Few albums are quite as revered as Ella Fitzgerald and Louis Armstrong’s Ella and Louis; a masterpiece if there ever was one. Recorded in 1956 at Capitol Studios, Ella and Louis is not only one of the greatest jazz albums ever recorded but one that will appeal to easy listening and swing lovers alike. Of course, and this is a subjective opinion, Ella and Louis is so beautiful that it will engage the soul of all music lovers. It’s a timeless classic!
As one of jazz’s landmark releases, Ella and Louis has naturally been released on just about every format available and was recently re-issued as a Dolby Atmos mix on Apple Music. While I was fortunate to have owned the HFPA (High Fidelity Pure Audio) Blu-ray release the Atmos mix on Apple Music is otherworldly. Yes, the Atmos mix is a lossy source and has been constructed from the original mono mix but the placement of players, vocals, and the listener in the soundstage is astonishingly good. Seriously, I’ve no idea who undertook this mix but they are a master of their craft. While you won’t be swept away as much as with other surround sound mixes, that take full advantage of the technology, this particular stream is immersive and proves that even mono recordings can benefit from upgraded Atmos mixes if the white-glove treatment is taken to ensure it sounds its very best. While all Atmos releases are not made equally, and some simply sound bad, this stream is so good that I question if I need to seek out the well-regarded Verve/Ume/Acoustic Sounds vinyl reissue. A strange argument, yes, but with limited funds, I must choose only the very best versions of the albums I love. This is one of them, of course, but as the stream, an Apple Digital Master, simply sounds right then perhaps it is time to be satisfied with what I have access to rather than constantly wanting more.
While Fitzgerald and Armstrong may be the main focus of this release, Ella and Louis wouldn’t have been so successful if it were not for the magnificent Oscar Peterson, Herb Ellis, Ray Brown, and Buddy Rich that laid the musical bed for Fitzgerald and Armstrong to shine. Armstrong’s trumpeting similarly soars as the band plays unobtrusively; a brilliant collaboration for Peterson et al are amongst the greatest jazz musicians in history and to take a backseat shows great humbleness. Similarly, one must acknowledge Verve founder and Producer Norman Granz’s song selection for there has rarely been a better sequencing in history. Without his guidance, Ella and Louis would have been a very different album.
Ella and Louis wasn’t the first time the two collaborated, nor would it be their last for the Verve trilogy of albums including this one, Ella and Louis Again (1957), and Porgy and Bess (1959) are amongst the finest ever recorded. It’s an odd pairing as you’ve got Fitzgerald with her delicately smooth vocal competing with Armstrong’s gravelly diction, yet the combination is a duet lover’s dream come true.
Can’t We Be Friends? is a beautiful opening track that sets the tempo for the album. Not too fast and certainly not too slow, thereby allowing the listener to settle in and relax with some smooth jazz-inspired music. Plus, Armstrong’s closing vocal element is simply magnificent far outperforming Frank Sinatra’s rendition from In The We Small Hours. Linda Ronstadt, however, delivers a silky performance on Lush Life; a rendition that doesn’t outperform this masterpiece but is notable in the same manner as Seth MacFarlane’s version from Once In A While is.
Isn’t This A Lovely Day? may shift the tempo to the slower side of the scale but the transition is fluid and the overarching style is so similar that you really don’t notice the shift for it feels natural. One of the most notable aspects of this tune is the subtle musical backing, particularly underneath Armstrong’s husky vocal. It’s a stunning contrast that is a pleasure to listen to. Then you have Fitzgerald’s silky tones that fuse with Armstrong's magnificent trumpet solo; a solo that will send you into a level of sonic shock if you’ve got a very revealing system for it rises above every other aspect of the music.
Of the other recordings of this classic tune, Fred Astaire’s various recordings are thoroughly enjoyable while others, such as those recorded by Tony Bennett, Diana Krall, and Seth MacFarlane are too overproduced for my liking. Bennett’s rendition, however, grows on you the more you listen to it.
Moonlight In Vermont is a magnificent tune and as much as I adore this rendition I’m smitten with Frank Sinatra’s version from Come Fly With Me. That said, Sinatra didn’t have Armstrong’s trumpeting which arguably takes Moonlight In Vermont to another level entirely. Willie Nelson, however, had Mickey Raphael’s harmonica to play against on Stardust; a brilliant reimagining of this classic tune. Other notable renditions include that from Billie Holiday, Chet Baker and the Gerry Mulligan Quartet, and Seth MacFarlane.
They Can’t Take That Away From Me is a fun toe-tapping tune with a mix of glee and melancholy. I adore this style of music whereby the lyrics tell a literal story, very clearly and unobstructed, for it becomes memorable; perhaps as memorable as the nostalgia the lyrics imply. While I love Frank Sinatra’s rendition from Songs For Young Lovers it pales in comparison to this recording. Diana Krall’s interpretation from Love Scenes, however, is simply magnificent. If you’re after an instrumental version, may I suggest Oscar Peterson’s recording from Pastel Moods.
Under A Blanket Of Blue is a masterpiece and one of my favourite songs from the album. Its romantic undertones are unmistakable and as with most of the songs from the era, and those preceding the recording, literal intent was far more paramount than in the modern era where interpretation is often subjective and often different from the intended meaning. Should you prefer an instrumental of this classic tune, Ben Webster’s rendition is incredible.
Tenderly is one song that if your system is overly revealing in the treble range, you may find Armstrong’s trumpeting to be mildly irritating for it is presented far louder in the mix than it probably should be. This is present on both the stereo and Atmos mix of the album but dropping the volume down a little will generally address that problem. Overall, Tenderly is a solid track but it’s also the weakest on the album. Of the other available renditions, Duke Ellington and His Orchestra performed it beautifully while Nat “King” Cole’s recording is also worth a listen.
A Foggy Day is the second Gershwin masterpiece featured on Ella and Louis; the first being They Can’t Take That Away From Me. Sinatra’s recording on Songs For Young Lovers is fantastic, as is Billie Holiday’s interpretation from Songs for Distingué Lovers, but neither come close to the perfection that is heard on this recording. Michael Bublé’s modernisation is also thoroughly enjoyable.
Stars Fell On Alabama, as with the other songs on Ella and Louis, is a spectacular jazz standard. The intertwining vocals of Fitzgerald and Armstrong are the highlight here as one is harmonic while the other is delivering the actual lyric. It’s magnificent!
Of the numerous recordings of Stars Fell On Alabama, some worthy versions that you should check out include recordings from Frank Sinatra, Billie Holiday, Doris Day, and Stan Getz.
Cheek To Cheek is an absolute favourite of mine. One of the best songs ever written; thank you Irving Berlin! The Fitzgerald/Armstrong collaboration is timeless and is the very best rendition ever recorded. Other notable recordings have been made by Andrea Bocelli and Veronica Berti and Frank Sinatra.
The Nearness Of You highlights Fitzgerald’s vocal prowess. What an amazing vocalist! Armstrong is no slouch on The Nearness Of You either, but when I think of this song it is Fitzgerald that I hear. Other incredible renditions of this classic tune include those recorded by Glenn Miller and His Orchestra, Rod Stewart, Barbra Streisand, and Willie Nelson.
April In Paris is a gorgeous closer that will leave you not only satiated but contemplatively willing to play Ella and Louis again for it is a true masterpiece. Other excellent renditions you may be interested in include those recorded by Frank Sinatra and Doris Day.
The adage that they don’t make music like this anymore certainly rings true for Ella and Louis is amongst the very best music ever recorded. While their other two Verve Records collaborative releases are a bonus for lovers of Ella and Louis, there’s something special about this first outing that was never replicated on those additional recordings thereby making Ella and Louis a must for any music collection.