My God, look at that cover. They were such musical royalty that they could have – should have - been covered in silk robes and ermine, but there sits Ella in a housedress next to Louis in a short-sleeve shirt and rolled-down white socks.

At this point in time, both of them were at the busiest period of their lives, so attending a formal photo shoot would have been out of the question, and as it turns out, inappropriate as well. These are two of the most straightforward and humble superstars that ever walked the planet Earth, and what matters here is what is in the grooves.

For a true definition of the word ‘sublime’, you don’t need a dictionary. This is some of the most casually perfect music ever recorded, and that is not an overstatement. Even a casual listen reveals its greatness, and yet it all sounds so damned effortless! The cover photo more or less tells the story: the session was arranged, so they met at Capitol Studios on August 16,1956, exchanged pleasantries and then broke out their charts and got down to work. It was a day’s work, with support by the Oscar Peterson Quartet with Herb Ellis (guitar), Ray Brown (bass, also her ex-husband!) and Buddy Rich (brushes). In a word? Magical, or better yet, sublime.

Featured Tracks:

Can’t We Be Friends

Isn’t This a Lovely Day?

Moonlight in Vermont

That Can’t Take That Away from Me

Under a Blanket of Blue

Tenderly

A Foggy Day

Stars Fell on Alabama

Cheek to Cheek

The Nearness of You

April in Paris

October 1956 - Billboard Charted #12