at a glance...

Hometown: New Orleans, LA (Armstrong); Newport News, VA (Fitzgerald)
First Recordings: 1923 (Armstrong);1935 (Fitzgerald)

Sidemen:
Oscar Peterson -piano
Herb Ellis -guitar
Ray Brown -bass
Buddy Rich -drums
Louie Bellson -drums
Russel Garcia Orchestra

Notes:
Quite simply, Louis Armstrong invented the concept of swing. His trumpet improvisations were loose, vibrant, passionate, bluesy, and compelling--to the point that he'd changed jazz into a music of solo improvisation. He began with King Oliver's band, moved on to Fletcher Henderson's orchestra, and became a leader, all by 1925. His Hot Fives and Sevens introduced the soloist emphasis to the jazz world. In addition, his singing style, similar to his trumpet style, removed the rigidity of vocals, replacing it with unique syncopated phrasing. Ella Fitzgerald came up with Chick Webb's band, and she quickly became one of jazz's most admired vocalists. She had perfect pitch, controlled her voice like an instrument, and was elegant and affable in everything she did.

Throw together two of the most charismatic performers in all of jazz history, a collection of timeless standards, and a swinging band, and you end up with spirited, buoyant, and infinitely enjoyable music. This album is more cohesive than your average compilation: All the tracks were recorded within a two-year stretch. Ten songs feature Oscar Peterson's small group while the remaining two cuts come from a Porgy and Bess session with a large orchestra. The contrast between the elegant, pristine, polished, mellow Ella and the coarse, thick, rough-edged Louis works to sublime perfection. Their work showcases an effortless camaraderie, vibrant sense of humor, and, of course, the wonderful combination of talent and appeal.

Armstrong's trumpet offers energetic solos and silky support behind Ella. "Gee Baby Ain't I Good to You" opens with a bubbly Armstrong solo and ends with a flourish of Ella's vocals and Armstrong's horn. The intensity builds with each chorus of "I Won't Dance" as a delicate Fitzgerald intro gives way to conversational interplay, impromptu harmonies, and inspiring asides. The big band moves in for "It Ain't Necessarily So": After Armstrong's majestic trumpet intro, Ella adds terrific scat choruses and Satchmo even makes the word "abdomen"swing. Just try not to smile as the pair merrily rolls through "A Fine Romance." As is the standard recipe on most of the album, Peterson and band pick up the intensity while Ella and Louis trade barbs heading toward a rousing finish. Fitzgerald's relaxed opening to "Stompin' at the Savoy" shows no hint of the fire to come. Ella scats marvelously showing range and humor, Armstrong follows with furious trumpet blaring, and when he contributes his off-the-cuff lyrics, you can hear Ella holding back the laughter. The mournful intro to "A Foggy Day" proves Armstrong could still sing it straight with his wonderfully unique phrasing. Peterson supplies some of his most tasteful and restrained support throughout, and the rapport between the two leaders is nothing short of magical.

If you like this album, check out:
Louis Armstrong and Duke Ellington The Complete Roulette Sessions
Ella Fitzgerald Ella in London
Carmen McRae Carmen Sings Monk
Sarah Vaughan With Clifford Brown

psst...you might wanna check out our swing links for more features on swing artists.

-- Marc Greilsamer