Ella Fitzgerald, the trendsetter?

[pmp]

The forthcoming Ella Fitzgerald live album, recorded in 1958 is being touted as possibly the first time that a singer went on stage and sung nothing but songs from a single, current album (The Irving Berlin Songbook). It's quite common now for an artist to "tour an album" but in 1958, such a performance must have been unique, even more so as she's accompanied by the same orchestra and conductor as she had been for the studio album. Does anyone here know of a singer or musician who did that at an earlier date?

The full press release:

L

OS ANGELES, May 13, 2022 /PRNewswire/ -- On August 16, 1958, just a few months after Ella Fitzgerald recorded her now-classic album, Ella Fitzgerald Sings The Irving Berlin Songbook, The First Lady Of Song performed selections from that album live at the Hollywood Bowl to an adoring, sold-out crowd. Conducted and arranged by Paul Weston, who also arranged and conducted the studio sessions, this concert marked the only time that Ella performed these iconic arrangements live with a full orchestra.

"Ella At The Hollywood Bowl: The Irving Berlin Songbook," releasing June 24 via Verve/UMe, captures Ella Fitzgerald performing selections from her classic Irving Berlin Songbook at the legendary Hollywood Bowl with a full orchestra conducted and arranged by Paul Weston. This landmark record, discovered in the private collection of producer and Verve Records founder Norman Granz, marks the first time a live Songbook has been released from Fitzgerald.
"Ella At The Hollywood Bowl: The Irving Berlin Songbook," releasing June 24 via Verve/UMe, captures Ella Fitzgerald performing selections from her classic Irving Berlin Songbook at the legendary Hollywood Bowl with a full orchestra conducted and arranged by Paul Weston. This landmark record, discovered in the private collection of producer and Verve Records founder Norman Granz, marks the first time a live Songbook has been released from Fitzgerald.
Widely considered her greatest achievement, Ella's Songbook records, with peerless renditions of the best songs by America's greatest composers, are the cornerstone of the Verve catalog and the undisputed standard for jazz vocal recordings. At the inaugural Grammy Awards, her Irving Berlin album won Ella her first Grammy for "Best Vocal Performance, Female," and was also nominated for "Album Of The Year." Aside from the lucky audience at the Hollywood Bowl that night, it wasn't generally known, until the discovery of these tapes, that Ella had ever performed any of the Songbook arrangements in concert, let alone that such a pristine and sonically sumptuous recording existed.

On June 24, Verve/UMe will proudly release the full, never-before-released 15-song performance, aptly titled, Ella At The Hollywood Bowl: The Irving Berlin Songbook, on CD, vinyl, limited edition yellow splatter vinyl, and digitally. This landmark record, discovered in the private collection of producer and Verve Records founder Norman Granz, marks the first time a live Songbook has been released from Ella. It is also significant in that it captures the only time Ella worked in concert with arranger-conductor Paul Weston. And, although she performed regularly at the Hollywood Bowl, this is the first full-length concert by Ella from this iconic venue to be released (notably, Ella was featured prominently on Verve's Jazz At The Hollywood Bowl album, recorded and released in 1956, the year Granz formed the label). The live tracks were mixed from the original ¼" tapes by Grammy Award-winning producer and musician Gregg Field who played drums for Ella in her later years. The album is rounded out with insightful liner notes about the concert and Ella's Songbook series by noted author and music critic, Will Friedwald.

Ella At The Hollywood Bowl: The Irving Berlin Songbook is available to pre-order now and is being previewed with a lively rendition of "Puttin' On The Ritz." The song debuts today, accompanied by an animated video, directed by Alberto Baroni, that cleverly brings the song and Giulia Pelizzaro's dynamic album art to life.

While Ella's live appearances had evolved over the years from her early big band years where she primarily sang in ballrooms with the Chick Webb Orchestra to supper clubs, theaters and concert halls, she mostly stuck to a nightclub format of performing a selection of songs accompanied by a trio. This performance at the Hollywood Bowl was incredibly unique for her. As Friedwald reveals in the liners, "But to come on stage – with a full orchestra – and essentially sing the contents of a studio album, well, nobody did that. Not Sinatra, not Tony Bennett, not Miles Davis, nor any of the other key innovators who contributed to the development of what came to be known as 'the concept album." Friedwald continues, "so exactly why did Fitzgerald and Granz choose to face this particular music and dance in this singular fashion? We may never know, but the logical answer is that the songbooks were proving to be such a major component to her burgeoning career that… Fitzgerald and Granz were determined to do something special in honor of the ongoing series."

And special it was. Across 15 songs, Ella and the orchestra performed dazzling arrangements of some of Irving Berlin's best-known songs including the classic ballads "How Deep Is The Ocean" and "Supper Time," Hollywood tunes "You're Laughing At Me" and "Get Thee Behind Me Satan," and swinging up-tempo numbers "Cheek To Cheek," "Top Hat," "I've Got My Love To Keep Me Warm," "Heat Wave," and "Puttin' On The Ritz." The concert pops with an electricity not found on the studio recording as Ella feeds off the energy and enthusiasm of the crowd, whose applause and adulation bookend each song.

The Hollywood Bowl, which is celebrating its centennial this year, loomed large in Ella's life. She made her Bowl debut alongside Louis Armstrong in 1956 at a star-studded program, which was released as the double LP, Jazz At The Hollywood Bowl. Ella holds the rare distinction of having sold out the Hollywood Bowl in each of five decades, from the 1950s through the 1990s. Aside from headlining numerous times, Ella, who lived in LA for much of her career, also performed as part of the annual Playboy Jazz Festival; her last appearance was a couple years before her passing in 1996. Read more about Ella and her history with the Hollywood Bowl here: https://www.hollywoodbowl.com/about/watch-and-listen/bowl-history-spotlight-ella-fitzgerald

The voice of Ella Fitzgerald, the songs of Irving Berlin, the timeless arrangements of Paul Weston with a orchestra at the Hollywood Bowl, Ella At The Hollywood Bowl: The Irving Berlin Songbook is the pinnacle of American song – live and like never before.

ABOUT ELLA FITZGERALD
Dubbed "The First Lady of Song," Ella Fitzgerald (1917-1996) was the most popular female jazz singer in the United States for more than half a century. In her lifetime, she sold more than 40 million albums and received most every honor a performer could dream of winning, including the Kennedy Center Honor (1979), the National Medal of Arts (1987), France's Commander of Arts and Letters (1990), the Presidential Medal of Freedom (1992) and 13 Grammy Awards. In 2007, the United States Postal Service honored Fitzgerald with a postage stamp.

In her six-decade long career, the Queen of Jazz recorded more than 200 albums and roughly 2,000 songs, making her the most recorded female – and the second most recorded – performer in history. Among those recordings are works with some of history's greatest musicians and legendary songwriters.

Fitzgerald's distinct style has influenced multiple generations of singers and her work transcends generations and musical genres. She had an extraordinary vocal range and flexibility and possessed a preternatural gift for pitch, rhythmic sense and flawless diction. Immensely versatile, she could sing it all from jazz and bebop to ballads, swing, pop and rock. With an unparalleled ability for mimicry and "scat" singing, Fitzgerald also produced melodic lines that put her in the category of great instrumental improvisers. Her voice was flexible, wide-ranging, accurate and ageless.

She passed away due to complications from diabetes, dying in her Beverly Hills home on June 15, 1996.

The Ella Fitzgerald Charitable Foundation was created and funded in 1993 by Ella Fitzgerald in order to fulfill her desires to use the fruits of her success to help people of all races, cultures and beliefs. Fitzgerald hoped to make their lives more rewarding, and she wanted to foster a love of reading, as well as a love of music. In addition, she hoped to provide assistance to the at-risk and disadvantaged members of our communities - assistance that would enable them to achieve a better quality of life. The Board of Directors of the Ella Fitzgerald Charitable Foundation seeks to continue Ella Fitzgerald's goals by making charitable grants serving four major areas of interest: Creating educational and other opportunities for children; fostering a love and knowledge of music; including assistance to students of music the provision of health care; food, shelter and counseling to those in need and specific areas of medical care and research with an emphasis on Diabetes, vision problems and heart disease.

ELLA AT THE HOLLYWOOD BOWL: THE IRVING BERLIN SONGBOOK TRACKLISTING
The Song Is Ended
You're Laughing at Me
How Deep Is the Ocean
Heat Wave
Suppertime
Cheek to Cheek
Russian Lullaby
Top Hat White Tie and Tails
I've Got My Love to Keep Me Warm
Get Thee Behind Me Satan
Let's Face the Music And Dance
Always
Puttin' on the Ritz
Let Yourself Go
Alexander's Ragtime Band

The YouTube video for Puttin on the Ritz:

[londonflash]

Thanks for the tip-off.

A must buy for me.

[pmp]

Thanks for the tip-off.

A must buy for me.

Yes, it looks promising. The live Ella albums keep on coming. Sometimes I think Norman Granz simply recorded all the concerts - although many were broadcast on radio, too, which is the source for some albums. But certainly the posthumous live discs - even just the ones from official labels - have been quite special. And if you include the public domain releases in Europe, it gets even more remarkable. This Irving Berlin disc includes some songs we don't have live from Ella elsewhere, too. Her live repertoire was enormous.

[elvis4life]

https://jazz.centerstagestore.com/products/ella-fitzgerald-ella-at-the-hollywood-bowl-the-irving-berlin-songbook-exclusive-purple-splatter-lp

https://themusicuniverse.com/unreleased-ella-fitzgerald-hollywood-bowl-live-concert-discovered/

Unreleased Ella Fitzgerald Hollywood Bowl live concert discovered
BUDDY IAHNMAY 13, 2022

Full performance will be available June 24th

On August 16, 1958, just a few months after Ella Fitzgerald recorded her now-classic album, Ella Fitzgerald Sings The Irving Berlin Songbook, The First Lady Of Song performed selections from that album live at the Hollywood Bowl to an adoring, sold out crowd. Conducted and arranged by Paul Weston, who also arranged and conducted the studio sessions, this concert marked the only time that Fitzgerald performed these iconic arrangements live with a full orchestra.

Widely considered her greatest achievement, Ella’s Songbook records, with peerless renditions of the best songs by America’s greatest composers, are the cornerstone of the Verve catalog and the undisputed standard for jazz vocal recordings. At the inaugural Grammy Awards, her Irving Berlin album won Fitzgerald her first Grammy for “Best Vocal Performance, Female,” and was also nominated for “Album Of The Year.” Aside from the lucky audience at the Hollywood Bowl that night, it wasn’t generally known, until the discovery of these tapes, that Fitzgerald had ever performed any of the Songbook arrangements in concert, let alone that such a pristine and sonically sumptuous recording existed.

On June 24th, Verve/UMe will release the full, never-before-released 15-song performance, aptly titled, Ella At The Hollywood Bowl: The Irving Berlin Songbook, on CD, vinyl, limited edition yellow splatter vinyl, and digitally. This landmark record, discovered in the private collection of producer and Verve Records founder Norman Granz, marks the first time a live Songbook has been released from Fitzgerald. It is also significant in that it captures the only time Fitzgerald worked in concert with arranger-conductor Paul Weston. And, although she performed regularly at the Hollywood Bowl, this is the first full-length concert by Fitzgerald from this iconic venue to be released (notably, Fitzgerald was featured prominently on Verve’s Jazz At The Hollywood Bowl album, recorded and released in 1956, the year Granz formed the label). The live tracks were mixed from the original quarter-inch tapes by Grammy Award-winning producer and musician Gregg Field who played drums for Fitzgerald in her later years. The album is rounded out with insightful liner notes about the concert and Ella’s Songbook series by noted author and music critic, Will Friedwald.

The set is being previewed with a lively rendition of “Puttin’ On The Ritz” which is available now and accompanied by an animated video, directed by Alberto Baroni, that cleverly brings the song and Giulia Pelizzaro’s dynamic album art to life.

Across 15 songs, Fitzgerald and the orchestra performed dazzling arrangements of some of Irving Berlin’s best-known songs including the classic ballads “How Deep Is The Ocean” and “Supper Time,” Hollywood tunes “You’re Laughing At Me” and “Get Thee Behind Me Satan,” and swinging up-tempo numbers “Cheek To Cheek,” “Top Hat,” “I’ve Got My Love To Keep Me Warm,” “Heat Wave,” and “Puttin’ On The Ritz.” The concert pops with an electricity not found on the studio recording as Fitzgerald feeds off the energy and enthusiasm of the crowd, whose applause and adulation bookend each song.

1. The Song Is Ended
2. You’re Laughing at Me
3. How Deep Is the Ocean
4. Heat Wave
5. Suppertime
6. Cheek to Cheek
7. Russian Lullaby
8. Top Hat White Tie and Tails
9. I’ve Got My Love to Keep Me Warm
10. Get Thee Behind Me Satan
11. Let’s Face the Music And Dance
12. Always
13. Puttin’ on the Ritz
14. Let Yourself Go
15. Alexander’s Ragtime Band

[pmp]

I confess that I was strangely disappointed in the release and, oddly, I can't exactly tell you why. One thing that should be pointed out is that there are at least sixty Ella concerts available on the official labels and on the PD labels already - and that's only going by the ones on my own shelves. My guess is there's a dozen or two more than I don't have, especially from the 1940s. The difference with this current release is that it's the only one featuring a full orchestra (that's not including TV specials). All the others are with trio, quartet etc or big band (Basie, Duke Ellington etc). So, for that point alone, this new release is really quite essential and offers something different even for big fans like myself.

One problematic issue, perhaps, is that the audience sounds as if it's a mile away from Ella and the rest of the performers. The same issue means that I rarely return to the multi-performer Jazz at the Hollywood Bowl recording from 1956 as well. One could almost call it Aloha-itis, for that Elvis show suffers from a similar issue. There's no real sense of "being there," and little sense of atmosphere. Meanwhile, the idea of a forty minute performance of Irving Berlin tunes is intriguing in theory, but it's almost like forcing Ella to perform with one hand tied behind her back. There is little room for scat singing which, by this point, was something heard much more on her live recordings than in her Sinatra-like studio recordings. It also means that there's little room for the variation that Ella included in her live repertoire (a repertoire that was massive, I might add). She would often throw in pop songs (in the 1950s there was Papa Loves Mambo, Singing the Blues etc), and there's none of the well-crafted medleys either.

Don't get me wrong, this is great to have, but I reckon it's probably one of the Ella live performances that I will return to least.

[MikeFromHolland]

I confess that I was strangely disappointed in the release and, oddly, I can't exactly tell you why. One thing that should be pointed out is that there are at least sixty Ella concerts available on the official labels and on the PD labels already - and that's only going by the ones on my own shelves. My guess is there's a dozen or two more than I don't have, especially from the 1940s. The difference with this current release is that it's the only one featuring a full orchestra (that's not including TV specials). All the others are with trio, quartet etc or big band (Basie, Duke Ellington etc). So, for that point alone, this new release is really quite essential and offers something different even for big fans like myself.

One problematic issue, perhaps, is that the audience sounds as if it's a mile away from Ella and the rest of the performers. The same issue means that I rarely return to the multi-performer Jazz at the Hollywood Bowl recording from 1956 as well. One could almost call it Aloha-itis, for that Elvis show suffers from a similar issue. There's no real sense of "being there," and little sense of atmosphere. Meanwhile, the idea of a forty minute performance of Irving Berlin tunes is intriguing in theory, but it's almost like forcing Ella to perform with one hand tied behind her back. There is little room for scat singing which, by this point, was something heard much more on her live recordings than in her Sinatra-like studio recordings. It also means that there's little room for the variation that Ella included in her live repertoire (a repertoire that was massive, I might add). She would often throw in pop songs (in the 1950s there was Papa Loves Mambo, Singing the Blues etc), and there's none of the well-crafted medleys either.

Don't get me wrong, this is great to have, but I reckon it's probably one of the Ella live performances that I will return to least.

I’m not that much into Ella so that I can compare this release with other live albums of her, but I enjoy this one very much. It’s in my Spotify favorites.

.