Newport Jazz Festival: Live At Carnegie Hall
Ella Fitzgerald at the Newport Jazz Festival: Live at Carnegie Hall is a 1973 (see 1973 in music) live album by the American jazz singer Ella Fitzgerald, accompanied by a reconstructed Chick Webb Band, the pianist Ellis Larkins, and for the second half of the album, the Tommy Flanagan Quartet (featuring Joe Pass).
This was a historic night for Fitzgerald, reuniting her with many members that had worked with her when she performed with the drummer and Bandleader Chick Webb in the mid 1930s. Fitzgerald is also reunited with the pianist Ellis Larkins, who accompanied on her 1950 album Ella Sings Gershwin. The second half of the record sees Fitzgerald perform a typical set from this stage in her career.
Fitzgerald is introduced by the great jazz singer Carmen McRae on the second disc. McRae also appeared on the 2001 remastered edition of Fitzgerald's only other recorded appearance at the Newport Jazz Festival, 1958's Ella Fitzgerald and Billie Holiday at Newport.
Read more about Newport Jazz Festival: Live At Carnegie Hall: Track Listing, Personnel
Famous quotes containing the words jazz, live, carnegie and/or hall:
“Though the Jazz Age continued it became less and less an affair of youth. The sequel was like a childrens party taken over by the elders.”
—F. Scott Fitzgerald (18961940)
“Is money money or isnt money money. Everybody who earns
it and spends it every day in order to live knows
that money is money, anybody who votes it to be
gathered in as taxes knows money is not money. That
is what makes everybody go crazy.... When you earn
money and spend money every day anybody can know the
difference between a million and three. But when you
vote money away there really is not any difference
between a million and three.”
—Gertrude Stein (18741946)
“I would as soon leave my son a curse as the almighty dollar.”
—Andrew Carnegie (18351919)
“I was afraid the waking arm would break
From the loose earth and rub against his eyes
A fist of trees, and the whole country tremble
In the exultant labor of his rise;”
—Donald Hall (b. 1928)