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专辑名称: Ella: The Lost Berlin Tapes (Live)
创作艺人: [Ella Fitzgerald]
音乐流派: Jazz|爵士
专辑规格: 1碟17首
出品公司: Verve
发行时间: 2020/10/2
官方标价: £8.39 （会员免费下载）
域名语言: [en] （AI检测）
曲目介绍：
Cheek To Cheek (Live)
My Kind Of Boy (Live)
Cry Me A River (Live)
I Won't Dance (Live)
Someone To Watch Over Me (Live)
Jersey Bounce (Live)
Angel Eyes (Live)
Clap Hands, Here Comes Charlie! (Live)
Taking A Chance On Love (Live)
C'est Magnifique (Live)
Good Morning Heartache (Live)
Hallelujah, I Love Him So (Live)
Hallelujah, I Love Him So (Reprise / Live)
Summertime (Live)
Mr. Paganini (Live)
Mack The Knife (Live)
Wee Baby Blues (Live)
详细介绍:
In 1962, Ella Fitzgerald was at the height of her powers, about midway through recording her now-iconic series of songbook albums and, two years earlier, having released a barnstormer of a live album, Ella in Berlin, that solidified her position as one of the most talented and popular musicians working in the jazz idiom. Her only competition at the time was, essentially, Frank Sinatra and herself. During the course of 1962, she would release three albums: two complementary collaborations with Nelson Riddle that further pushed her into crossover territory without tarnishing her credibility or minimizing her skills, and the oft-overlooked Rhythm is My Business, a hard-swinging set that comes off breezy and soulful, but is a remarkable document of the strength of Fitzgerald and her band during this era. And it%27s that strength that%27s captured on The Lost Berlin Tapes, recorded in concert at Berlin’s Sportpalast that year. Verve Records founder Norman Granz frequently recorded live sets of many of his acts (Fitzgerald especially), and that%27s what accounts for both the existence and the remarkable fidelity of these lost tapes. (Though they were never truly lost; Granz had just stashed them away). From a performance perspective, it%27s unbelievable that this concert recording sat unheard for more than a half-century. Brimming with energy and benefiting from the confidence that can only come from being at the top of one%27s game, Ella and her band careen through 17 songs with a full-throated fervor that%27s greeted with an equally enthusiastic response from the crowd. The set both swings incredibly hard and evinces a cool, sophisticated polish, a combination that, again, pretty much only she and Sinatra were delivering at this scale during the era. It%27s the sort of casual excellence that%27s made to look deceptively easy. (And yes, she aces the version of Mack the Knife here.) Releases like this—especially in the aftermath of the devastating Universal fire that destroyed so many iconic album masters and so much unreleased material—prove that, even when we think a barrel has been fully scraped or a vault fully excavated, there will always be warm, welcome surprises to be found in the archives of these legendary artists. © Jason Ferguson/Qobuz
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