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专辑名称: Ella Fitzgerald Sings The Irving Berlin Song Book
创作艺人: [Ella Fitzgerald]
音乐流派: Jazz|爵士
专辑规格: 2碟31首
出品公司: Verve
发行时间: 1958/1/1
官方标价: £14.49 （会员免费下载）
域名语言: [en] （AI检测）
曲目介绍：
Let's Face The Music And Dance
You're Laughing At Me
Let Yourself Go
You Can Have Him
Russian Lullaby
Puttin' On The Ritz
Get Thee Behind Me Satan
Alexander's Ragtime Band
Top Hat, White Tie, And Tails
How About Me?
Cheek To Cheek
I Used To Be Color Blind
Lazy
How Deep Is The Ocean (How High Is The Sky)
All By Myself
Remember
Supper Time
How's Chances?
Heat Wave
Isn't This A Lovely Day?
You Keep Coming Back Like A Song
Reaching For The Moon
Slumming On Park Avenue
The Song Is Ended
I'm Putting All My Eggs In One Basket
Now It Can Be Told
Always
It's A Lovely Day Today
Change Partners
No Strings (I'm Fancy Free)
I've Got My Love To Keep Me Warm
详细介绍:
Among Ella Fitzgerald%27s gigantic discography, the eight volumes of her Ella Fitzgerald Sings The Complete American Songbook form a sacred pantheon. The idea for these records came from producer Norman Granz, who managed the singer and was the boss of Verve. The first volume, Ella Fitzgerald Sings The Cole Porter Songbook, which came out in 1956, was a runaway success with critics and the public alike. So much so that in that same year, Ella followed it up with Sings the Rodgers & Hart Songbook and then again in 1957 with Sings the Duke Ellington Songbook. This volume, which is given over to the songs of Irving Berlin, was conceived in sessions from 13 to 19 March 1958, with an orchestra directed by the classy and reserved Paul Watson. It%27s hard to sum up this double album in few words (it originally came out in two separate volumes) without breaking out reams of superlatives. Newcomers to her work can take this record as an easy base camp from which to ascend Ella Everest. Across a repertoire to die for (Berlin passed away in 1989 at the age of 101, having written more than 800 songs!), with light and gay numbers taking centre stage, Ella%27s voice picks out the great writer%27s romanticism, which never feels cloying. For fellow composer Jerome Kern, at the heart of Irving Berlin%27s writing was his faith in American vernacular: his songs were indivisibly linked with the country%27s history and image. Here, in ubiquitous favourites like Cheek to Cheek, in Watson%27s arrangements, in ambient swing, in freewheeling and sensual singing, we see the then-41-year-old American reaching the summit of perfection. This is one to play and play and play, again and again and again… © Marc Zisman/Qobuz
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