Today, I was lucky enough to be able to listen [for the first time] to the whole set Ella Fitzgerald gave that night almost 52 years ago in front of a very receptive Berlin audience.
For those who know this recording, my praising it is pointless, but for me this has everything:
Joy, swing, humour [some of it self-deprecating], great playing and singing, and that live thing that can never be recreated in the studio, where, as soon as the producer asks for another take or a "patch" then this very act simply destroys what Jazz is about for me. Unlike classical music, which can work very well in an edited performance from studio sessions, it has always been the case for me that the only Jazz that draws me in is either an isolated unedited studio take [which might as well have been live if everything goes well and not requiring "patching"] or the great live event! For example I find Miles Davis impossible to enjoy. Respect yes, but this has never turned to affection, but I love the track with Stan Getz and a nice lady doing the Girl from Iponema, for one example, and I adore "Take Five!"
This recording is of a great live event. The label is Verve. The sound is sharp, slightly overbright mono with a very firm presentation of the double bass. No more need be said of the recording, as it does nothing to undermine the swing, the passion and the occasional humourous moment ...
If forced to a choice of a single album, inspite of my over-riding love of the classics, then this is it.
ATB from George
PS: Seems that the ESL 57s can boogie with the best on this showing!
Posted on: 19 January 2012 by Steve J
Joy, swing, humour [some of it self-deprecating], great playing and singing, and that live thing that can never be recreated in the studio, where, as soon as the producer asks for another take or a "patch" then this very act simply destroys what Jazz is about for me. Unlike classical music, which can work very well in an edited performance from studio sessions, it has always been the case for me that the only Jazz that draws me in is either an isolated unedited studio take [which might as well have been live if everything goes well and not requiring "patching"] or the great live event! For example I find Miles Davis impossible to enjoy.
George,
I can appreciate what you are saying but have you heard any of the Blue Note issues recorded in the late 50's/early 60's. The recordings under the auspices of Alfred Lion were nearly all recorded in one take. Try Somethin' Else by Cannonball Adderley. This has also been called Kind of Blue 2. I think you may appreciate Miles Davis a little more on this album. I am not so keen on the more fragmented Miles Davis work of the 70's but love his 50's 60's output.
ATB
Steve
Posted on: 19 January 2012 by George Fredrik
Dear Steve,
Sometimes the radio has some very enjoyable Jazz programmes. I particularly enjoyed Kenneth Clark's Series some time ago on Radio Four. But unfortunately it has been quite a while since I was in a position to buy many recordings, so that though I enjoyed a good deal of what Mr Clarke chose to play, I could not follow it up. I once knew a musician who was a great fan of Miles Davis, and so I had the chance to borrow quite a few Miles Davis albums. With someone I knew being so enthusiastic I tried very hard to find something on my wavelength in the music.
I doubt if I would ever become a Jazz afficiando, but I do know that there is some Jazz that I enjoy, and hopefully it will be something I can investigate more.
A few years ago now Geoff P tried very hard to help and sadly very little of it stuck with me, though I think I may have planted the classical music seed in his fertile mind!
I think it is reasonable to say that I prefer live recordings of classical music to their studio counterparts, though there are some exceptions. What in classical music may be called "the great line," is much more convincing when the performance runs in a single unbroken line, even with a few technical lapses, than a technically perfect performance that occupies a more variable degree of luminosity, which is more or less inevitable when parts are recorded on different days, out of order, and sometimes with make up sessions to solve technical glitches.
ATB from George
Posted on: 21 January 2012 by tonym
Thanks for bringing this recording to my attention George, duly ordered. I've quite a collection of Ella's music on the Verve label and apart from the wonderful ease and tunefulness of her singing, all are excellent quality, the more remarkable considering they are recorded over fifty years ago.
Posted on: 22 January 2012 by winkyincanada
We have an unlikely link to Ella. My wife's parents looked after Ellis Larkin's son as a foster child several decades back. Ellis Larkin was a highly regarded pianist that accompanied Ella on a couple of her recordings. He didn't play played this concert, though.
http://en.wikipedia.org/wiki/Ellis_Larkins
