#ella nelson

[beatrack92]

Oregon Medley Relay team

Klaudia Kazimierska, Ella Clayton, Maddy Elmore and Ella Nelson

2024 Razorback Invitational (Fayetteville, AR)

[citizenscreen]

Nelson Riddle, Frank Sinatra, Bill Miller and Ella Fitzgerald on set of “The Frank Sinatra Show” in 1958.

[trentskis]

he said hey, don't worry. sexy suit pics, ok?

+

bonus:

[tratadista]

Ella Fitzgerald with Nelson Riddle,   "My One and Only Love"

[ceterisparibus116]

Is it legal for lawyers to put non lawyer names in their business name?

I saw this on a really weird DD blog that goes on and on about how much they hate Karen Page. They claimed that the writers messed up and that there could never be a Nelson Murdock and Page, not legally. I wanted to check with you, especially because I just hit the line in "You are my strength" when Foggy muses about changing the firm name to N, M & M. (Although I think Nelson and Murdocks is funnier.)

oh gosh I know what blog you're talking about. Very negative, in my opinion.

That said, technically, yes, the writers did mess up. It's an ethical violation for a law firm to imply that a non-lawyer is a lawyer, and having "Page" alongside "Nelson" and "Murdock" implies that Karen has a JD like Matt and Foggy.

However, I personally find that a very excusable mistake because a) it's a pretty obscure rule; and b) what it lacks in realism it makes up for in symbolism.

Also, there's this thing called verisimilitude, which is more important than realism anyway in a good story.

Additionally, whether the writers missed an obscure legal ethical rule is irrelevant to whether Karen is a good character, so... ¯\_(ツ)_/¯

As for my own fics, most of the time I stick with "Nelson, Murdock, & Page" because I don't want readers to be jarred out of the story thinking that I made a typo or something. Even if I explain why I changed the sign back to just "Nelson & Murdock" in an author's note, readers who are just minding their own business reading along will probably still have a "?!" moment and I'd rather avoid that over something so trivial.

I do think I have one or two where I specifically didn't put Page in the name, probably because that would be a fic/chapter I wrote right after studying the rules for some reason (either for the bar or for the ethical exam), and my brain was yelling at me about breaking the rule, even in fanfiction. Lol.

Nelson & Murdocks is gold.

[a-fragile-little-teacup]

I’ve yet to hear Nick Nelson say “Char” without an image of Hugh Dancy as Prince Char in Ella Enchanted (2004) coming to mind.

That habit makes the moment a little less cute, in my opinion.

[soniccovers]

Sonic X #34

Art: Patrick Spaziante

[dreaminginthedeepsouth]

Ella Fitzgerald featuring the Nelson Riddle Orchestra - Someone To Watch Over Me (Verve Records 1959)

[1001albumsrated]

#19: Ella Fitzgerald w/ arrangements by Nelson Riddle - Ella Fitzgerald Sings the George & Ira Gershwin Song Book (1958)

Genre(s): Jazz Vocals, Pop, Showtunes

There are a couple elephants in the room here, so let's just lay them out.

1: Ella Fitzgerald is one of the greatest vocalists of all time, no questions asked.

2: The Gershwin brothers are responsible for damn near every classic showtune of the era, many of which became pop and jazz standards, but they sure are the showtune-iest showtunes (they really wrote the book on composing for Broadway).

3: Nelson Riddle is the king of schmaltz, again, no questions asked.

4: A 3.5 hour box set of songs from different musicals is not a fucking album. I'm sorry, but it just isn't.

Those facts leave me conflicted. But let's add some opinions:

1: I hate musicals, any by extension showtunes. Take away my queer license, I don't care. Not a musicals guy, never have been, never will be, no not Hamilton or Rocky Horror or Repo or any other "offbeat" musical. I just don't like 'em. I enjoy a good play, just don't start singing in the middle of it and we're gucci.

2: Nelson Riddle is one of my least favorite arrangers, and this project has made me listen to more of his work in a short period of time than I've ever wanted to. If I hear another sentimental string crescendo I'm going to shit.

3: I love Ella Fitzgerald. Just a spectacular vocalist. Like I've said before, I don't listen to a lot of vocal jazz. But if I have to I'm always happy to hear her.

This all puts me in a strange place. I actually left the "yes/no" cell on my nerdy 1001 Albums spreadsheet blank for about a week while I percolated on this one. The influence of the Gershwins is undeniable, and I think Ella sings what I'd consider to be the definitive versions of these songs (at least while staying true to their original forms; there are plenty of jazzier instrumental versions of the standards here that I'd much rather hear). As previously stated, not a fan of the Riddler, but I think his style is authentic to the spirit of the original compositions so I can't be too mad at the choice to work with him.

On the other hand, what an absolute slog of a listen. I had to break this up over two sessions, both for logistical reasons and because 3.5 hours of this is just too fucking much. I don't feel like this qualifies as an album, not just because of length, but on account of the content. Don't get me wrong, there are some incredibly long albums I love (for example: the atmospheric black metal epic Shards of Silver Fade by Midnight Odyssey clocks in at almost 2.5 hours, and Matmos' 99 artist collaborative experimental electronic epic The Consuming Flame: Open Exercises in Group Form clocks in right under 3 hours, or even Anthony Braxton's mind-obliterating 4 hour free jazz epic Quartet (New Haven) 2014), but I think the difference is that those are intended to be single, coherent experiences. This is, to me, more of a traditional box set compilation than an album. Even though these are new recordings recorded at the same sessions, I don't feel like I'm supposed to be listening all the way through. I was feeling positive but also like I'd had enough after 1 disc, and the next 3 really did me in. This, to me, is diedard material, much in the same vein as the various Miles Davis complete sessions box sets. I wouldn't tell someone "oh, my favorite Miles record is The Complete Jack Johnson Sessions", it's just asinine. I love it, but it's still not an album.

I've meandered here, so let's get to the point. Is Ella Fitzgerald Sings the George & Ira Gershwin Song Book an album you MUST hear before you die? I don't think it's an album, and even if you want to say it is, I don't think it stands on its own two legs enough to say anything but No to that question. I love Ella, and I think she has recorded plenty of great albums we could pick here, but I really don't see the need to listen to this unless you're a diehard Ella fan, a diehard theater kid (grown or otherwise), or a diehard jazz fan who wants to hear the best original versions of these classic tunes. I hate to say that, because I tend to take a historic lens to these sorts of things and I don't think you can understate the historical significance of these songs, but this just doesn't make the cut for me. It is, however, where I suspect many listeners' 1001 Albums journeys met their untimely demise. Great album art though, they nailed that.

For the nerds: I listened to this in hi-res on Qobuz. The track order there seems to vary from some of the other lists I've seen. Of note is that it puts the Ella-less instrumental cuts at the end where they belong instead of the beginning (or even better, maybe they could have stayed on the cutting room floor).

Next up: The Genius of Ray Charles by, you guessed it, Ray Charles!

[letterboxd-loggd]

Corvette K-225 (The Nelson Touch) 1943 Richard Rosson

June 15th 2023

[jazzdailyblog]

Ella Fitzgerald: The Queen of Jazz and Her Enduring Legacy

Introduction: In the vast realm of jazz, there are few voices that have left as profound an impact as that of Ella Fitzgerald. Known as the “First Lady of Song” and the “Queen of Jazz,” Fitzgerald’s vocal virtuosity, impeccable technique, and unparalleled ability to interpret a song have solidified her place as one of the greatest jazz musicians of all time. In this blog post, we delve into the…

[doyoulikethissong-poll]

Fats Waller - Ain't Misbehavin' 1929

"Ain't Misbehavin'" is a 1929 song written by Fats Waller, Harry Brooks and Andy Razaf. Waller recorded the original version that year for Victor Records and also later re-recorded the song for the 1943 film Stormy Weather. In a 1941 interview with Eddie "Rochester" Anderson, Fats claimed the song was written while "lodging" in alimony prison, and that is why he was not "misbehaving".

There were six other recordings of the song released in 1929, including versions by Louis Armstrong, Ruth Etting, Gene Austin, and Leo Reisman and His Orchestra. It was also used in the off-Broadway musical Connie's Hot Chocolates.

It has been recorded by many other performers over the years, including Billie Holiday, Eartha Kitt, Ella Fitzgerald, Django Reinhardt, Miles Davis, Ray Charles, Nat King Cole, and Willie Nelson, to name a few.

The original 1929 recording of "Ain't Misbehavin'" by Fats Waller received the Grammy Hall of Fame Award in 1984, and it was one of fifty recordings selected for inclusion in the National Recording Registry by the Library of Congress in 2004.

"Ain't Misbehavin'" received a total of 79,6% yes votes!

[cartermagazine]

Today In History

Nat King Cole, legendary singer, pianist, and entertainer, was born in Montgomery, AL, on this date March 17, 1919.

By the 1950s, Cole emerged as a popular solo performer. He scored numerous hits, with such songs as “Nature Boy,” “Mona Lisa,” “Too Young” and “Unforgettable.” In the studio, Cole got to work with some of the country’s top talent, including Louis Armstrong and Ella Fitzgerald, and famous arrangers such as Nelson Riddle.

Cole made television history in 1956 when he became the first African American performer to host a variety TV series. The Nat King Cole Show featured many of the leading performers of the day, including Count Basie, Peggy Lee, Sammy Davis Jr. and Tony Bennett.

His daughter Natalie Cole included a cover of the song Unforgettable on her album Unforgettable… with Love. It was certified 7× platinum by the Recording Industry Association of America (RIAA), and won the Grammy Award for Album of the Year, for which Cole became the first African-American woman to win the award.

CARTER™️ Magazine