Ella Fitzgerald - Basin Street Blues

Ella Fitzgerald - Basin Street Blues

Альбом: 1 пласт.
Размер: 12" (гигант)
Запись: г.
Тип записи: стерео
Оборотов в мин.: 33
Состояние (диск/конверт): очень хорошее/очень хорошее
Производство: Румыния
Фирма: Electrecord

1. IT'S ONLY A PAPER MOON, 2'30"
H. Arlen
2. THAT OLD BLACK MAGIC, 2'27"
J. Mercer - H, Arlen
3. STARLIT HOUR, 3'08"
J. Mercer
4. SING SONG SWING, 2'45"
J. Mercer
5. FLYING HOME, 2'26"
Benny Goodman, Lionel Hampton
6. STAIRWAY TO THE STARS, 3'08"
Frank Signorelli
7. BASIN STREET BLUES, 3'04"
Spencer Williamns
8. A TISKET - A TASKET, 3'32"
A. Feldmann - E. Fitzgerald
9. IT'S A BLUE WORLD, 3'39
10. IS THERE SOMEBODY ELSE, 2'35"
11. CHEWING GUM, 3'16"
12. SUGAR BLUES, 3'02"
J. Mercer

Inregistrare „Delta Music" R. F. Germania

Ella Fitzgerald was discovered when, still a teenager, she was singing on the stage of a small musical theatre in the famous Harlem, New York. She was hired as a vocal soloist of Chick Webb's band, with whom she recorded in 1935, at only seventeen, her first successful album, called Love and Kisses. She sang with them until Webb's death, when she became the leader of the band. Later on she sang with many other different orchestras or pianists, in nightclubs, theatres or concerts. The clarity and the sonority of her bell-like voice were beatifully intertwined with a brilliant interpretation.
One of the most remarkable successes of Ella Fitzgerald's early career was A-tisket, A-tasket, a piece included on this album and recorded with Chick Webb in 1938. Those forty years that have passed by since that time, haven't blurred at all the freshness and the sparkling shine of this charming melody and the singer's original interpretation. From 1946 she collaborated with Norman Granz, concert-touring the United States, Europe and Japan, as the main attraction of Jazz at the Philharmonic concerts. Since that time she won priority among the
young American vocal singers. She knew to turn even insignificant melodies into long-lasting successes, becoming gradually more selective and exigent of her own repertoire, especially after collaborating with Norman Granz.
In the pieces chosen with infinite care from the golden fund of jazz music as Basin-Street Blues and Sugar Blues, Ella Fitzgerald is concerned with the specific expressivity of jazz music, finding it in the skillful fusion of the emotional sensibility and tenderness of the tone with the artistical perfectionism of the interpretation.
In an interview given to the BBC in London, Ella Fitzgerald stated that jazz music is a subconscious determiner of the coloured people from America and that its artistical expression is of a large chromatic variety, full of contradictions, from tenderness to vehemence, from exuberance to lyrical meditation, from serenity to the tragical sense of life. Her interpretative art reaches the highest peaks of suggestiveness in the concert tours made to Europe every year, with Oscar Peterson's trio, singing with unique ardour a repertoire which could be very well considered a value scale of the jazz and pop music. She creates a musical universe of a rare and colourful vitality, gaining, through her art, a place next to the great blues singer Bessie Smith.
The „classical" period of Ella Fitzgerald's art began in April 1958, when she gave some concerts at Carnegie Hall in New York with Duke Ellington, with whom she recorded then the four LP's called Ella Fitzgerald Sings the Duke Ellington Song Book. From the sentimentalism of her early years, the singer reached at this time the severe intellectual discipline of the mature artist, master of her own means of expression, changing the ethnic and local characteristics of the jazz and pop music into esthetic and universal ones.
Although she never imitated any other singer, Ella Fitzgerald's art was much under the influence of Connie Boswell, a jazz and pop singer of the thirties, who gained her reputation as the soloist of Benny Goodman, Red Nichols and Don Redman's orchestras. Probably because her repertoire includes many American hits, she was considered more as a star of the pop music, than an artist of the jazz music. Nat Hentoff, for example, has classified her among the best American pop singers of the sixties and seventies, although she won countless important prizes at the contests of the jazz magazines Metronome and Down Beat.
The twelve selections performed on this album offer to an appreciative audience, a coherent portrait of a great singer from over the Ocean, an ideal digest of her unforgettable and incomparable charm.
GEORGE SBARCEA