Recorded live at
the Shrine Auditorium in Los Angeles on January 21, 1956, Ella At The Shrine
captures Ella Fitzgerald at the beginning of her career renaissance, just weeks
after becoming the first signing to Norman Granz's newly-created Verve Records.
The brief but thrilling set, which was part of Granz's historic Jazz At The
Philharmonic concert series, was only recently discovered after more than 60
years of languishing in Verve's vaults. Thought to be Verve's first live
recording, Ella At The Shrine is available today via Verve/UMe as a single LP
on standard weight black vinyl. It will be available for digital download and
streaming for the first time next Friday, March 1. This wide release follows a
limited edition yellow vinyl version released in November 2018 as part of
Record Store Day's Black Friday.
Ella At the Shrine contains the sweet taste of a new and
shining era for Ella as she becomes the crown jewel of Verve Records.
Fitzgerald delivers a rousing seven-song set, which most notably includes an
early version of George and Ira Gershwin's "'S Wonderful," three
years before she would perfect the song on her monumental 1959 album Ella
Fitzgerald Sings The George and Ira Gershwin Song Book and cause Ira Gershwin
to famously remark: "I never knew how good our songs were until I heard
Ella Fitzgerald sing them." Ella At the Shrine showcases The First Lady of
Song just weeks before she'd go on to record her breakthrough album Ella
Fitzgerald Sings the Cole Porter Song Book. Other tunes performed this evening
include the bluesy "Cry Me A River," the rhythmic "Lullaby of
Birdland," the swinging "Joe Williams's Blues" and "Air
Mail Special," a bouncy number featuring Fitzgerald's famed scatting
skills. The album includes liner notes by jazz broadcaster and educator, Phil
Schaap, who discovered this recording in an undocumented area in Verve's vault
where it sat untouched for more than six decades.
In celebration of Fitzgerald's centennial in 2017, Verve
debuted the previously unreleased Ella at Zardi's: an acclaimed live album that
was recorded during her two-week stint at the nightclub in Hollywood. This
recording, which earned Fitzgerald her first No. 1 on the Jazz Album Chart and
her second No. 1 on the Traditional Jazz Albums Chart, was initially thought to
be both the label's and Fitzgerald's first live album for Verve. Remarkably,
Granz recorded and emceed Ella at the Shrine 10 days prior, announcing on the
LP, as Fitzgerald is leaving the stage and the crowd roars for more, that
"Ella has to get back to Zardi's." Due to the closeness in timeframe,
it is easy to assume she is backed by the same musicians who played on Ella at
Zardi's: Don Abney, piano; Vernon Alley or Joe Mondragon, bass; Frank Capp
Drums.
Fitzgerald's unwaning influence and remarkable legacy
remains as strong as ever and her music continues to be honored and celebrated
long after her passing. Most recently, the Recording Academy inducted her
landmark 1959 album Ella Fitzgerald Sings The George and Ira Gershwin Song
Books into the 2019's GRAMMY Hall Of Fame®, just ahead of its 60th anniversary.
With a goal of "preserving and celebrating timeless recordings," the
inductions are for recordings at least 25 years old that exhibit qualitative or
historical significance. Fitzgerald's album was one of 25 new titles inducted
this year alongside recordings from: Aerosmith, Dolly Parton, Fats Domino, Frank
Sinatra, Leonard Cohen, Miles Davis, Nina Simone and Tom Petty. "We're
honored to add these masterpieces to our growing catalog and are delighted to
celebrate the impact they've had on our musical, social, and cultural
history," said Neil Portnow, President/CEO of the Recording Academy. Ella
Fitzgerald Sings The George and Ira Gershwin Song Books is her third song book
to join the illustrious GRAMMY Hall Of Fame®, joining Ella Fitzgerald Sings The
Cole Porter Song Book and Ella Fitzgerald Sings The Rodgers & Hart Song
Book as well as several other albums and songs. In its recent appreciation of
Ella Fitzgerald Sings The Gershwin Song Book, the Wall Street Journal asserted:
"Fitzgerald's most ambitious album and one of her crowning achievements,
this songbook is a matchless treasure."
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