Personnel includes: Ella Fitzgerald (vocals); Buddy Bregman, Russ Garcia, Frank DeVol, Nelson Riddle, Paul Weston, Gordon Jenkins (arranger, conductor); Harry "Sweets" Edison (trumpet); Lou Levy (piano, celeste); Paul Smith (piano); Barney Kessel (guitar); Joe Mondragon (bass); Mel Lewis, Alvin Stoller (drums).
Producer: Norman Granz.
Compilation producer: Bryan Koniarz.
Recorded between 1956 & 1967. Includes liner notes by Stuart Nicholson.
Personnel: Barney Kessel (guitar); Corky Hale, Kathyrine Julye, Dorothy Remsen (harp); Sam Freed, Robert Barene, Anatol Kaminsky, Henry Hill , Felix Slatkin, Victor Bay, Erno Neufeld, Benny Gill, Lou Raderman, Harold Dicterow, Ambrose Russo, Murray Kellner, Alfred Lustgarten, Sam Albert, Albert Saparoff, Alex Beller, Dan Lube, David Frisina, Mort Herbert, Victor Arno, Israel Baker, Bill Miller , Nathan Ross, Paul Shure (violin); G.R. Henhenninck, Sanford Schonbach, Robert Ostrowsky, Jan Hlinka, Paul Robyn, Stanley Harris, Alvin Dinkin, Virginia Majewski, Milton Thomas (viola); Nino Rosso, Elizabeth Greenschpoon, Armand Karpoff, Francis "Frenchie" Concepcion, Justin DiTullio, George Neikrug, David Filerman, Raphael Kramer, Edgar Lustgarten, Eleanor Slatkin (cello); Ted Nash (flute, clarinet, tenor saxophone); Bud Shank (flute, alto saxophone); Sylvia Ruderman, Leonard Hartman, Matty Matlock, Martin Ruderman, Fred Stulce (flute); Herb Geller (clarinet, alto saxophone); Bob Cooper (clarinet, tenor saxophone); Chuck Gentry (bass clarinet, baritone saxophone); Gordon Schoneberg (oboe); Jack Marsh, Kenneth Lowman, Norm Herzberg (bassoon); Jewell L. Grant, Arnold Koblentz, Jules Jacob, Champ Webb, Bert Gassman, Ernest Romersa, Joe Koch, William Green , Skeets Herfurt, Wilbur Schwartz (woodwinds); Clint Neagley, Maurice Stein, Ronnie Lang (alto saxophone); Bob Enevoldsen (tenor saxophone, valve trombone); Ben Webster, Bill Holman (tenor saxophone); Med Flory (baritone saxophone); Conrad Gozzo , Don Fagerquist, George Werth, Harry "Sweets" Edison , Al Porcino, Maynard Ferguson, Pete Candoli, Ray Linn (trumpet); James A. Decker, Vincent DeRosa (French horn); George Roberts (trombone, bass trombone); Milt Bernhart, Dick Nash , Joe Howard, Tommy Pederson , Lloyd Ulyate (trombone); Karl de Karske (bass trombone); John Kitzmiller, Edward Gilbert (tuba); Lou Levy (piano, celesta); Knud Jorgensen, Paul Smith , Arnold Ross (piano); Dick Hyman (organ); Gus Johnson , Mel Lewis, Alvin Stoller, Stan Levey, William Schiopffe (drums); Larry Bunker, Milt Holland (percussion).
Liner Note Author: Stuart Nicholson.
Recording information: Capitol Studios, Hollywood, CA (01/25/1956-06/06/1965); Columbia Recording Studios, New York, NY (01/25/1956-06/06/1965); Copenhagen, Denmark (01/25/1956-06/06/1965); Crescendo Club, Los Angeles, CA (01/25/1956-06/06/1965); Fine Sound, New York, NY (01/25/1956-06/06/1965); New York, NY (01/25/1956-06/06/1965); Radio Recorders, Hollywood, CA (01/25/1956-06/06/1965); United Recording Studios, Los Angeles, CA (01/25/1956-06/06/1965).
Illustrator: Miguel Villalobos.
Arrangers: Gordon Jenkins; Marty Paich; Nelson Riddle; Paul Weston; Barney Kessel; Frank DeVol; Buddy Bregman.
Signed by Norman Granz to Verve, the label he hoped to build around her, Ella Fitzgerald inaugurated her long association with one of the greatest jazz imprints by recording a four-song session in 1956 intended for singles. Though it was simply a dry run for her first "official" work, The Cole Porter Songbook, she kept the singles market in mind during her time at Verve, recording occasionally and always hoping for a pop breakthrough. Though singles-chart success never arrived (her "Songbook" full-lengths were much more popular), Verve's release of the two-disc Jukebox Ella: The Complete Verve Singles, Vol. 1 proves that much excellent material went onto her Verve 45s. To Ella, nearly every song represented an opportunity for interpretation, from Gershwin's standard "But Not for Me" (a songbook title also released on single) to the tossed-off novelty "Hotta Chocolatta"; she never sacrificed a close reading simply because the song wasn't intended for a jazz fan. While these titles do occasionally reveal the influence of the novelty, there is so much care exhibited by Fitzgerald and her accompanists (including Buddy Bregman, Nelson Riddle, Marty Paich, Paul Weston, and Russ Garcia) that the results rival much of her non-songbook work for the label. One of the best is a re-recording of her early hit "A-Tisket, A-Tasket" with Ella going into controlled childish tantrums never equalled in her discography (and, thus, in no other's). Other intriguing novelties include singles (and usually accompanying flips) dealing with live recordings, Christmas songs, foreign-language recordings, and the bossa nova (including "Star Dust" taken in rhythm). Only one acknowledges rock & roll, the mostly unembarrassed "Ringo Beat." Whether it's W.C. Handy's "Beale Street Blues" or Moe Koffman's "Swingin' Shepherd Blues," Ella treated a song with respect. ~ John Bush