorded here was rare and obscure; "Your Red Wagon" had only been released as a single, her delightfully melodic "Across the Alley from the Alamo" never appeared elsewhere, and for a pair of Sinatra evergreens -- "In the Wee Small Hours of the Morning" and "Witchcraft" -- the former had never appeared, and the latter only appeared later, on a 1961 return to the site of her Berlin live landmark. ~ John Bush Live At Mister Kelly's CD Ella Fitzgerald Personnel: Ella Fitzgerald (vocals); Lou Levy (piano); Max Bennett (bass guitar); Gus Johnson (drums).

Ella in Japan: 'S Wonderful songs By 1964, pianist/composer Thelonious Monk, once the American jazz scene's resident eccentric, was essentially a star, appearing on the cover of TIME magazine and recording for a major label (Columbia). Perhaps that's why Monk's quartet plays with a champion's swagger and enthusiasm at their 1964 appearance at the Monterey Jazz Festival. While this disc may appear to be a typical Monk set of the era ("Straight No Chaser" and other classics), there are some crucial differences. First, Monk's regular bassist wasn't available, so the excellent Steve Swallow (who'd soon rise to fame with the Gary Burton Quartet) filled in, and the final two tracks feature a small horn section. On the latter, this augmented group plays with a festive exuberance that recalls Charles Mingus. (Maybe it's no coincidence: Buddy Collette, who directed the horn section, played with Mingus.)

Ella in Japan: 'S Wonderful 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).

Ella in Japan: 'S Wonderful CD music Sarah Vaughan was approximately three decades into her career when she stepped onto the stage at the Monterey Jazz Festival in September 1971 and still at the top of her game. Her voice swoops, sways and swings; it's a veritable roller coaster of pitch, tone and tempo, and Vaughan is in complete control of her instrument at all times. The voice is weightier than it was during her early days, but having recently taken a few years off from recording it was primed and ready for the remarkable push Vaughan was prepared to give it. Backed by the very capable trio of Bill Mays on piano (Vaughan introduces him as Willie Mays), Bob Magnusson on bass and Jimmy Cobb on drums, Vaughan wastes no time showing why she always appears on the short list of jazz's greatest singers: On "I Remember You" she takes command of the rhythm and bends it to her will; it's impossible not to fall within her spell instantaneously. Vaughan must know she's on a roll because midway through the song she lets out a "Whoo!" that one might expect to hear from an audience member rather than the singer herself. "There Will Never Be Another You," taken at a breakneck pace, gives the band ample opportunity to blow, and Vaughan stays just far enough ahead to lead the way -- at times it sounds as if she will leave them in the dust, but she never does; chaos is averted and something wholly exhausting but satisfying emerges. She follows that up with a gender-altered revisit to the Beatles' "And I Love Her" (retitled here "And I Love Him" for obvious reasons) that transforms it into a loosey-goosey blues that gives the singer enough breathing room to toy with the lyric in ways Paul McCartney could not have imagined. For the last two tracks, Vaughan is joined by a true all-star cast of horn players (Roy Eldridge, Clark Terry, Benny Carter, Eddie "Lockjaw" Davis, Bill Harris and Zoot Sims), plus Louie Bellson on drums, Mundell Lowe on guitar and John Lewis on piano. Vaughan's role during the ensuing jam is primarily as scatter, but it's hard to imagine that any listener is going to complain that she takes a back seat after having experienced such a top-notch performance. ~ Jeff Tamarkin Live At The 1971 Monterey Jazz Festival CD Sarah Vaughan Recording information: Monterey Jazz Festival (09/19/1971). Personnel: Sarah Vaughan (vocals); Clark Terry (vocals, flugelhorn); Mundell Lowe (guitar); Zoot Sims & His Five Brothers, Eddie "Lockjaw" Davis (tenor saxophone); Roy Eldridge (trumpet); The Bill Harris Quintet (trombone); John G. Lewis, Bill Mays (piano); Jimmy Cobb , Louie Bellson (drums). Liner Note Authors: Scott Yanow; Tim "T-Bone" Jackson; Jason Olaine.