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Vocale jazz - Verschenen op 10 juli 2020 | Jube Legends

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Vocale jazz - Verschenen op 5 juni 2020 | Jube Legends

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Vocale jazz - Verschenen op 20 maart 2020 | Jube Legends

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Vocale jazz - Verschenen op 6 april 2018 | Verve Reissues

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Vocale jazz - Verschenen op 2 maart 2018 | Alma Records HD

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Vocale jazz - Verschenen op 30 juli 2013 | RCA - Legacy

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Vocale jazz - Verschenen op 27 oktober 2012 | Infinity

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Vocale jazz - Verschenen op 2 mei 2012 | Le Chant du Monde

Booklet
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Vocale jazz - Verschenen op 27 september 2010 | Fremeaux Heritage

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Vocale jazz - Verschenen op 10 september 2007 | Parlophone UK

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Vocale jazz - Verschenen op 18 juni 2007 | Capitol Records

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Vocale jazz - Verschenen op 2 oktober 2006 | Parlophone UK

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Vocale jazz - Verschenen op 2 oktober 2006 | Parlophone UK

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Vocale jazz - Verschenen op 1 januari 2004 | Documents

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Vocale jazz - Verschenen op 1 januari 2003 | Documents

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Vocale jazz - Verschenen op 14 september 1998 | Parlophone UK

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Vocale jazz - Verschenen op 2 augustus 1993 | Parlophone UK

Onderscheidingen Qobuz Referentie - Stereophile: Record To Die For
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Vocale jazz - Verschenen op 16 februari 1985 | Mercury Records

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Vocale jazz - Verschenen op 1 januari 1958 | Verve

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Among Ella Fitzgerald's gigantic discography, the eight volumes of her Ella Fitzgerald Sings The Complete American Songbook form a sacred pantheon. The idea for these records came from producer Norman Granz, who managed the singer and was the boss of Verve. The first volume, Ella Fitzgerald Sings The Cole Porter Songbook, which came out in 1956, was a runaway success with critics and the public alike. So much so that in that same year, Ella followed it up with Sings the Rodgers & Hart Songbook and then again in 1957 with Sings the Duke Ellington Songbook. This volume, which is given over to the songs of Irving Berlin, was conceived in sessions from 13 to 19 March 1958, with an orchestra directed by the classy and reserved Paul Watson. It's hard to sum up this double album in few words (it originally came out in two separate volumes) without breaking out reams of superlatives. Newcomers to her work can take this record as an easy base camp from which to ascend Ella Everest. Across a repertoire to die for (Berlin passed away in 1989 at the age of 101, having written more than 800 songs!), with light and gay numbers taking centre stage, Ella's voice picks out the great writer's romanticism, which never feels cloying. For fellow composer Jerome Kern, at the heart of Irving Berlin's writing was his faith in American vernacular: his songs were indivisibly linked with the country's history and image. Here, in ubiquitous favourites like Cheek to Cheek, in Watson's arrangements, in ambient swing, in freewheeling and sensual singing, we see the then-41-year-old American reaching the summit of perfection. This is one to play and play and play, again and again and again... © Marc Zisman/Qobuz
CD€ 27,99

Vocale jazz - Verschenen op 1 januari 1958 | Verve

Among Ella Fitzgerald's gigantic discography, the eight volumes of her Ella Fitzgerald Sings The Complete American Songbook form a sacred pantheon. The idea for these records came from producer Norman Granz, who managed the singer and was the boss of Verve. The first volume, Ella Fitzgerald Sings The Cole Porter Songbook, which came out in 1956, was a runaway success with critics and the public alike. So much so that in that same year, Ella followed it up with Sings the Rodgers & Hart Songbook and then again in 1957 with Sings the Duke Ellington Songbook. This volume, which is given over to the songs of Irving Berlin, was conceived in sessions from 13 to 19 March 1958, with an orchestra directed by the classy and reserved Paul Watson. It's hard to sum up this double album in few words (it originally came out in two separate volumes) without breaking out reams of superlatives. Newcomers to her work can take this record as an easy base camp from which to ascend Ella Everest. Across a repertoire to die for (Berlin passed away in 1989 at the age of 101, having written more than 800 songs!), with light and gay numbers taking centre stage, Ella's voice picks out the great writer's romanticism, which never feels cloying. For fellow composer Jerome Kern, at the heart of Irving Berlin's writing was his faith in American vernacular: his songs were indivisibly linked with the country's history and image. Here, in ubiquitous favourites like Cheek to Cheek, in Watson's arrangements, in ambient swing, in freewheeling and sensual singing, we see the then-41-year-old American reaching the summit of perfection. This is one to play and play and play, again and again and again... © Marc Zisman/Qobuz 

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Vocale jazz in het magazine