CD Dear Ella [Dee Dee Bridgewater] (CD 4646226),
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Dear Ella [Dee Dee Bridgewater]

  • 1. A-Tisket, A-Tasket
    2. Mack the Knife
    3. Undecided
    4. Midnight Sun
    5. Let's Do It (Let's Fall in Love)
    6. How High the Moon
    7. If You Can't Sing It, You'll Have to Swing It (Mr. Paganini)
    8. Cotton Tail
    9. My Heart Belongs to Daddy
    10. (I'd Like to Get You on A) Slow Boat to China
    11. Oh, Lady, Be Good!
    12. Stairway to the Stars
    13. Dear Ella
  • Additional Info
    Manufacturer Part Number (MPN): 04030

  • Credits

    Personnel includes: Dee Dee Bridgewater (vocals); Antonio Hart, Jeff Clayton (alto saxophone); Bill Easley, Teodross Avery (tenor saxophone); Patience Higgins (baritone saxophone); Cecil Bridgewater, Byron Stripling, Ron Tooley, Virgil Jones, Diego Urcola (trumpet); Slide Hampton, Bob Trowers, Clarence Banks, Benny Powell (trombone); Doug Purviance (bass trombone); Milt Jackson (vibraphone); Lou Levy (piano); Kenny Burrell (guitar); Ray Brown (bass); Grady Tate, Andre Ceccarelli (drums).
    Engineers: Leslie Anne Jones, Rob Eaton, Keith Grant.
    Principally recorded at Capitol Studios, Los Angeles, California and Right Track Recording Studios, New York, New York in January & February 1997. Includes liner notes by Dee Dee Bridgewater and Claude Carriere.
    DEAR ELLA won the 1998 Grammy Award for Best Jazz Vocal Performance. "Cotton Tail" won and "My Heart Belongs To Daddy" was nominated for the 1998 Grammy Award for Best Instrumental Arrangement With Accompanying Vocal(s).
    Personnel: Dee Dee Bridgewater (vocals); Kenny Burrell (vocals, guitar); R. Heisser Wilson, J. "Buddie" Archer, A. Noland, R. Wilson, T. Williams, Boguslaw Kostecki (violin); G. Jackson, J. Graham (viola); Peter Willison (cello); R. Taylor (flute); T.C. Kelly, R. Jowitt (clarinet); A. Wallbank (bass clarinet); R.J. Morgan (oboe); Antonio Hart (alto saxophone, horns); Jeff Clayton (alto saxophone); Teodross Avery, Bill Easley (tenor saxophone); Patience Higgins (baritone saxophone); Virgil Jones (trumpet, horns); Diego Urcola, Ron Tooley, Byron Stripling, Cecil Bridgewater (trumpet); Clarence Banks (trombone, horns); Robert Trowers, Slide Hampton, Benny Powell (trombone); Douglas Purviance (bass trombone); J. Anderson (tuba); F. Robert Lloyd (horns); Lou Levy (piano); Milt Jackson (vibraphone); Ray Brown (double bass); Grady Tate, Andr Ceccarelli (drums); A. Hakin (percussion).
    Audio Mixer: Al Schmitt.
    Liner Note Author: Dee Dee Bridgewater.
    Recording information: Abbey Road Recording Studios, Londo (01/29/1997-02/19/1997); Capitol studios, Los Angeles, CA (01/29/1997-02/19/1997); Right Track Recording Studios, New York, NY (01/29/1997-02/19/1997); The Greek Studio (01/29/1997-02/19/1997).
    Photographer: Philippe Pierangeli.
    Arrangers: John Clayton; Kenny Burrell; Lou Levy; Slide Hampton; Cecil Bridgewater.
    Following her critically acclaimed tribute to legendary pianist/composer Horace Silver, Dee Dee Bridgewater tackles an even more daring project for a young jazz vocalist: a tribute to the First Lady of Song, Ella Fitzgerald. With help from prominent Fitzgerald side-men and some marvelously swinging arrangements by Cecil Bridgewater, Slide Hampton, and John Clayton, Bridgewater makes DEAR ELLA both a delightful tribute to a jazz icon and a testament to her own creative talents.
    Choosing a repertoire of 12 tunes indelibly associated with Ella (plus the title-track written by guitarist Kenny Burrell) Bridgewater is able to retain the excitement and vitality of the originals, yet interpret them in ways unmistakably her own. The arrangements range from overt hat-tipping toward the well-known Fitzgerald recordings--though generally with some unexpected twists--to some dramatically different interpretations. Perhaps most remarkable, though, is Bridgewater's scat singing on these tunes. Any vocalist who attempts to scat in such Fitzgerald domain as "How High The Moon" and "Oh, Lady Be Good," has some big shoes to fill. Yet Bridgewater makes her way through these tunes in top Fitzgeraldesque form--quoting bebop melodies and all--without sounding for a moment like a clone of the maestra.

  • Critic Reviews
    Down Beat (11/97, p.60) - 4 stars (out of 5) - "...the arrangements throughout are top-notch, the support team excellent and Bridgewater sings and scats with a rhapsodic gusto..."
    Vibe (11/97, p.155) - "...To do Fitzgerald justice is a daunting challenge...Bridgewater comes fully equipped....[She] illustrates the warm, sacred, nighttime Ella that we dream about..."
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