Description: Shipping: All items will be packed safely in a sturdy package for safe shipping.We ship internationally and offer combined shipping for multiple purchases. Expedited, Priority Mail and FedEx shipping available Once payment is received, we ship your item on the next business day.INTERNATIONAL BUYERS: Pls check the shipping tab. Ebay does not display cheapest shipping on top of the listing. Over 1000 Records available. If you plan to buy several records: Click the "ADD TO CART" button. Once you have selected all the records you want, go to Cart and check out. COMBINED SHIPPING will be applied automatically. If shipping seems high: In Cart click REQUEST TOTAL, and I will send you an invoice. A series of great JAZZ, Ragtime and Swing Records from early Ragtime to Beb-Bop on 78 rpm Victrola RecordsClick this link for more great Jazz and Vocal Records in my other listings! Ella Fitzgerald as vocalist and band leader: Ella Fitzgerald And Her Famous Orchestra from the 1940 movie Cabin In The SkyElla Fitzgerald And Her Famous Orchestra - Cabin In The Sky / Taking A Chance On Love album coverLabel: Decca – 3490Format: Shellac, 10", 78 RPMCountry: USReleased: 1940Genre: JazzStyle: Swing, VocalA Taking A Chance On LoveWritten-By – Latouche*, Fetter*, Duke*B Cabin In The SkyWritten-By – Latouche*, Duke*Published By – Francis DayVocals – Ella FitzgeraldA&B from "Cabin in the Sky"Orig Issue Decca 10" 78 rpm recordThis is a Jukebox record with more wear on one side: Condition record: EXCELLENT Light scuffs, BUT Cabin has some greying throughout = VG++, both sides play E very quiet faint hissA GREAT COPY Ella Jane Fitzgerald (April 25, 1917 – June 15, 1996), also known as "Lady Ella" and the "First Lady of Song" , is considered one of the most influential jazz vocalists of the 20th Century.[1] With a vocal range spanning three octaves, she was noted for her purity of tone, phrasing and intonation, and a "horn-like" improvisational ability, particularly in her scat singing. She is widely considered to have been one of the supreme interpreters of the Great American Songbook.[2] Over a recording career that lasted 57 years, she was the winner of 13 Grammy Awards, and was awarded the National Medal of Art by Ronald Reagan and the Presidential Medal of Freedom by George H. W. Bush. BiographyElla Jane Fitzgerald was born in Newport News, Virginia, the child of a common-law marriage between William and Temperance “Tempie” Fitzgerald.[3] The pair separated soon after her birth and she and her mother moved to Yonkers, New York, with Tempie's boyfriend, Joseph Da Silva. Fitzgerald's half-sister, Frances Da Silva, was born in 1923. As a child, Fitzgerald was placed in the Colored Orphan Asylum in Riverdale, the Bronx.[4] In her youth, she wanted to be a dancer, although she loved listening to jazz recordings by Louis Armstrong, Bing Crosby and The Boswell Sisters. She idolized the lead singer of the Boswell Sisters, Connee Boswell, later saying, "My mother brought home one of her records, and I fell in love with it....I tried so hard to sound just like her."[5] In 1932, her mother died from a heart attack.[3] After staying with Da Silva for a short time, she was taken in by Tempie's sister, Virginia. Shortly afterward, Da Silva suffered a heart attack and died, and her sister Frances joined Ella in Virginia. Following these traumas, Fitzgerald's grades dropped dramatically, and she frequently skipped school. At one point, she worked as a lookout at a bordello and also with a Mafia-affiliated numbers runner.[6] After getting into trouble with the police, she was taken into custody and sent to a reform school. Eventually she escaped from the reformatory, and for a time was homeless. She made her singing debut at 17 on November 21, 1934 at the Apollo Theater in Harlem, New York. She pulled in a weekly audience at the Apollo and she won the opportunity to compete in one of the earliest of its famous "Amateur Nights." She had originally intended to go on stage and dance but, intimidated by the Edwards Sisters, a local dance duo, she opted to sing instead, in the style of Connie Boswell. She sang Hoagy Carmichael's "Judy" and "The Object of My Affection" , a song recorded by the Boswell Sisters, and won the first prize of US$25.00.[7] [edit] Big-band singingIn January 1935, Fitzgerald won the chance to perform for a week with the Tiny Bradshaw band at the Harlem Opera House. She met drummer and bandleader Chick Webb here for the first time. Webb had already hired singer Charlie Linton to work with the band, and was, The New York Times later wrote, "reluctant to sign her....because she was gawky and unkempt, a diamond in the rough."[5] Webb offered her the opportunity to test with his band when they played a dance at Yale University. Despite the rough crowd, she was a great success, and Webb hired her to travel with the band for $12.50 a week. Ella Fitzgerald photographed by Carl Van Vechten in 1940.She began singing regularly with Webb's Orchestra through 1935, at Harlem's Savoy Ballroom. Fitzgerald recorded several hit songs with them, including "Love and Kisses" and "(If You Can't Sing It) You'll Have to Swing It (Mr. Paganini)" but it was her 1938 version of the nursery rhyme, "A-Tisket, A-Tasket" , a song she co-wrote, that brought her wide public acclaim. Chick Webb died on June 16, 1939, and his band was renamed "Ella Fitzgerald and her Famous Orchestra" with Ella taking the role of bandleader. Fitzgerald recorded nearly 150 sides during her time with the orchestra, most of which, like "A-Tisket, A-Tasket" , were "novelties and disposable pop fluff."[5] [edit] The Decca yearsIn 1942, Fitzgerald left the band to begin a solo career. Now signed to the Decca label, she had several popular hits, while recording with such artists as the Ink Spots, Louis Jordan, and the Delta Rhythm Boys. With Decca's Milt Gabler as her manager, she began working regularly for the jazz impresario Norman Granz, and appearing regularly in his Jazz at the Philharmonic concerts. Fitzgerald's relationship with Granz was further cemented when he became her manager, although it would be nearly a decade before he could record her on one of his many record labels. With the demise of the Swing era, and the decline of the great touring big bands, a major change in jazz music occurred. The advent of bebop caused a major change in Fitzgerald's vocal style, influenced by her work with Dizzy Gillespie's big band. It was in this period that Fitzgerald started including scat singing as a major part of her performance repertoire. While singing with Gillespie, Fitzgerald recalled, "I just tried to do [with my voice] what I heard the horns in the band doing."[7] Her 1945 scat recording of "Flying Home" would later be described by The New York Times as "one of the most influential vocal jazz records of the decade....Where other singers, most notably Louis Armstrong, had tried similar improvisation, no one before Miss Fitzgerald employed the technique with such dazzling inventiveness."[5] Her be-bop recordings of "Oh, Lady be Good!" (1947) and "How High the Moon" were similarly popular, and increased her reputation as one of the leading jazz vocalists. Perhaps responding to criticism, and under pressure from Granz (who felt that Fitzgerald was given unsuitable material to record during this period), her last years on the Decca label saw Fitzgerald recording a series of duets with pianist Ellis Larkins, released in 1950 as Ella Swings Gershwin. [edit] Move to Verve and mainstream success Fitzgerald on the cover of her landmark 1956 album, Ella Fitzgerald Sings the Cole Porter Songbook.Still performing at Granz's JATP concerts, by 1955, Fitzgerald left Decca, and Granz, now her manager, created Verve Records around her. Fitzgerald later described the period as strategically crucial, saying, "I had gotten to the point where I was only singing be-bop. I thought be-bop was 'it', and that all I had to do was go some place and sing bop. But it finally got to the point where I had no place to sing. I realized then that there was more to music than bop. Norman....felt that I should do other things, so he produced The Cole Porter Songbook with me. It was a turning point in my life."[5] Ella Fitzgerald Sings the Cole Porter Songbook, released in 1956, was the first of eight "Songbooks" Fitzgerald would record for Verve at irregular intervals from 1956 to 1964. The composers and lyricists spotlighted on each album, taken together, represent the greatest part of the cultural canon known as the Great American Songbook. Fitzgerald's song selections ranged from standards to rarities, and represented an attempt by Fitzgerald to cross over into a non-jazz audience. Ella Fitzgerald Sings the Duke Ellington Songbook was the only Songbook on which the composer she interpreted played with her. Duke Ellington and his longtime collaborator Billy Strayhorn wrote two new pieces of music for the album: "The E and D Blues" and a four-movement musical portrait of Fitzgerald. The Songbook series ended up becoming the singer's most critically acclaimed and commercially successful work, and probably her most significant offering to American culture. The New York Times wrote in 1996, "These albums were among the first pop records to devote such serious attention to individual songwriters, and they were instrumental in establishing the pop album as a vehicle for serious musical exploration."[5] A few days after Fitzgerald's death, New York Times columnist Frank Rich wrote that in the Songbook series Fitzgerald "performed a cultural transaction as extraordinary as Elvis's contemporaneous integration of white and African-American soul. Here was a black woman popularizing urban songs often written by immigrant Jews to a national audience of predominantly white Christians."[6] Frank Sinatra was moved out of respect for Fitzgerald to block Capitol Records from re-releasing his own recordings in a similar, single composer vein. Ella Fitzgerald also recorded albums exclusively devoted to the songs of Porter and Gershwin in 1972 and 1983, the albums being Ella Loves Cole and Nice Work If You Can Get It, respectively. A later collection devoted to a single composer was released during her time with Pablo Records, Ella Abraça Jobim, featuring the songs of Antonio Carlos Jobim. While recording the 'Songbooks' and the occasional studio album, Fitzgerald toured 40 to 45 weeks per year in the United States and internationally, under the tutelage of Norman Granz. Granz helped solidify her position as one of the leading live jazz performers.[5] In the mid-1950s, Fitzgerald became the first African-American to perform at the Mocambo, after Marilyn Monroe had lobbied the owner for the booking. The booking was instrumental in Fitzgerald's career. The incident was turned into a play by Bonnie Greer in 2005. There are several live albums on Verve that are highly regarded by critics: Ella at the Opera House shows a typical JATP set from Fitzgerald, Ella in Rome displays her vocal jazz canon, while Ella in Berlin is still one of her biggest selling albums. [edit] Later yearsVerve Records was sold to MGM in 1963 for $3 million, and in 1967 MGM failed to renew Fitzgerald's contract. Over the next five years, she flitted between several labels, namely Atlantic, Capitol and Reprise. A selection of her material at this time represent a departure from her typical jazz repertoire; for Capitol she recorded Brighten the Corner, an album of hymns, Ella Fitzgerald's Christmas, an album of traditional Christmas carols, Misty Blue, a country and western-influenced album, and 30 by Ella, a series of six medleys that fulfilled her obligations for the label. The surprise success of the 1972 album Jazz at Santa Monica Civic '72 led Granz to found Pablo Records, his first record label since the sale of Verve. Fitzgerald recorded some 20 albums for the label. Her years on Pablo documented the decline in her voice; "She frequently used shorter, stabbing phrases, and her voice was harder, with a wider vibrato," one biographer wrote.[3] Plagued by health problems, Fitzgerald made her last recording in 1991 and her last public performances in 1993.[8] [edit] Personal life Ella Fitzgerald in 1968. Photo courtesy of the Fraser MacPherson estateFitzgerald married twice, though there is evidence that she may have married a third time. In 1941 she married Benny Kornegay, a convicted drug dealer. The marriage was annulled after two years. Her second marriage, in December 1947, was to the famous bass player Ray Brown, whom she had met while on tour with Dizzy Gillespie's band a year earlier. Together they adopted a child born to Fitzgerald's half-sister, Francis, whom they christened Ray Brown, Jr. With Fitzgerald often busy touring and recording, the child was largely raised by her aunt, Virginia. Fitzgerald and Brown divorced in 1953, due to the various career pressures both were experiencing at the time, though they would continue to perform together.[5] In July 1957, Reuters reported that Fitzgerald had secretly married Thor Einar Larsen, a young Norwegian, in Oslo. She had even gone as far as furnishing an apartment in Oslo, but the affair was quickly forgotten when Larsen was sentenced to five months hard labour in Sweden for stealing money from a young woman to whom he had previously been engaged.[3] Fitzgerald was also notoriously shy. Trumpet player Mario Bauza, who played behind Fitzgerald in her early years with Chick Webb, remembered that "She didn’t hang out much. When she got into the band, she was dedicated to her music….She was a lonely girl around New York, just kept herself to herself, for the gig."[3] When, later in her career, the Society of Singers named an award after her, Fitzgerald explained, "I don't want to say the wrong thing, which I always do. I think I do better when I sing."[7] Already blinded by the effects of diabetes, Fitzgerald had both her legs amputated in 1993. In 1996 she died of the disease in Beverly Hills, California, at the age of 79. She is interred in the Inglewood Park Cemetery in Inglewood, California. Several of Fitzgerald's awards, significant personal possessions and documents were donated to the Smithsonian Institution, the library of Boston University, the Library of Congress, and the Schoenberg Library at UCLA. More Great Records on sale right now: CLICK ON THIS LINK TO SEE MORE GREAT RECORDS CLICK ON THIS LINK TO SEE ALL ITEMS - VINTAGE BOOKS, VICTROLA and TURNTABLE ITEMS, CDs, Books and DVDs http://shop.ebay.com/carsten_sf/m.html ==== A Quick NOTE ON GRADING AND SHIPPING: As you can see from my feedback, I try hard to earn your POSITIVE FEEDBACK and FIVE STAR RATINGS. If for any reason your transaction was NOT SATISFACTORY, pls contact me and I will work something out with you. YOU WILL NEVER HAVE A REASON TO GIVE ME A NEGATIVE RATING or a LOW STAR RATING. Quick note on grading: The Grade (Excellent to Poor, I don't give Mint) refers to the WEAR of the record. Any other defects are stated separately When I listen to a record, I may also give it an aural grade (again E to P), and make a SUBJECTIVE judgment of the pressing quality for hiss and surface noise."EXCEPTIONALLY QUIET" is close to noiseless, like a vinyl pressing."VERY QUIET" is an above average quiet record for a given pressing."Quiet" is a record that is a great example with some noise. These judgments are SUBJECTIVE and will depend one the styli, phonograph etc. you use on your own equipment. Multiple item shipping: I am happy to combine items for shipment in one parcel. Records will be packed safely between corrugated cardboard in a sturdy box with plenty of padding for safe shipment. Shipment is usually Media Mail, unless you request another service. Shipping is at your risk, I will be happy to insure items at your cost. I charge actual postage plus a small handling fee for packing materials As always, I guarantee your satisfaction. If you don't like the item, just return it, and I will refund the full purchase price. If you are in the San Francisco area, I welcome pick-up in person. I am very happy to ship records worldwide. Please use the EBAY shipping cost as a guideline. As always, I would appreciate any suggestions and corrections from you, pls contact me with any question. Thank you very much, and enjoy these great records!!! Powered by SixBit's eCommerce Solution
Price: 14.99 USD
Location: San Francisco, California
End Time: 2024-11-11T17:48:48.000Z
Shipping Cost: 7.49 USD
Product Images
Item Specifics
Restocking Fee: No
Return shipping will be paid by: Buyer
All returns accepted: Returns Accepted
Item must be returned within: 30 Days
Refund will be given as: Money Back
Artist: CLICK RIGHT ARROW > FOR CONDITION, Ella Fitzgerald, Ella Fitzgerald And Her Famous Orchestra
Format: Record
Release Title: Cabin In The Sky / Taking A Chance On Love
Material: Shellac
Genre: Blues, Jazz
Record Label: Decca
Record Size: 10"
Style: Acoustic Blues, Boogie-Woogie, British Blues, Cajun & Zydeco, Canadian Jazz, Chicago Blues, Classic Female Blues, Contemporary Blues, Country Blues, Delta Blues, Dixieland, East Coast Blues, Electric Blues, Gypsy Jazz, Honky-Tonk, Jazz Instrument, Jazz Pop, Jump Blues, Louisiana Blues, Minstrel, Modern Blues, Piano Blues, Ragtime, Traditional Folk, Traditional/Vocal, Vocal, Vocal Jazz, Big Band/Swing, Jazz Funk/Fusion
Speed: 78 RPM
Language: English
Catalog Number: 3490
