Let No Man Write My Epitaph

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"I almost didn't review this review after all, it was released by Analogue Productions on the same day as Ben Webster's Soulville ... But if Soulville was everything I hoped for, Epitaph is the over-achiever. Ella ... [Show more]

Description:
"I almost didn't review this review after all, it was released by Analogue Productions on the same day as Ben Webster's Soulville ... But if Soulville was everything I hoped for, Epitaph is the over-achiever. Ella recorded a series of her 'greatest hits' for the soundtrack of this entirely forgettable movie, a few of which were used. Ella played a singing piano player, so she recorded the songs with only piano backing by Paul Smith. ... Recorded in 1960 at the United Western Recorders in Hollywood, which produced great sounding hits for everyone from Nat King Cole to the Beach Boys, this has always been recognized as one of Ella's best sounding records, and was released long ago by Classic Records. This new mastering by the late George Marino at Sterling Sound easily bests that earlier effort. Great music recorded during the golden age of recording at one of the great studios, mastered to perfection." - Recording = 10/10; Music = 10/10 – Dennis D. Davis, Hi-Fi+, Issue 104

"...these are all truly classic Verve titles that you simply don't want to miss... most importantly, the sound of these reissues is nothing short of astounding. Particularly the early Billie and Ella mono records are incredible treasures of sonic beauty. I'd definitely ask Santa for the whole set, or, if you want to cherry pick, the most classic titles. Whatever you decide, you owe yourself at least a half dozen !" Winner of a 2012 Positive Feedback Online Writers' Choice Award - Danny Kaey, Positive Feedback Online, November / December 2011

Considered one of Ella's greatest recordings, she's backed on this 1960 release by pianist Paul Smith. Let No Man Write My Epitaph was a 1960 Hollywood movie featuring Fitzgerald. The album hits at a depth of emotional understanding that critics often complained was missing in Ella's reading of jazz lyrics, and once again establishes her as one of the supreme interpreters of the Great American Songbook.
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