A distinguished member of the Better Records Rock and Pop Hall of Fame.
Take it from an Ella fan, you can’t go wrong with this one. On the best pressings, the sound is rich and full-bodied in the best tradition of a classic vintage jazz vocal album with big band backup. You could easily demonstrate your stereo with a good copy, but what you would really be demonstrating is music that the listener probably isn’t familiar with, and that’s the best reason to put on an old record.
On the best copies, the space is HUGE and the sound so rich, with prodigious amounts of Tubey Magic as well, which is key. The sound needs weight, warmth and tubes or you might as well be playing a CD.
What to Listen For (WTLF)
Copies with rich lower mids and nice extension up top did the best in our shootout, assuming they weren’t veiled or smeary of course. So many things can go wrong on a record. We know, we heard them all. There is a marked tendency on this recording to have a bit of honk or squawk, but our best copies are free from this problem.
We’re glad to report this copy was doing more of what we wanted it to do than any other we played. And we know a fair bit about Ella’s recordings at this point. As of today we’ve done commentaries for more than a dozen different Ella Fitzgerald albums, and that’s not counting the sixteen (yes, 16!) titles we put in our Hall of Shame.
We’ve searched high and low for her records and played them by the score over the years. We plan to keep a good supply on to the site in the coming years so watch for new arrivals in the Vocal section (linked to the left).
Hardness and Brashness
Want to know what we are on about with all this talk of hardness and brashness? Easy, just play the average copy. Unless you are exceptionally fortunate and chanced upon a properly mastered and pressed and cared for copy, you will hear plenty of both.
It’s one of the main reasons we have such a hard time doing shootouts for Ella’s ’50s and ’60s albums. The other of course is the poor condition most copies are in. Few pressings do not have marks that play or damaged grooves. The record players of the ’50s and ’60s, not to mention their owners, were ruinous on the albums of the day.
Which is simply another reason not to expect another top copy of this album to come to the site any time soon. Give us two or three years or so and we might be able to find another batch with which to do a shootout. In that time we will surely look at fifty copies, buy ten, and end up with five that are worth playing.
Obviously, we wouldn’t bother if the music and sound weren’t so good. When you are lucky enough to find a copy that sounds as good as this one, full of standards from the Great American Songbook, you cannot help but recognize that this era for Ella will never be equaled, by her or anyone else.
Stereo Vs. Mono
It is our opinion that the mono takes all the fun out of the Quincy Jones’ deliberately wide, spacious orchestral presentation surrounding Ella. Which is too bad: the mono pressings are five times as common as the stereo ones.
Val Valentin Behind the Board
VAL VALENTIN‘s engineering credits run for days. Some high points are of course Ella and Louis and Getz/Gilberto.
Recently we played a copy of We Get Requests by the Oscar Peterson Trio that blew our mind. And we have been big fans of Mel Tormé Swings Shubert Alley for more than a decade.
Pull up his credits on Allmusic. No one I am familiar with other than Rudy Van Gelder recorded more great jazz and vocals, and in our opinion, Valentin’s recordings are quite a bit more natural sounding than Rudy’s.
‘Deed I Do
Into Each Life Some Rain Must Fall
Them There Eyes
Dream a Little Dream of Me
Tea for Two
I’m Beginning to See the Light
My Last Affair
On the Sunny Side of the Street
AMG 4 1/2 Star Review
Surprisingly enough this 1963 LP was the first time (other than a couple songs) that Ella Fitzgerald and Count Basie recorded together. The match-up was so logical that it would be repeated many times over the next 20 years.