This very nice looking Verve T Label original Mono LP with the early pink cover has lovely sound. Ella’s voice is present, smooth and sweet. Since this recording only involves voice and piano, the loss of stereo information presents no problem for the listener. Ella and her accompanist are dead center and tonally correct. Many Verve Ella records are a disaster sonically – this is one of the exceptions.
With outstanding Double Plus (A++) sound or close to it for all four sides, this glorious 1956 mono recording is superb from first note to last
Full-bodied, musical, and smooth, with surprisingly spacious orchestral staging – this is just the right sound for this album and especially this kind of music
“The combination of Ella and Porter is irresistible and whether up-tempo or down-tempo, Ella’s three-octave range voice soars effortlessly as she makes each song come to life. It was all helped by the cream of L.A. session men and Buddy Bregman’s arrangement that oozes sophistication way beyond his twenty-four years. It is a perfect record.” – Richard Havers
he space is HUGE and the sound so rich. Prodigious amounts of Tubey Magic as well, which is key to the best sounding copies.
Take it from an Ella fan, you can’t go wrong with this one. The sound is rich and full-bodied in the best tradition of a classic vintage jazz vocal album. You could easily demonstrate your stereo with a record this good, but what you would really be demonstrating is music that the listener probably hasn’t heard, and that’s the best reason to demonstrate a stereo.(more…)
Ella’s first album to come out after Clap Hands finally makes its Hot Stamper debut, with outstanding Double Plus (A++) sound on both sides
What took us by surprise was how rich and sweet this original Verve was – so many of Ella’s early albums don’t have the smooth, natural vocals of this pressing
We absolutely love the swinging R&B organ Bill Doggett brought to these big band sessions, all backing an exceptionally well recorded First Lady of Song
“Ella Fitzgerald is in the spotlight throughout, mostly singing swing-era songs along with a couple of newer pieces… [her] voice was in its prime, and the charts are excellent.”
This copy is as quiet as we can find any domestic original Verve stereo pressing. The monos of this title — which naturally are five times more common — have that hard, honky sound that so many mono cuttings made from Ella’s stereo recordings suffer from.
Clap Hands is a notable exception to that rule, and of course any of her albums recorded in mono sound best in mono, when cut right and pressed right.
1962 was a great year for Ella. She released this album early in the year and followed it up with the Grammy winning Ella Swings Brightly with Nelson. Later in the same year Verve released Ella Swings Gently with Nelson, and it’s interesting to note that all three of these classic albums were recorded late in 1961. The woman could do no wrong! We would have to wait for her first release of 1963, Ella Sings Broadway, before she put out a clunker. But who’s fault is that? The music is fine, it’s the recording that’s bad (as far as we can tell; we have yet to hear one sound good).(more…)
A stunning sounding copy with Triple Plus (A+++) sound on ALL FOUR SIDES!
Forget the originals – like so many of the early songbook pressings, they suffer from painfully hard and honky mastering EQ (and gritty sounding vinyl)
We know whereof we speak when it comes to early Ella records – we’ve played plenty of them and found that most just don’t sound very good
Exceptionally quiet vinyl throughout* — Mint Minus to Mint Minus Minus
“Duke’s spectacular catalog dazzles, and his sprightly, lush textures are transfigured under Fitzgerald’s warm-timbred voice and elegant, precise delivery… each tune as familiar as it is delightful to hear in this new context.”
This mono reissue is the only way to find the MIDRANGE MAGIC that’s missing from modern records. As good as the best of those pressings may be, this record is going to be dramatically more REAL sounding.
Ella is no longer a recording — she’s a living, breathing person. We call that “the breath of life,” and this record has it in spades. Her voice is so rich, sweet, and free of artificiality you cannot help but find yourself lost in the music, because there’s no “sound” to distract you.
Rich, smooth, sweet, full of ambience, dead-on correct tonality — everything that we listen for in a great record is here. You could certainly demonstrate your stereo with a record this good, even one that’s not nearly this good, because this one is superb.
What amazing sides such as these have to offer is not hard to hear:
The biggest, most immediate staging in the largest acoustic space
The most Tubey Magic, without which you have almost nothing. CDs give you clean and clear. Only the best vintage vinyl pressings offer the kind of Tubey Magic that was on the tapes in 1957
Tight, note-like, rich, full-bodied bass, with the correct amount of weight down low
Natural tonality in the midrange — with all the instruments having the correct timbre
Transparency and resolution, critical to hearing into the three-dimensional studio space
No doubt there’s more but we hope that should do for now. Playing the record is the only way to hear all of the qualities we discuss above, and playing the best pressings against a pile of other copies under rigorously controlled conditions is the only way to find a pressing that sounds as good as this one does. (more…)
With two outstanding Double Plus (A++) sides, this original Bow Tie Verve Stereo pressing is going to be very hard to beat – exceptionally quiet vinyl too
Lovely All Tube sound from 1958, with a huge, rich orchestra conducted by one of our favorite arrangers, Marty Paich
Grammy Award for Best Improvised Jazz Solo – these were the days when Ella was on top of the world
“The bright, sunny optimism of Fitzgerald’s style comes through in several tracks, including ‘If I Were a Bell’ (which also includes several remarkable variations on the melody), and ‘Teardrops From My Eyes’ (which alternates between rock and jazz beats—not a big leap back then!)”
When you are lucky enough to find an album chock 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.
The recording is excellent, with space and midrange richness that might just take your breath away.(more…)
The first “Triple Triple” MONO copy to ever hit the site — A+++ from start to finish. Our knockout mono pressing here was fuller, more natural and more involving than any copy we heard in our shootout. with immediacy to put Ella practically in the room with you, it’s her performance that really comes to life. It’s our single Favorite Female Vocal album here at Better Records, one that gets better with each passing year.
Check out what the lucky owner of this copy had to say about it.
As you probably know, I own superb copies of the stereo. They both fade into pastel in comparison with this mono.(more…)
These are just some of the recordings by Ella Fitzgerald that we’ve auditioned and found wanting. Without going into specifics we’ll just say these albums suffer from poor performances, poor sound, or both, and therefore do not deserve a place in your collection, and may even belong in our Hall of Shame.
A Free Service provided to the Audiophile Public, courtesy of Better Records.
You’ll find outstanding Double Plus (A++) sound on both sides of this superb Verve stereo original LP
The huge, rich orchestral sound captured so beautifully by Val Valentin is always one of the highlights of these songbooks
By the time this one came out in 1964 Ella had already recorded 18 LPs of songbooks – this was the last, going out on a high note
Some of the Mercer Classics here are Too Marvelous For Words, Day In-Day Out, Laura, Skylark, Midnight Sun, I Remember You
AMG raves “this is one of the best of Ella Fitzgerald’s songbooks. Fitzgerald’s assured and elegant voice is a perfect match for Mercer’s urbane lyrics and Nelson Riddle’s supple arrangements…”
When you are lucky enough to find a album 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.
The recording is outstanding, with huge amounts of space and the kind of richness in the midrange that might just take your breath away.(more…)
Our Shootout Winning stereo copy with Triple Plus (A+++) sound on both sides – this is As Good As It Gets, folks!
Not the quietest copy we’ve ever played – Mint Minus Minus to EX++ – but clearly the best sounding
Fitzgerald’s performance on this album won her the Award for Best Vocal Performance, her 7th Grammy (!)
“The singer has rarely sounded better than during this period. Fitzgerald sticks mostly to familiar standards and is particularly memorable on “Don’t Be That Way,” “What Am I Here For,” “I’m Gonna Go Fishin’,” and “I Won’t Dance.”
Take it from an Ella fan, you can’t go wrong with this one, assuming you can put up with some light crackle underneath the music. The record itself looks exceptionally clean and well-cared for, but it clearly does not play as quietly as we would have hoped.
The sound is rich and full-bodied in the best tradition of a classic vintage jazz vocal album. You could easily demonstrate your stereo with a record this good! The space is HUGE and the sound so rich.
Prodigious amounts of Tubey Magic as well, which is key to the best sounding copies. The sound needs weight, warmth and tubes or you might as well be playing a CD.(more…)