Album Reviews

Producer Norman Granz's “songbook” concept, made possible by the invention of the LP, proved to be one of his most popular and enduring ideas. Ella sang Rodgers and Hart, Cole Porter, and of course Gershwin, but this one, pairing two of the biggest names of the last musical century, with Ella performing with three ensembles, was perhaps Granz's most ambitious undertaking. Ella and the Duke were signed to different labels, and both had busy concert and recording schedules, but after Ella performed with Ellington at a Jazz at the Philharmonic date, Granz set about getting the two together in a recording studio for a songbook production.

These 37 tracks plus an Ellington-Strayhorn tribute to Ella suite written for the occasion and an extended blues with Ella and orchestra were recorded in four sessions, two in Los Angeles, September 1956 and October 1957 (small ensemble), and two in New York, June and October, 1957 (orchestra). Those were the days when a recording “date” meant that everyone would get together and perform live to tape. No overdubs, no multi-tracking.

The roster of top musicians includes Clark Terry, Ray Nance, Jimmy Hamilton, Dizzy Gillespie, Ben Webster, Barney Kessel, Herb Ellis, and Oscar Peterson, plus many other Ellington regulars and guests, assembled into three distinct ensembles.

Even if you don't think you know Ellington, you'll inevitably recognize some classic tunes like “Don't Get Around Much Anymore,” “Caravan,” “I'm Just a Lucky So and So,” “Perdido,” “Prelude to a Kiss,” “Satin Doll,” and of course “Mood Indigo” and “Take the A Train.” The intimate arrangements for small ensembles coupled with a clean and relatively dry recorded atmosphere combine to create an unusual in-the-studio intimacy.

The arrangements are cool, mellow, cleanly drawn and of course swinging.

The set goes down like a fine cognac, including the extended Ellington-Strayhorn tribute suite, narrated by The Duke. These were the first recorded collaborations between Ellington and Fitzgerald and they lead to many more throughout the rest of the 1950's, and '60s.

Compared to an original Verve set I have on hand, this Kevin Gray remastering from copies of the master tapes, is a major improvement tonally and especially dynamically. Bandwidth is far more extended at the frequency extremes and the midrange is far more open and less boxy sounding, though the recording does show its age. As long as you're not expecting sonic modernity, you will be thrilled by both the sound and pressing quality, not to mention Speakers Corner's faithful and sumptuous packaging. The music is classic and will not date, and the same goes for the packaging. This is a set you will cherish, and be honored to pass down to another generation, which hopefully will have the good taste to enjoy it. In the 1960's I hardly would have expected to be paying attention to my parent's music in 2004, so believe me, there's hope.

I don't know how many of these boxes Speakers Corner produced or for how long it will be available, so if this at all is of interest, my recommendation is get it while you can. Then kick back, rattle the ice cubes, and let this set take you back to the Eisenhower era. It wasn't all bad, you know?