Personnel: Ella Fitzgerald (vocals); Louis Armstrong (vocals, trumpet); Ben Webster (tenor saxophone); Roy Eldridge (trumpet); Paul Smith, Oscar Peterson, Lou Levy (piano); Wild Bill Davis (organ); Barney Kessel, Herb Ellis (guitar); Joe Mondragon, Ray Brown (bass); Alvin Stoller, Buddy Rich, Stan Levey, Gus Johnson (drums).
Duke Ellington And His Orchestra includes: Duke Ellington (piano); Russell Procope (alto saxophone, clarinet); Johnny Hodges (alto saxophone); Jimmy Hamilton (tenor saxophone, clarinet); Paul Gonsalves (tenor saxophone); Harry Carney (baritone saxophone, clarinet, bass clarinet); Cat Anderson, Mercer Ellington, Willie Cook, Clark Terry, Herbie Jones, Cootie Williams (trumpet); Quentin Jackson, John Sanders, Bill Woodman, Lawrence Brown, Buster Cooper (trombone); Chuck Connors (bass trombone); Jimmy Jones (piano); Jimmy Woode, John Lamb (bass); Sam Woodyard, Louie Bellson (drums).
The Marty Paich Dek-tette: Marty Paich (conductor); Bud Shank (alto saxophone); Bob Enevoldsen (tenor saxophone, valve trombone); Bill Holman (tenor saxophone); Med Flory (baritone saxophone); Don Fagerquist, Al Porcino (trumpet); Vince DeRosa (French horn); John Kitzmiller (tuba); Lou Levy (piano); Joe Mondragon (bass); Mel Lewis (drums).
Count Basie And His Orchestra: Count Basie (piano); Frank Foster (tenor saxophone); Joe Newman (trumpet); Urbie Green (trombone); Freddie Greene (guitar); Buddy Catlett (bass); Sonny Payne (drums).
Billy May's Orchestra includes: Billy May (conductor); Plas Johnson, Ted Nash (tenor saxophone); Don Fagerquist (trumpet); Paul Smith (piano); Joe Mondragon (bass); Alvin Stoller (drums).
Compilation producer: Colin Escott.
Recorded in Hollywood, California; Los Angeles, California; New York between February 9, 1956 and November 1965. Includes liner notes by Colin Escott.
This is part of Verve's Jazz Masters series.
Personnel: Ella Fitzgerald (vocals); Louis Armstrong (vocals, trumpet); Joe Collins, Freddie Green, John Collins, Herb Ellis, Al Hendrickson, Barney Kessel (guitar); Harry Carney (clarinet, bass clarinet, baritone saxophone); Russell Procope (clarinet, alto saxophone); Jimmy Hamilton (clarinet, tenor saxophone); Johnny Hodges, Bud Shank (alto saxophone); Bob Enevoldsen (tenor saxophone, trombone, valve trombone); Frank Foster, Paul Gonsalves, Plas Johnson , Ted Nash, Ben Webster, Bill Holman (tenor saxophone); Med Flory (baritone saxophone); Clark Terry, Cootie Williams, Don Fagerquist, Harold Baker, Herbie Jones, Joe Newman , Al Porcino, Mercer Ellington, Ray Nance, Roy Eldridge, Willie Cook, Cat Anderson (trumpet); Vincent DeRosa (French horn); Chuck Connors (trombone, bass trombone); William Woodman Jr., Lawrence Brown , Quentin Jackson, Urbie Green, John Sanders, Buster Cooper (trombone); John Kitzmiller (tuba); Lou Levy (piano, drums); Count Basie, Duke Ellington, Jimmy Jones , Oscar Peterson, Paul Smith (piano); Wild Bill Davis (organ); Gus Johnson , Louie Bellson, Mel Lewis, Alvin Stoller, Sam Woodyard, Sonny Payne, Stan Levey, Buddy Rich (drums).
Liner Note Author: Colin Escott.
Recording information: Capitol Studios, Hollywood, CA (02/09/1956-11/??/1965); LA, CA (02/09/1956-11/??/1965); Los Angeles, CA (02/09/1956-11/??/1965); New York, NY (02/09/1956-11/??/1965); NY, NY (02/09/1956-11/??/1965); Studio B, Hollywood, CA (02/09/1956-11/??/1965).
Director: Sheryl Lutz-Brown.
Editor: Peter Pullman.
Photographers: Paul J. Hoeffler; Herman Leonard.
Arrangers: Marty Paich; Billy May.
It might seem odd to call a collection by Ella Fitzgerald THE JAZZ SIDES, but it's instructive to remember that during her years at Verve, Fitzgerald was as likely to essay familiar pop songs or Broadway show tunes as she was jazz standards. THE JAZZ SIDES gives particular focus to Fitzgerald's remarkable skills as a scat singer. Many jazz singers, even excellent ones, simply never get the hang of scat, a wordless vocal style that treats the human voice as a purely musical instrument. Good scat singing requires an intrinsic knowledge of the rules of musical improvisation, and great scat singing demands an ability to reshape the melodic lines of a song as well as any instrumental soloist. All through these 16 songs, from Juan Tizol's "Caravan" to the swing standard "The Music Goes 'Round and Around," Fitzgerald stuns the listener.