Recorded during the period of time when Ella Fitzgerald cut her famous series of "songbooks," this set (which in 1998 was reissued on CD) is a bit of a hodge-podge, drawing its 14 selections from six different dates which find Ella backed by orchestras led by either Nelson Riddle, Frank DeVol, Russ Garcia or Paul Weston. "A-Tisket, A-Tasket" was previously available as just a single while "Swingin' Shepherd Blues" (an alternate take) was previously unreleased. As usual, Ella uplifts all of the material and her best moments come on "Somebody Loves Me," a heartfelt "Moonlight Becomes You," a scat-filled "Blue Skies" and (somewhat surprisingly) "St. Louis Blues." Although this was not her most essential release, the formerly obscure Get Happy finds Ella Fitzgerald at the peak of her powers.

An appearance in Hollywood for a first-rate jazz vocalist was not necessarily an opportunity to broadcast the singer's visage and pander to everyone from Tacoma to Tallahassee. It could also include a date at the Crescendo. The Sunset Strip's best chance to find premier jazz, Gene Norman's nightclub hosted dozens of jazz legends (and a comic or two), and produced more than its share of excellent LPs recorded on location. Better even than Mel Tormé's 1954 classic, the Ella Fitzgerald LP that resulted from her May 1961 appearances generated one of the best (and certainly most underrated) live records in her discography. All of her hallmarks - technical wizardry, breakneck scatting, irrepressible humor and warmth - are on full display, with a small but expressive quartet backing her performance (including pianist Lou Levy, guitarist Herb Ellis, drummer Gus Johnson, and bassist Wilfred Middlebrooks)…

This studio album matches together Ella Fitzgerald and the Count Basie Orchestra 16 years after they first recorded together. Basie's sidemen are unfortunately restricted in the Benny Carter arrangements to backup work but Basie has a few piano solos and Fitzgerald is in good voice and in typically swinging form. Highlights include "Just a Sittin' and a Rockin'," "Teach Me Tonight" and "Honeysuckle Rose."

Organist Bill Doggett had a rare chance on this album to write swinging charts for a big band. Ella Fitzgerald is in the spotlight throughout, mostly singing swing-era songs along with a couple of newer pieces, such as "Hallelujah I Love Him So" and "No Moon at All." "I Can't Face the Music" is the longest performance at 5:01, and all but three of the other selections are under three minutes, so there is no real stretching out. However, Ella's voice was in its prime, and the charts are excellent.

Although Ella Fitzgerald worked in many different settings, from big bands to guitar-and-voice duets to sets with nearly every piano player in the business (from Duke Ellington on down), one could make a case that her best recordings were made with Oscar Peterson and his small bands. Released in 1976, Ella and Oscar is one of those classic recordings, an album that's as spare and intimate as any that the pair ever issued. In fact, the only other performer featured on this set is Peterson's longtime bassist Ray Brown, whose contributions are minimal. These songs, from the mellifluous "Mean to Me" to a languid "April in Paris," are simple and beautiful.

On this four-CD set are some of Ella Fitzgerald's finest live performances during the years she was managed by Norman Granz. All of the material (which is taken from ten different performances in 1953, 1966, 1967, 1971, 1972, 1974, 1975, 1977, 1979 and 1983) was previously released on various Pablo albums. Since this is a best-of collection and was lovingly put together by the knowledgeable producer Eric Miller, the music is consistently rewarding and emphasizes the interpretive skills, scatting and jazz phrasing of the First Lady of Song. Although mostly backed by her trio/quartets of the period, Ella does get to jam "Perdido" with the 1953 JATP All-Stars, is backed by the Duke Ellington and Count Basie Orchestras on some songs and revisits "Flying Home" with an all-star group in 1983…

A 1971 live recording, from when Ella Fitzgerald was still at the peak of her vocal powers, Ella à Nice isn't one of the vocalist's all-time greatest live recordings, but it's a very nice set placing her in the company in which she felt most comfortable, a simple piano/bass/drums trio led by her longtime musical partner, Tommy Flanagan. Most of the set list's time is taken up by themed medleys such as "Aspects of Duke," "The Bossa Scene," and "The Many Faces of Cole Porter" that are perfectly nice but, as medleys tend to be, a little disappointing. One would rather hear Ella work her magic on the entirety of "The Girl From Ipanema" or "Do Nothin' Till You Hear From Me" than be teased with a verse and chorus. On the other hand, the opening "Night and Day" is simply outstanding. Opening slowly with an extended vamp by Flanagan and bassist Frank DeLaRosa…

From a label with no shortage of first-rate jazz material come this very attractive vocal sampler. Staying true to the Compact Jazz ethos, Best of the Jazz Vocalists favors quality over hits and comes with a budget price tag. The majority of songs are from the label's prime '50s and '60s run, including a cloud-bound "Summertime" by Helen Merrill and one of the all-time great versions of "If You Could See Me Now," compliments of Billy Eckstine. Continuing with this balancing act between the sexes, the collection also includes fine work by Bill Henderson, Ella Fitzgerald, Louis Armstrong, Abbey Lincoln, Jon Hendricks, Shirley Horn, and Anita O'Day; latter-day entries include Lincoln's "I've Got Thunder and It Rings" from her 1990 Verve debut and Horn's "I Got Lost in His Arms" from 1988's Close Enough for Love. Nicely wrapped up with Nina Simone's Afro-percussion clarion call "Come Ye," this Verve roundup works as the perfect primer for more adventurous trips through the label's fertile stores of essential jazz.

Nowhere was Ella Fitzgerald's mastery of America's "classical" music more evident than on the legendary songbook albums of the 1950s. Of the songwriting giants covered in the series, the collection of songs by George and Ira Gershwin was arguably the greatest. Oh, Lady, Be Good!: Best of the Gershwin Songbook collects 17 of the strongest cuts from the 5 original LPs. Why Gershwin? Ella's painstaking attention to musical perfection helped turn many songs into standards, but Ira Gershwin's lyrics seemed to speak to Ella most directly of all. Ira, who was present at these 1959 sessions, wrote lyrics that conveyed a sense of lightness and romanticism, qualities that fit Fitzgerald's vocal style to a tee. Ella's unique abilities are showcased on her masterful version of "Someone To Watch Over Me." While many singers have captured the song's sense of longing, Fitzgerald refuses to overdo it…

Another typically wonderful LP of Ella Fitzgerald in her prime, Fitzgerald is joined by pianist Lou Levy, guitarist Herb Ellis, bassist Joe Mondragon, and drummer Stan Levey. Fitzgerald is in fine form on such numbers as "A Night in Tunisia," an emotional "You're My Thrill," "Jersey Bounce," and "Clap Hands! Here Comes Charlie." Although not reaching the heights of her live performances, this is an excellent (and somewhat underrated) set.