Ella Fitzgerald Ella Abraca Jobim
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- Released: October 21, 2003
- Label: Pablo
- 1.Somewhere In The Hills (Faleva)
- 2.Girl From Ipanema, The (Garota De Ipanema)
- 4.Off Key (Desafinado)
- 5.Water To Drink (Agua De Beber)
- 6.Dreamer (Vivo Sonhando)
- 7.Quiet Night Of Quiet Stars (Corcovado)
- 9.One Note Samba (Samba De Uma Nota So)
- 11.How Insensitive (Insensatez)
- 12.He's A Carioca (Ele E Carioca)
- 13.This Love That I've Found (So Tinha De Ser Com Voce)
- 14.A Felicidade
- 16.Song Of The Jet (Samba Do Aviao)
- 17.Photograph (Fotografia)
- 18.Useless Landscape (Inutil Paisagem)
Personnel includes: Ella Fitzgerald (vocals); Zoot Sims (tenor saxophone); Clark Terry (trumpet); Toots Thielemans (harmonica); Oscar Castro-Neves, Joe Pass (guitar); Abraham Laboriel (bass); Alex Acuna (drums); Paulinho Da Costa (percussion).
Recorded at Group IV Studios, Hollywood, California on September 17-19, 1980 and March 18-20, 1981. Includes liner notes by Norman Granz.
Digitally remastered using 20-bit K2 Super Coding System technology.
Personnel: Ella Fitzgerald (vocals); Joe Pass (electric guitar); Toots Thielemans (harmonica); Zoot Sims (tenor saxophone); Clark Terry (trumpet); Clarence McDonald, Michael Lang , Terry Trotter (keyboards); Alex Acu¤a (drums); Paulinho Da Costa (percussion).
Audio Remixer: Allen Sides.
Liner Note Author: Norman Granz.
Recording information: Group IV Studios, Hollywood, CA (09/17/1980-03/20/1981).
Photographer: Tad Hershorn.
Arranger: Erich Bulling.
For years, "The Girl from Ipanema" was a staple in Ella Fitzgerald's songbook, so it's something of a wonder that it was not until 1981 that Ella Abraca Jobim, Fitzgerald's double-album immersion in Antonio Carlos Jobim's back catalog, appeared. Ella's first single-composer release since 1964's tribute to Jerome Kern, Ella Abraca Jobim is, more than anything, final proof of the unassuming Brazilian's place in jazz history alongside the great composers. Fitzgerald and her small group take songs like "Agua de Beber (Water to Drink)" at a slightly speedy a tempo, but she is in very good voice compared to some other recordings from her later years. Norman Granz's production is typically excellent, and the arrangements are refreshingly free of the typical late-'70s/early-'80s post-fusion clich‚s. ~ Stewart Mason
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