Love Letters from Ella

Wanted to correct the assertions by Mr. Cornell and Mr. Coppin.

Mr. Cornell's assertion that Ella's label Pablo didn't originally released these Ella tracks because she would not have wanted it that way is simply incorrect. Original producer, Norman Granz would usually record many more tracks than could be released on an LP and the intention was usually to include the unreleased tracks in subsequent releases. I recorded a number of records for Norman Granz and rarely was the case the music was unreleasable.

As to Mr. Coppin's assertion that Ella's vocals were effected by a stroke. Ella never had a stroke. She had a heart attack in 1986 while I was working with her (hopefully it wasn't something I played). The vocals on this CD were recorded on average 10 years before that. A period where virtually every record she released received a Grammy nomination or award.

I'm proud to say that "Cry Me A River" from "Love Letters From Ella" has been nominated for a 2008 Grammy Award and this CD is the highest Billboard Chart debut in Ella's entire career! I KNOW she would have loved this CD!

Gregg Field
Producer- Love Letters From Ella

A year ago, the c.d. "Ray Charles Sings, Count Basie Swings" was released and was heavily featured at your local Starbucks. I heard it, didn't much care for it, and refused to review it for reasons stated below.

Now Concord has gone and done the same thing: released 10 Ella tunes from the Pablo vault, recorded ca. 1973 and never before released; and the c.d. again, currently, is prominently displayed at your local Starbucks.

I for one object to this crypt-robbing. It would be one thing if this were an artist like Herbie Nichols from 50 years ago--i.e., a total unknown when alive whose recorded output was miraculously discovered and released posthumously, to people who could marvel and be saddened by the artist's undeserved obscurity. But obviously, Ray Charles and Ella Fitzgerald are not anything like Herbie Nichols. Chances are great, no matter what Concord or Pablo may say, that if the album wasn't released 30+ years ago, there's a good reason why.

And my first guess would be: because the artist wanted it that way.

All of that grousing aside, IMO unlike the Bro. Ray c.d. of last year, there is some really good stuff on this c.d.

"Please Don't Talk About Me When I'm Gone" features a kick-butt Basie arrangement, way more swinging than anything on last year's Charles' c.d. "The One I Love" has a cool duet with the preeminent Joe Pass. Likewise, "Take Love Easy" with both Pass and the London Symphony Orchestra gets Ella going in a cool, scatting groove.

But by 1973, Ella was slightly past her prime. She was about 59 years old or so, and she was starting to develop a slight wobble in her midrange. (Though, I didn't notice it in her live album, recorded at Carnegie Hall at the Newport Festival, later that year--and that was a superlative album) I'm sure Ella wouldn't have wanted the public to hear that. In her prime, one could tune a tuning fork to her, and that's hard to do against a wobble. And, this is an uneven c.d.--some of the other arrangements aren't especially inspiring.

Down Beat recently rated this c.d. at 3 stars, and called it "non-essential Ella." Agreed--especially compared with the songbook series, the recordings from the '50's with Louis Armstrong, the recordings from the '50's with Duke Ellington, or even the later Live at Berlin recording.

The most-stated argument for releasing a project like this is: "Even if it is non-essential Ella, it's better than most anything else out there." Truthfully, about 10 years ago I would have agreed. But since 1997, so many young or youngish female jazz singers have entered the market with superlative c.d.'s, that I don't agree any more. I'd rather see re-mastered releases of things like the songbook series than crypt-robbing such as this. RC

"Just don't give up on trying to do what you really want to do. Where there is love and inspiration, I don't think you can go wrong." ~ Ella Fitzgerald (1917-1996) ~

What a wonderful quote from the First Lady of Song. It's also one of my philosophies in life that I have truly believed in and have applied in my own life. As each one of us has a soundtrack in life, I would say that this CD, "Love Letters From Ella" is her personal soundtrack. This is the story of her love life as reflected in this set of ten never-before-heard-performances that are all meaningful and flawlessly interpreted. These are Ella's "love letters" conveyed in these nostalgic songs, which were all recorded during the later part of her bright and prolific musical career, nevertheless, her voice still sounds great.

Listen to her heartfelt renditions backed by the finest musicians who seasoned Ella's vocals with delightful flavors and creative presentations under the brilliant orchestrations and arrangements of Jorge Calandrelli for most of the tracks and Benny Carter for the first and last tracks. The beauty of this recording is also magnified by the support of London Symphony Orchestra and Count Basie and his Orchestra as well.

You can't go wrong with this CD for it is not only a showcase of Ella's very impressive vocal art but also a powerhouse of notable line-up of musicians who made it to the list of "Who's Who in Jazz" - to name a few, Count Basie, Joe Pass, Andre Previn, Scott Hamiton, Benny Carter, and not to mention Gregg Field and Jorge Calandrelli who also produced this CD worthy to any Ella fan since it was just recently released to coincide with the First Lady of Song's 90th birth anniversary this year.

If I could whisper in your ear a piece of musical advice . . . I would say buy this CD without hesitation and delight in ten beautiful interpretations of timeless songs most especially "Our Love Is Here To Stay," "I've Got The World On A String," "Cry Me A River," "Witchcraft" and "Some Other Spring."

"Music is born of emotion." ~ Confucius ~