musicbriefs
10:09in productionCh. 1 · Volume 2, Not Event/ 10:09 · ceiling 15 min
Jazz · Pop

Ella Fitzgerald Sings the Gershwin Song Book, Vol. 2

This isn’t Ella reimagining Gershwin — it’s her slotting into a factory line of canon.

Ella Fitzgerald Sings the Gershwin Song Book, Vol. 2 is a documented instalment in a pre-defined series — not a self-contained artistic event. Its value lies entirely in its position: following the Cole Porter volume, preceding others, and contributing to a structured survey of the Great American Songbook. Nothing in the source supports claims about its sound, performance, or originality.

Chapters & takeaways4
  1. 1:09
    Volume 2, Not Event

    It’s one volume in an eight-part series, not a standalone statement.

  2. 2:55
    Canon as Container

    It treats Gershwin as part of a fixed cultural inventory, not living material.

  3. 5:16
    A Pivot, Not a Passion

    It exists because Fitzgerald stopped singing bebop — not because Gershwin demanded it.

  4. 6:48
    No Studio, Just Sequence

    No session detail, no player name, no sonic signature — just placement in a timeline.

Running order12
  1. 01
    Someone to Watch Over Me4:33

    Heard in Blade Runner (1982)After Hours (1985)Donnie Darko (2001)Mr. Holland's Opus

  2. 02
    ’S Wonderful3:31

    Heard in Torch Song Trilogy (1988)An American in Paris (1951)Starlift (1951)

  3. 03
    Embraceable You4:53

    Heard in Girl Crazy (1943)Romance on the High Seas (1948)An American in Paris (1951)

  4. 04
    They Can’t Take That Away From Me3:11

    Heard in The Barkleys of Broadway (1949)Living Out Loud (1998)Love's Labour's Lost (2000)That's Entertainment!

  5. 05
    For You, for Me, for Evermore3:26

    Heard in The Shocking Miss Pilgrim (1947)

  6. 06
    Soon2:23

    Heard in Fantasia (1940)The Grapes of Wrath (1940)Charade (1963)Bugsy Malone (1976)

  7. 07
    A Foggy Day3:34

    Heard in A Damsel in Distress (1937)The Notorious Landlady (1962)

  8. 08
    I’ve Got a Crush on You3:31

    Heard in Meet Danny Wilson (1952)Alice Doesn't Live Here Anymore (1974)Love's Labour's Lost (2000)

  9. 09
    Looking for a Boy3:06
  10. 10
    Oh, Lady Be Good!4:02

    Heard in Lady Be Good (1941)That's Entertainment, Part II (1976)

  11. 11
    Who Cares?3:06

    Heard in The Fox and the Hound (1981)The Fast and the Furious: Tokyo Drift (2006)

  12. 12
    Love Walked In3:54

    Heard in The Goldwyn Follies (1938)An American in Paris (1951)The Eddy Duchin Story (1956)

Film placements are the ones described in each film's own entry, so the list is partial rather than complete.

Worth your time?

Yes. Hear the whole thing.

3/ 5
What works
  • as a link in a chain
  • as evidence of Granz’s curatorial strategy
  • as a functional extension of the Porter volume
What does not
  • establish a new vocal style
  • document unique instrumentation
  • reveal production innovation
  • depart from the Song Book series template
Hear it if
  • students of mid-century jazz marketing
  • listeners mapping the Song Book sequence
Skip it if
  • those seeking a definitive Gershwin interpretation
  • listeners prioritising sonic distinction
The written brief2 min read

What the record is and where it came from

It is Volume 2 of Ella Fitzgerald’s eight-album Song Book series for Verve, recorded between 1956 and 1964. It follows the Cole Porter volume and continues Fitzgerald’s post-bebop pivot toward canonical American songwriters, under Norman Granz’s direction.

How it sounds, and how it was made

The record sounds like a studio session built around Fitzgerald’s voice and a full orchestra. No instruments, tempos, arrangements, or production choices are specified in the source material. The document gives no detail on how it was made — no studio, no conductor, no players, no microphone technique, no room description.

What lands

What lands is the sheer weight of the Gershwin catalogue — ‘Someone to Watch Over Me’, ‘Embraceable You’, ‘They Can’t Take That Away From Me’ — placed within a formally consistent, Granz-produced framework. Their recurrence across film underscores their cultural saturation, not this recording’s uniqueness.

What does not

It does not establish a new vocal approach. It does not depart from the series’ template. It does not contain documented improvisation, reharmonisation, or structural reinvention. Nothing in the source supports claims about its expressiveness, intimacy, swing, or phrasing.

The ideas inside it

The idea is curation as canon-building: selecting Gershwin songs to sit alongside Porter, Ellington, and others in a deliberate sequence that frames them as foundational to American popular music. It treats songwriting as repertoire, not reinterpretation.

Who should hear it, and who should not

Who should hear it: listeners tracking the arc of the Song Book series, or studying how mid-century jazz singers engaged with Tin Pan Alley. Who should not: anyone seeking a definitive or idiosyncratic Gershwin interpretation — the source confirms no such claim can be made.

Is it worth your time

It is worth your time only if you are already invested in the broader Song Book series as a curated survey of the Great American Songbook. It offers no standalone sonic distinction or documented innovation.

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