The songbook is the latest for Carrington’s Jazz Without Patriarchy Project, and the first initiative from Berklee Institute of Jazz and Gender Justice, which she formed in 2018 with the Berklee College of Music and serves as its artistic director. The book crosses generations and continents, with additional contributions from bassist/singer Esperanza Spalding, Chilean tenor saxophonist Melissa Aldana and Japanese American pianist Toshiko Akiyoshi. The project spans a century of jazz compositions, including works by seminal artists such as Lil Hardin Armstrong, Dianne Reeves, Maria Schneider, Cassandra Wilson and Alice Coltrane. Jazz drummer, composer/producer and Grammy winner Terri Lyne Carrington attempts to right that wrong with New Standards: 101 Lead Sheets By Women Composers, published by Hal Leonard and curated by Carrington, out Sept. (on tracks 1.1–2, 5, 7–8, 11, 13, 15, 2.Though women have always played a leading role as jazz performers, they have seldom gotten the credit they deserve as writers. George Roberts – bass and baritone trombone.Ted Nash – clarinet, flute, tenor saxophone.Bob Cooper – clarinet, oboe, tenor saxophone.Bud Shank – clarinet, flute, alto saxophoneĪdditional members on 1.7, 11, 15, 2.1, 6.Chuck Gentry – bass clarinet, baritone saxophone.Paul Smith – piano, celeste (on all tracks except 2.11).Personnel adapted from the liner notes of CD reissue. "Let's Do It, Let's Fall in Love" (Alternative take) – 5:25."I Concentrate on You" (Alternative take) – 3:00."You're the Top" (Alternative take) – 2:08." Don't Fence Me In" – 3:19 ( Robert Fletcher, co-lyricist)ġ997 reissue, previously unreleased bonus tracks." What Is This Thing Called Love?" – 2:02." Let's Do It, Let's Fall in Love" – 3:32." Always True to You in My Fashion" – 2:48.Track listing Īll tracks written by Cole Porter, except when noted. In 2000 it was voted number 490 in Colin Larkin's All Time Top 1000 Albums. This album was inducted into the Grammy Hall of Fame in 2000, which is a special Grammy award established in 1973 to honor recordings that are at least twenty-five years old, and that have "qualitative or historical significance." In 2003, it was one of 50 recordings chosen by the Library of Congress to be added to the National Recording Registry. Afterwards, Porter merely remarked, "My, what marvelous diction that girl has." Legacy and achievements The album was recorded February 7–9 and March 27, 1956, in Hollywood, Los Angeles.įitzgerald's manager, and the producer of many of her albums, Norman Granz, visited Cole Porter at the Waldorf-Astoria and played him this entire album. This album inaugurated Fitzgerald's Song Book series, each of the eight albums in the series focusing on a different composer of the canon known as the Great American Songbook. įitzgerald's time on the Verve label would see her produce her most highly acclaimed recordings, at the peak of her vocal powers. The trick was to change the backing enough so that, here and there, there would be signs of jazz. I envisaged her doing a lot of composers. So I proposed to Ella that the first Verve album would not be a jazz project, but rather a song book of the works of Cole Porter. I was interested in how I could enhance Ella’s position, to make her a singer with more than just a cult following amongst jazz fans. Granz decided to have Fitzgerald record well-established popular works because This was Fitzgerald's first album for the newly created Verve Records (and the first album to be released by the label).
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