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Page 8

The Naxos Historical labels aim to make available the greatest recordings of the history of recorded music, in the best and truest sound that contemporary technology can provide. To achieve this aim, Naxos has engaged a number of respected restorers who have the dedication, skill and experience to produce restorations that have set new standards in the field of historical recordings.

Available in the Naxos Nostalgia & Jazz Legends series …

Nostalgia 8.120546

Jazz Legends 8.120716

Nostalgia 8.120624

Jazz Legends 8.120714

Jazz Legends 8.120735

Jazz legends 8.120750

These titles are not available in the USA

NAXOS RADIO

Over 70 Channels of Classical Music • Jazz, Folk/World, Nostalgia www.naxosradio.com Accessible Anywhere, Anytime • Near-CD Quality

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Personnel

ELLA FITZGERALD Vol. 4 ‘Ella And Company’ Original Recordings 1943-1951 Ella Fitzgerald’s life story is well-known by jazz aficionados; how she won an amateur contest in 1934 singing “Judy” and “The Object of My Affection” and idolizing vocalist Connie Boswell; her early years as the girl singer with Chick Webb’s orchestra; and her taking Webb’s place upon his untimely death in 1939. But this was only the first stage in a career that lasted over a half-century and saw the shy singer from Yonkers, New York become the most celebrated female vocalist in jazz history. Ella is best known for her series of ‘Songbook’ album tributes to American songwriting greats such as Cole Porter, Rodgers & Hart, and the Gershwin Brothers, all recorded under the aegis of producer/impresario Norman Granz for Verve Records in the 1950s. However, it was the preceding decade that established Ella as a premier interpreter of popular music, as well as her most commercially successful years. In July 1941, the draft and the coming of World War II ended Ella’s two-year stint as leader of the Webb orchestra. The jazz industry was in a state of flux at the conclusion of the war. The big bands, which had thrived during the war, now found it difficult to stay together, due in part to increasing costs and changes in the American societal landscape. As the bands dissipated, their vocalists emerged as the next

2

successful focus of the music industry. Some pop-leaning singers, like Dinah Shore and Perry Como, thrived in the decade following the end of the war. But jazz-oriented singers often found nowhere to go; a few went along with the bebop trend, but many could not adapt to the new poporiented milieu. This was where Ella Fitzgerald showed her tremendous versatility and staying power, proving that she could excel in the commercial world as a solo performer. Venturing forth as a solo artist, Ella was backed initially by the Webb band’s rhythm section. She made a few more records before the American Federation of Musicians’ recording ban halted recording featuring Union musicians. Upon settling with the union in 1943, Decca Records was at first unsure what to do with the talented young singer. With a penchant for crosspollinating its contracted artists, Decca decided to pair Ella with some of the label’s other personalities and vocal groups. Until the end of her tenure with Decca in 1955, Ella Fitzgerald alternated her solo performances with combined efforts with Decca’s stable of stars. The Ink Spots was one of the most successful of the all-male vocal quartets that got started in the 1930s on the heels of the sensational Mills Brothers. At first, the group emulated the Mills Brothers’ talent for imitating musical

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Track 1: Johnny McGhee, trumpet; Bill Doggett, piano; Bernie Mackay, guitar; Bob Haggart, bass; Johnny Blowers, drums; The Ink Spots (Bill Kenny, Charles Fuqua, Deek Watson, Hoppy Jones), vocal Track 2: The Ink Spots (Bill Kenny, Charles Fuqua, Deek Watson, Hoppy Jones), vocal Track 3: Renee de Knight, piano; Hy White, guitar; Haig Stephens, bass; George Wettling, bass; The Delta Rhythm Boys (probably Carl Jones, Traverse Crawford, Kelsey Pharr, Lee Gaines), vocal Tracks 4 & 5: Aaron Izenhall, trumpet; Louis Jordan, alto sax, vocal; Josh Jackson, tenor sax; Bill Davis, piano; Carl Hogan, guitar; Jesse “Po” Simpkins, Eddie Byrd, drums; Harry Dial, maracas; Vic Lourie, claves Tracks 6 & 7: BOB HAGGART & HIS ORCHESTRA. Louis Armstrong, trumpet, vocal; Billy Butterfield, trumpet; Bill Stegmeyer, clarinet, alto sax; George Koenig, alto sax; Jack Greenberg, Art Drellinger, tenor sax; Milton Schatz, baritone sax; Joe Bushkin, piano; Danny Perri, guitar; Trigger Alpert, bass; Cozy Cole, drums Tracks 8 & 9: Renee de Knight, piano; Jimmy Shirley, guitar; Lamont Moten, bass; Eddie “The Mole” Bourne, drums; The Delta Rhythm Boys (probably Carl Jones, Traverse Crawford, Kelsey Pharr, Lee Gaines), vocal

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Track 10: The Song Spinners (possibly Margaret Johnson, Travis Johnson, Leonard Stokes, Bella Allen), vocal Track 11: Aaron Izenhall, trumpet; Louis Jordan, alto sax, vocal; Eddie Johnson, tenor sax; Bill Davis, piano; Carl Hogan, guitar; Dallas Bartley, bass; Christopher Columbus, bass Track 12: The Mills Brothers (Herbert Mills, Harry Mills, Donald Mills & John Mills Sr.), vocal & unknown accompaniment Track 13: Aaron Izenhall, trumpet; Louis Jordan, alto sax, vocal; Josh Jackson, tenor sax; Wild Bill Davis or Bill Doggett, organ; Dallas Bartley, guitar; Bob Bushnell, bass; Christopher Columbus, bass Tracks 14 & 15: SY OLIVER & HIS ORCHESTRA. Louis Armstrong, trumpet, vocal; Paul Webster, trumpet; Hank d’Amico, clarinet; Frank Ludwig, tenor sax; Hank Jones, piano; Everett Barksdale, guitar; Ray Brown, bass; Johnny Blowers, drums Track 16: The Day Dreamers, vocal, with unknown accompaniment Tracks 17-20: DAVE BARBOUR & HIS ORCHESTRA. Larry Neill, trumpet; Louis Armstrong, trumpet, vocal; Frank Howard, trombone; Jack Dumont, Chuck Gentry, Heinie Beau, saxes; Hank Jones, piano; Ray Brown, bass; Alvin Stoller, drums

7

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13. Ain’t Nobody’s Business But My Own (‘Tain’t Nobody’s Business if I Do) 3:11 (Porter Grainger–Everett Robbins) With Louis Jordan & His Tympany Five Decca 27200, mx W 76731-A Recorded 15 August 1950, New York

18. Would You Like to Take a Walk? 3:16 (Mort Dixon–Billy Rose–Harry Warren) With Louis Armstrong & Dave Barbour’s Orchestra Decca 28552, mx WL 6528-A Recorded 23 November 1951, Los Angeles

14. Can Anyone Explain? (No! No! No!) 3:09 (Benny Benjamin–George Weiss) With Louis Armstrong & Sy Oliver’s Orchestra Decca 27209, mx W 76751-A Recorded 25 August 1950, New York

19. Necessary Evil 2:32 (Redd Evans) With Louis Armstrong & Dave Barbour’s Orchestra Decca 27901, mx WL 6526-A Recorded 23 November 1951, Los Angeles

15. Dream a Little Dream of Me 3:03 (Gus Kahn–Wilbur Schwandt–Fabian Andree) With Louis Armstrong & Sy Oliver’s Orchestra Decca 27209, mx W 76750-A Recorded 25 August 1950, New York 16. That Old Feeling 2:25 (Lew Brown–Sammy Fain) With The Day Dreamers & instrumental accompaniment Decca 28049, mx W 74301-A Recorded 18 December 1947, New York 17. Who Walks In when I Walk Out? 2:18 (Al Goodhart–Al Hoffman–Ralph Freed) With Louis Armstrong & Dave Barbour’s Orchestra Decca 28552, mx WL 6529-A Recorded 23 November 1951, Los Angeles

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20. Oops! 3:12 (Johnny Mercer–Harry Warren) With Louis Armstrong & Dave Barbour’s Orchestra Decca 27901, mx WL 6527-A Recorded 23 November 1951, Los Angeles Transfers & Production: David Lennick Digital Restoration: Graham Newton Original 78s from the collections of David Lennick, John Rutherford and The Belfer Audio Laboratory & Archive, Syracuse University Original monochrome photo of Ella Fitzgerald from Rue des Archives/Lebrecht

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instruments, but eventually developed a style of their own, focusing on lead tenor Bill Kenny and baritone Orville “Hoppy” Jones. At her first session after the end of the recording ban in 1943, Ella and the Ink Spots recorded Cow Cow Boogie, which had been a pre-ban hit for Freddie Slack and Ella Mae Morse. Fitzgerald’s birdlike voice contrasted nicely with Hoppy Jones’ spoken chorus (“that cat was raised on loco weed!”). The result sold well enough that Decca spent much of the next decade teaming Ella with its top vocal groups as well as colourful jazz personalities such as Louis Armstrong and Louis Jordan; most of the sessions helmed by Decca producer Milt Gabler. In comparison with the Ink Spots, the Song Spinners was a relatively colorless yet competent vocal group that got a career boost due to the absence of musicians in the recording studios during the AFM ban. In 1943 they became frequent accompanists for vocalist Dick Haymes. The following year, they backed Ella in her recording of Stan Kenton’s And Her Tears Flowed Like Wine. Five years later, Gabler took advantage of another recording ban by teaming Ella and the Song Spinners in an unaccompanied cover version of Jon and Sandra Steele’s My Happiness. The group’s ethereal backing of Ella’s lead in the first verse is one of their best moments on record. Although the Delta Rhythm Boys had no hit songs of their own, the gospel-styled vocal quartet accompanied Ella Fitzgerald on several occasions in the mid-1940s. Patterned after the

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Mills Brothers, the group, consisting of Lee Gaines, Carl Jones, Kelsey Pharr, and Traverse Crawford bridged the gap between the Mills Brothers and doo-wop vocal groups of the 1950s. Their recording with Ella of (I Love You) For Sentimental Reasons was one of seven versions that charted during 1946 and 1947. We have included one performance teaming Ella Fitzgerald with the Mills Brothers: the lovely ballad I Gotta Have My Baby Back, which was written by country honky-tonk singer/songwriter Floyd Tillman. Of all the solo performers Ella teamed with during this period, Louis Armstrong provided the most creative spark. We’ve included eight sides featuring Ella and Satchmo, most of them ballads, among them the wistful Dream a Little Dream of Me (a revival of Wayne King’s 1931 hit), The Frim Fram Sauce (Nat ‘King’ Cole’s exercise in culinary double-talk) and Oops!, the latter one of Johnny Mercer’s lesser-known lyrics. The highlights of these exquisite duets come when Louis sings and Ella chimes in with her melodic wordless fills. Although Ella and Louis are more restrained than they would be on their later jazzier duets for Verve, the Decca sides readily exhibit the charm and chemistry of these two jazz vocal immortals. Ella’s teaming with R&B pioneer Louis Jordan had a more personally charged chemistry since the two not only worked together while in Chick Webb’s band (1936-38), but were also romantically involved for a brief period. Their duets were jivey and hip, especially on Ain’t

3

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Nobody’s Business But My Own from 1950, which came hot on the heels of Tennessee Ernie Ford and Kay Starr’s countrified rendition (both recordings backed with “I’ll Never be Free”). A surprise hit for Ella and Jordan was the comic calypso romp Stone Cold Dead in the Market, (written as “He Had it Coming” by Trinidadian Wilmoth Houdini) in which Jordan plays the role of music’s only singing corpse. During her final years with Decca, Ella Fitzgerald searched for her place in the music industry, just as they were searching for a place to put her. Commercially, her joint efforts with Decca’s stable of pop/jazz acts did well. But in the meantime, thanks in part to her marriage to jazz bassist Ray Brown, she had met Norman

Page 4

Granz and began touring regularly with Granz’ all-star jazz concert series, Jazz at the Philharmonic. In late 1955, Granz wrested her away from Decca and began producing her acclaimed ‘Songbook’ series of LPs, beginning her long and fruitful association with Granz’ Verve label. But it was the period in between this and her formative years with Chick Webb in which Ella Fitzgerald established herself as not only a survivor of the Big Band Era, but one whose development helped elevate her to the esteemed status as ‘The First Lady of Song’. Cary Ginell (a winner of the 2004 ASCAP/Deems Taylor Award for music journalism)

1. Cow Cow Boogie 2:55 (Don Raye–Gene dePaul–Benny Carter) With The Ink Spots Decca 18587, mx 71482-A Recorded 3 November 1943, New York 2. And Her Tears Flowed Like Wine 3:16 (Stan Kenton–Charles Lawrence–Joe Greene) With The Song Spinners & Johnny Long’s Orchestra Decca 18633, mx 72483-A2 Recorded 1 November 1944, New York 3. Cry You Out Of My Heart 3:02 (Johnny Lange–Hy Heath–Richard Loring) With The Delta Rhythm Boys Decca 23425, mx 72999-A Recorded 27 March 1945, New York

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8. (I Love You) For Sentimental Reasons 3:10 (William ‘Pat’ Best–Deek Watson) With The Delta Rhythm Boys Decca 23670, mx W 73669-A Recorded 29 August 1946, New York 9. It’s A Pity To Say Goodnight 2:42 (Billy Reid) With The Delta Rhythm Boys Decca 23670, mx W 73670-A Recorded 29 August 1946, New York

4. Stone Cold Dead In The Market 2:41 (Wilmoth Houdini) With Louis Jordan & His Tympany Five Decca 23546, mx W 73073-AA Recorded 8 October 1945, New York

10. My Happiness 3:13 (Borney Bergantine–Betty Peterson) With The Song Spinners Decca 24446, mx W 74538-A Recorded 30 April 1948, New York

5. Petootie Pie 2:37 (Lorenzo Pack–Frank Paparelli–Raymond Leveen) With Louis Jordan & His Tympany Five Decca 23546, mx W 73074-A Recorded 8 October 1945, New York

11. Baby It’s Cold Outside 2:41 (Frank Loesser) With Louis Jordan & His Tympany Five Decca 24644, mx W 74866-1 Recorded 28 April 1949, New York

6. You Won’t Be Satisfied (Until you Break My Heart) 2:54 (Freddy James–Larry Stock) With Louis Armstrong & Bob Haggart’s Orchestra Decca 23496, mx W 73285-A Recorded 18 January 1946, New York

4

7. The Frim Fram Sauce 3:14 (Redd Evans–Joe Ricardel) With Louis Armstrong & Bob Haggart’s Orchestra Decca 23496, mx W 73286-A Recorded 18 January 1946, New York

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12. I Gotta Have My Baby Back 3:21 (Floyd Tillman) With The Mills Brothers Decca 24813, mx L 5192 Recorded 7 November 1949, Los Angeles

5

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Nobody’s Business But My Own from 1950, which came hot on the heels of Tennessee Ernie Ford and Kay Starr’s countrified rendition (both recordings backed with “I’ll Never be Free”). A surprise hit for Ella and Jordan was the comic calypso romp Stone Cold Dead in the Market, (written as “He Had it Coming” by Trinidadian Wilmoth Houdini) in which Jordan plays the role of music’s only singing corpse. During her final years with Decca, Ella Fitzgerald searched for her place in the music industry, just as they were searching for a place to put her. Commercially, her joint efforts with Decca’s stable of pop/jazz acts did well. But in the meantime, thanks in part to her marriage to jazz bassist Ray Brown, she had met Norman

Page 4

Granz and began touring regularly with Granz’ all-star jazz concert series, Jazz at the Philharmonic. In late 1955, Granz wrested her away from Decca and began producing her acclaimed ‘Songbook’ series of LPs, beginning her long and fruitful association with Granz’ Verve label. But it was the period in between this and her formative years with Chick Webb in which Ella Fitzgerald established herself as not only a survivor of the Big Band Era, but one whose development helped elevate her to the esteemed status as ‘The First Lady of Song’. Cary Ginell (a winner of the 2004 ASCAP/Deems Taylor Award for music journalism)

1. Cow Cow Boogie 2:55 (Don Raye–Gene dePaul–Benny Carter) With The Ink Spots Decca 18587, mx 71482-A Recorded 3 November 1943, New York 2. And Her Tears Flowed Like Wine 3:16 (Stan Kenton–Charles Lawrence–Joe Greene) With The Song Spinners & Johnny Long’s Orchestra Decca 18633, mx 72483-A2 Recorded 1 November 1944, New York 3. Cry You Out Of My Heart 3:02 (Johnny Lange–Hy Heath–Richard Loring) With The Delta Rhythm Boys Decca 23425, mx 72999-A Recorded 27 March 1945, New York

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8. (I Love You) For Sentimental Reasons 3:10 (William ‘Pat’ Best–Deek Watson) With The Delta Rhythm Boys Decca 23670, mx W 73669-A Recorded 29 August 1946, New York 9. It’s A Pity To Say Goodnight 2:42 (Billy Reid) With The Delta Rhythm Boys Decca 23670, mx W 73670-A Recorded 29 August 1946, New York

4. Stone Cold Dead In The Market 2:41 (Wilmoth Houdini) With Louis Jordan & His Tympany Five Decca 23546, mx W 73073-AA Recorded 8 October 1945, New York

10. My Happiness 3:13 (Borney Bergantine–Betty Peterson) With The Song Spinners Decca 24446, mx W 74538-A Recorded 30 April 1948, New York

5. Petootie Pie 2:37 (Lorenzo Pack–Frank Paparelli–Raymond Leveen) With Louis Jordan & His Tympany Five Decca 23546, mx W 73074-A Recorded 8 October 1945, New York

11. Baby It’s Cold Outside 2:41 (Frank Loesser) With Louis Jordan & His Tympany Five Decca 24644, mx W 74866-1 Recorded 28 April 1949, New York

6. You Won’t Be Satisfied (Until you Break My Heart) 2:54 (Freddy James–Larry Stock) With Louis Armstrong & Bob Haggart’s Orchestra Decca 23496, mx W 73285-A Recorded 18 January 1946, New York

4

7. The Frim Fram Sauce 3:14 (Redd Evans–Joe Ricardel) With Louis Armstrong & Bob Haggart’s Orchestra Decca 23496, mx W 73286-A Recorded 18 January 1946, New York

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12. I Gotta Have My Baby Back 3:21 (Floyd Tillman) With The Mills Brothers Decca 24813, mx L 5192 Recorded 7 November 1949, Los Angeles

5

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13. Ain’t Nobody’s Business But My Own (‘Tain’t Nobody’s Business if I Do) 3:11 (Porter Grainger–Everett Robbins) With Louis Jordan & His Tympany Five Decca 27200, mx W 76731-A Recorded 15 August 1950, New York

18. Would You Like to Take a Walk? 3:16 (Mort Dixon–Billy Rose–Harry Warren) With Louis Armstrong & Dave Barbour’s Orchestra Decca 28552, mx WL 6528-A Recorded 23 November 1951, Los Angeles

14. Can Anyone Explain? (No! No! No!) 3:09 (Benny Benjamin–George Weiss) With Louis Armstrong & Sy Oliver’s Orchestra Decca 27209, mx W 76751-A Recorded 25 August 1950, New York

19. Necessary Evil 2:32 (Redd Evans) With Louis Armstrong & Dave Barbour’s Orchestra Decca 27901, mx WL 6526-A Recorded 23 November 1951, Los Angeles

15. Dream a Little Dream of Me 3:03 (Gus Kahn–Wilbur Schwandt–Fabian Andree) With Louis Armstrong & Sy Oliver’s Orchestra Decca 27209, mx W 76750-A Recorded 25 August 1950, New York 16. That Old Feeling 2:25 (Lew Brown–Sammy Fain) With The Day Dreamers & instrumental accompaniment Decca 28049, mx W 74301-A Recorded 18 December 1947, New York 17. Who Walks In when I Walk Out? 2:18 (Al Goodhart–Al Hoffman–Ralph Freed) With Louis Armstrong & Dave Barbour’s Orchestra Decca 28552, mx WL 6529-A Recorded 23 November 1951, Los Angeles

6

20. Oops! 3:12 (Johnny Mercer–Harry Warren) With Louis Armstrong & Dave Barbour’s Orchestra Decca 27901, mx WL 6527-A Recorded 23 November 1951, Los Angeles Transfers & Production: David Lennick Digital Restoration: Graham Newton Original 78s from the collections of David Lennick, John Rutherford and The Belfer Audio Laboratory & Archive, Syracuse University Original monochrome photo of Ella Fitzgerald from Rue des Archives/Lebrecht

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instruments, but eventually developed a style of their own, focusing on lead tenor Bill Kenny and baritone Orville “Hoppy” Jones. At her first session after the end of the recording ban in 1943, Ella and the Ink Spots recorded Cow Cow Boogie, which had been a pre-ban hit for Freddie Slack and Ella Mae Morse. Fitzgerald’s birdlike voice contrasted nicely with Hoppy Jones’ spoken chorus (“that cat was raised on loco weed!”). The result sold well enough that Decca spent much of the next decade teaming Ella with its top vocal groups as well as colourful jazz personalities such as Louis Armstrong and Louis Jordan; most of the sessions helmed by Decca producer Milt Gabler. In comparison with the Ink Spots, the Song Spinners was a relatively colorless yet competent vocal group that got a career boost due to the absence of musicians in the recording studios during the AFM ban. In 1943 they became frequent accompanists for vocalist Dick Haymes. The following year, they backed Ella in her recording of Stan Kenton’s And Her Tears Flowed Like Wine. Five years later, Gabler took advantage of another recording ban by teaming Ella and the Song Spinners in an unaccompanied cover version of Jon and Sandra Steele’s My Happiness. The group’s ethereal backing of Ella’s lead in the first verse is one of their best moments on record. Although the Delta Rhythm Boys had no hit songs of their own, the gospel-styled vocal quartet accompanied Ella Fitzgerald on several occasions in the mid-1940s. Patterned after the

8.120765

Mills Brothers, the group, consisting of Lee Gaines, Carl Jones, Kelsey Pharr, and Traverse Crawford bridged the gap between the Mills Brothers and doo-wop vocal groups of the 1950s. Their recording with Ella of (I Love You) For Sentimental Reasons was one of seven versions that charted during 1946 and 1947. We have included one performance teaming Ella Fitzgerald with the Mills Brothers: the lovely ballad I Gotta Have My Baby Back, which was written by country honky-tonk singer/songwriter Floyd Tillman. Of all the solo performers Ella teamed with during this period, Louis Armstrong provided the most creative spark. We’ve included eight sides featuring Ella and Satchmo, most of them ballads, among them the wistful Dream a Little Dream of Me (a revival of Wayne King’s 1931 hit), The Frim Fram Sauce (Nat ‘King’ Cole’s exercise in culinary double-talk) and Oops!, the latter one of Johnny Mercer’s lesser-known lyrics. The highlights of these exquisite duets come when Louis sings and Ella chimes in with her melodic wordless fills. Although Ella and Louis are more restrained than they would be on their later jazzier duets for Verve, the Decca sides readily exhibit the charm and chemistry of these two jazz vocal immortals. Ella’s teaming with R&B pioneer Louis Jordan had a more personally charged chemistry since the two not only worked together while in Chick Webb’s band (1936-38), but were also romantically involved for a brief period. Their duets were jivey and hip, especially on Ain’t

3

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Personnel

ELLA FITZGERALD Vol. 4 ‘Ella And Company’ Original Recordings 1943-1951 Ella Fitzgerald’s life story is well-known by jazz aficionados; how she won an amateur contest in 1934 singing “Judy” and “The Object of My Affection” and idolizing vocalist Connie Boswell; her early years as the girl singer with Chick Webb’s orchestra; and her taking Webb’s place upon his untimely death in 1939. But this was only the first stage in a career that lasted over a half-century and saw the shy singer from Yonkers, New York become the most celebrated female vocalist in jazz history. Ella is best known for her series of ‘Songbook’ album tributes to American songwriting greats such as Cole Porter, Rodgers & Hart, and the Gershwin Brothers, all recorded under the aegis of producer/impresario Norman Granz for Verve Records in the 1950s. However, it was the preceding decade that established Ella as a premier interpreter of popular music, as well as her most commercially successful years. In July 1941, the draft and the coming of World War II ended Ella’s two-year stint as leader of the Webb orchestra. The jazz industry was in a state of flux at the conclusion of the war. The big bands, which had thrived during the war, now found it difficult to stay together, due in part to increasing costs and changes in the American societal landscape. As the bands dissipated, their vocalists emerged as the next

2

successful focus of the music industry. Some pop-leaning singers, like Dinah Shore and Perry Como, thrived in the decade following the end of the war. But jazz-oriented singers often found nowhere to go; a few went along with the bebop trend, but many could not adapt to the new poporiented milieu. This was where Ella Fitzgerald showed her tremendous versatility and staying power, proving that she could excel in the commercial world as a solo performer. Venturing forth as a solo artist, Ella was backed initially by the Webb band’s rhythm section. She made a few more records before the American Federation of Musicians’ recording ban halted recording featuring Union musicians. Upon settling with the union in 1943, Decca Records was at first unsure what to do with the talented young singer. With a penchant for crosspollinating its contracted artists, Decca decided to pair Ella with some of the label’s other personalities and vocal groups. Until the end of her tenure with Decca in 1955, Ella Fitzgerald alternated her solo performances with combined efforts with Decca’s stable of stars. The Ink Spots was one of the most successful of the all-male vocal quartets that got started in the 1930s on the heels of the sensational Mills Brothers. At first, the group emulated the Mills Brothers’ talent for imitating musical

8.120765

Track 1: Johnny McGhee, trumpet; Bill Doggett, piano; Bernie Mackay, guitar; Bob Haggart, bass; Johnny Blowers, drums; The Ink Spots (Bill Kenny, Charles Fuqua, Deek Watson, Hoppy Jones), vocal Track 2: The Ink Spots (Bill Kenny, Charles Fuqua, Deek Watson, Hoppy Jones), vocal Track 3: Renee de Knight, piano; Hy White, guitar; Haig Stephens, bass; George Wettling, bass; The Delta Rhythm Boys (probably Carl Jones, Traverse Crawford, Kelsey Pharr, Lee Gaines), vocal Tracks 4 & 5: Aaron Izenhall, trumpet; Louis Jordan, alto sax, vocal; Josh Jackson, tenor sax; Bill Davis, piano; Carl Hogan, guitar; Jesse “Po” Simpkins, Eddie Byrd, drums; Harry Dial, maracas; Vic Lourie, claves Tracks 6 & 7: BOB HAGGART & HIS ORCHESTRA. Louis Armstrong, trumpet, vocal; Billy Butterfield, trumpet; Bill Stegmeyer, clarinet, alto sax; George Koenig, alto sax; Jack Greenberg, Art Drellinger, tenor sax; Milton Schatz, baritone sax; Joe Bushkin, piano; Danny Perri, guitar; Trigger Alpert, bass; Cozy Cole, drums Tracks 8 & 9: Renee de Knight, piano; Jimmy Shirley, guitar; Lamont Moten, bass; Eddie “The Mole” Bourne, drums; The Delta Rhythm Boys (probably Carl Jones, Traverse Crawford, Kelsey Pharr, Lee Gaines), vocal

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Track 10: The Song Spinners (possibly Margaret Johnson, Travis Johnson, Leonard Stokes, Bella Allen), vocal Track 11: Aaron Izenhall, trumpet; Louis Jordan, alto sax, vocal; Eddie Johnson, tenor sax; Bill Davis, piano; Carl Hogan, guitar; Dallas Bartley, bass; Christopher Columbus, bass Track 12: The Mills Brothers (Herbert Mills, Harry Mills, Donald Mills & John Mills Sr.), vocal & unknown accompaniment Track 13: Aaron Izenhall, trumpet; Louis Jordan, alto sax, vocal; Josh Jackson, tenor sax; Wild Bill Davis or Bill Doggett, organ; Dallas Bartley, guitar; Bob Bushnell, bass; Christopher Columbus, bass Tracks 14 & 15: SY OLIVER & HIS ORCHESTRA. Louis Armstrong, trumpet, vocal; Paul Webster, trumpet; Hank d’Amico, clarinet; Frank Ludwig, tenor sax; Hank Jones, piano; Everett Barksdale, guitar; Ray Brown, bass; Johnny Blowers, drums Track 16: The Day Dreamers, vocal, with unknown accompaniment Tracks 17-20: DAVE BARBOUR & HIS ORCHESTRA. Larry Neill, trumpet; Louis Armstrong, trumpet, vocal; Frank Howard, trombone; Jack Dumont, Chuck Gentry, Heinie Beau, saxes; Hank Jones, piano; Ray Brown, bass; Alvin Stoller, drums

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Page 8

The Naxos Historical labels aim to make available the greatest recordings of the history of recorded music, in the best and truest sound that contemporary technology can provide. To achieve this aim, Naxos has engaged a number of respected restorers who have the dedication, skill and experience to produce restorations that have set new standards in the field of historical recordings.

Available in the Naxos Nostalgia & Jazz Legends series …

Nostalgia 8.120546

Jazz Legends 8.120716

Nostalgia 8.120624

Jazz Legends 8.120714

Jazz Legends 8.120735

Jazz legends 8.120750

These titles are not available in the USA

NAXOS RADIO

Over 70 Channels of Classical Music • Jazz, Folk/World, Nostalgia www.naxosradio.com Accessible Anywhere, Anytime • Near-CD Quality

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ELLA FITZGERALD Ella And Company

1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20.

Vol.4

“ELLA AND COMPANY” Original 1943-1951 Recordings Cow Cow Boogie with The Ink Spots 2:55` And Her Tears Flowed Like Wine with The Song Spinners 3:16 Cry You Out Of My Heart with The Delta Rhythm Boys 3:02 Stone Cold Dead In The Market with Louis Jordan & His Tympany Five 2:41 Petootie Pie with Louis Jordan & His Tympany Five 2:37 You Won’t Be Satisfied (Until You Break My Heart) with Louis Armstrong 2:54 The Frim Fram Sauce with Louis Armstrong 3:14 (I Love You) For Sentimental Reasons with The Delta Rhythm Boys 3:10 It’s A Pity To Say Goodnight with The Delta Rhythm Boys 2:42 My Happiness with The Song Spinners 3:13 Baby It’s Cold Outside with Louis Jordan & His Tympany Five 2:41 I Gotta Have My Baby Back with The Mills Brothers 3:21 Ain’t Nobody’s Business But My Own with Louis Jordan & His Tympany Five 3:11 Can Anyone Explain? with Louis Armstrong 3:09 Dream A Little Dream Of Me with Louis Armstrong 3:03 That Old Feeling with The Day Dreamers 2:25 Who Walks In When I Walk Out? with Louis Armstrong 2:18 Would You Like To Take A Walk? with Louis Armstrong 3:16 Necessary Evil with Louis Armstrong 2:32 Oops! with Louis Armstrong 3:12

NOTES AND FULL RECORDING DETAILS INCLUDED

www.naxos.com

h & g 2005 Naxos Rights International Ltd

Made in the EU Design: Ron Hoares

Total Time 60:05

ADD

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Transfers and Production by David Lennick Digital Restoration by Graham Newton

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ELLA FITZGERALD Ella And Company

ELLA FITZGERALD