Ella Fitzgerald “At the Opera House”

This is an old, Verve, live recording of Ella Fitzgerald on a couple of occasions (Chicago and LA, 1957) with excellent bands. The first side sounds amazingly quiet and minimal, yet you can hear everything. Ella Fitzgerald’s voice is up front, and it sounds like she’s right on the room. Of course, she always sounds like she’s right in the room—some voices just have that quality. Some of my favorite songs, here—“It’s All Right with Me,” “Bewitched, Bothered and Bewildered” (always my favorite Ella song), “These Foolish Things,” and more. Also, “Baby Don’t Go Away Mad” (aka “Don’cha Go ‘Way Mad”) (written by Illinois Jacquet and Jimmy Mundy, with lyrics by Al Stillman)—a song I’ve mostly associated with Sinatra’s version, which I’m kind of obsessed with—and caused me to go on a Friday afternoon mini-rabbthole, which I won’t document here). There’s good liner notes by Norman Granz, in which he asserts the version of “Stompin’ at the Savoy” is the greatest vocal performance ever recorded. And, also the A-side recording is technically almost perfect. I won’t argue. What’s kind of amazing, if you think about it, is how this artifact, which cost me about half the price of a latte, is a year older than I am and works like it’s brand now, and brings to life, like holograms in my room, some magical performances by a few of the most amazing jazz artists of the last century—and can kind of transport you in time, in less than an hour, and bring you back unharmed. It can keep doing it, too, if you want, countless times—it’ll still be ticking along, long after I

Mr Acker Bilk “Mood for Love”

This is Mr Acker Bilk’s 1966 LP, “Mood for Love”—which includes standards, including “I’m In the Mood for Love.” You know Acker Bilk—he wears a bowler hat and emotes on the licorice stick. This is my number-one make-out record of 2021, so far. Now if we can only get over this pandemic… but I’m not complaining—at least I’m spending less on champagne, brie, and scented candles. David Berkwood’s liner notes are quite poetic—he mentions the “nauseous draught” of life—a sentiment never far from my attention. Credits include the Leon Young String Chorale—it’s all so mellow and smooth. Some great Lowery Organ, as well. It kind of makes me miss my old Lowery, and my saxophone, and my gold bongos and my friends and their crazy schemes. The cover features a stunning illustration by Rivoli Roth—it’s really pretty haunting. I’ll keep the record just for that. And for that day when we can once again invite promising acquaintances to the flat for low lights and inspired dreaming.