Released in 1957, Ella And Louis Again is the follow-up to the wildly successful Ella & Louis released a year prior; a release that was unapologetically intended to milk the chemistry of Ella Fitzgerald & Louis Armstrong. As a result, it sounds a little rushed, with a little less polish than its predecessor, but that isn’t to say that it’s a bad release but it does demonstrate just how extraordinary Ella & Louis really is.

As a double album with a considerably longer runtime than its predecessor, Ella And Louis Again brings the core musicians (sans Buddy Rich; Louie Bellson on drums) back for a second outing but is interesting in that it breaks with the formula of the original for seven songs are solo vocal performances; four from Armstrong and three from Fitzgerald. Naturally, these songs are so impressive that most listeners won’t blink an eye but an argument could be made that an album sans the solo recordings would have been a far better, and more concise, follow-up. Yes, dear reader, you can have too much of a good thing and while the song selection is solid, they’re not as stellar as those selected for Ella & Louis. It is important to note that upon release, the album was also made available as Volume One and Volume Two thereby reducing the runtime of each part to that of a traditional album.

The cover art for Ella And Louis Again is adequate but the original is iconic. Textual elements weren’t needed the first time around, for the master musicians told their story by merely sharing the same space. Disappointingly, the album artwork for Ella And Louis Again is both unimaginative and unappealing while simultaneously showing a disconnect between Fitzgerald and Armstrong. Whether intentional or not, it does mimic the disconnect within the music whereby a considerable number of tunes are solo efforts and those that are duets are, in many cases, inferior to that heard on their debut outing.

As it pertains to sonic quality, Ella And Louis Again doesn’t come close to the impressive audio experience of Ella & Louis; an Apple Digital Master with both high-resolution offerings and a Dolby Atmos mix. Ella And Louis Again is derived from the standard CD reissue and on its own, this isn’t too much of an issue but if you decide to listen to this album immediately after the first, you’ll be in for a shock. The difference is, pardon the term, night and day. The mastering is adequate but it isn’t the final word in sound quality as it relates to this particular release. What you’ll experience is a clinical reproduction that needs a drop in the treble and a boost in the mid and bass regions to sound its best.

While I may have various complaints, Ella And Louis Again is an excellent album in its own right that is arguably only dwarfed by the breathtaking Ella & Louis.

Don’t Be That Way isn’t the strongest opening. It’s a lovely song but it lacks the wow factor that was needed to launch an album such as this. Frank Sinatra’s rendition, however, has a little more swing and is, therefore, more appealing.

Makin’ Whoopee, however, would have been the quintessential lead-off track despite it being a solo Armstrong performance. It’s fun, witty, and has the same playful feel that I adored on Ella & Louis. Although, it has often been marred with controversy, surrounding the story arc, relating to the entrapment of men for makin’ whoopee.

Unpacking the lyrics you can definitely see the issue but the use of euphemisms throughout brings a smile to my face every time I hear it; in the same way as Chuck Berry’s cover of My Ding-A-Ling does. Perhaps, I never grew up, but who doesn’t find the word whoopee to be hilarious? As for the controversy, let’s just say that it doesn’t bother me, as I see the humour in it, but I can also understand why some may find it offensive.

Reflecting on the other covers of Makin’ Whoopee, Frank Sinatra’s is lovely, as is Shirley Horn's, but perhaps most interesting is that Ella Fitzgerald recorded the tune in 1958; a slightly different but lovely rendition! None, however, are quite as good as Armstrong’s interpretation, although The Ben Webster Quintet came awfully close on Soulville.

They All Laughed has a killer hook and is one of the best tracks on the album, despite its slow start. It does amaze me, however, that They All Laughed hasn’t been covered more in the modern era, or even reinterpreted with contemporary zeitgeists in mind for George Gershwin’s tune, as so many of his were, is timeless.

Fred Astaire’s original is magnificent as is Oscar Peterson’s interpretation.

Comes Love is magnificent and is one of the best jazz standards ever written and recorded. As a Fitzgerald solo outing, it’s perfect and while it’s been covered extensively, few come close to this particular recording. Although, Vince Jones' and Joni Mitchell's interpretations come close.

Autumn In New York is a beautiful slow-tempo jazz number. This recording is particularly unique as Autumn In New York is seldom performed as a duet. Some may subsequently lament Armstrong’s gritty vocal, for it is a little contrasty to the smooth jazz musical backing and Fitzgerald’s silky tones, but it works surprisingly well. Plus, Armstrong’s trumpeting is other-worldly.

Of the other renditions, Frank Sinatra’s is arguably the best while Diana Krall’s is a lovely up-to-date interpretation.

Let’s Do It (Let’s Fall In Love) is Louis Armstrong at his very best. The intonations in his vocal get me every time; magnificent! While this disappointingly wasn’t one of their duets, Fitzgerald did record a beautiful rendition of the song herself.

Stompin’ At The Savoy is a great toe-tapper that I would have loved to have heard performed live in any out-of-the-way jazz club in the 50s. The nostalgia, even though I never lived it, is strong when you listen to this jazz masterpiece and if you too would like to experience an incredible live recording look no further than Fitzgerald’s performance from the Chicago Opera House with the Oscar Peterson Trio.

Of the other available performances, Judy Garland’s is magnificent while Art Pepper’s is a stunning instrumental.

I Won’t Dance has a terrible opening but thankfully once Armstrong enters the mix, things start to pick up. I’d go as far as suggesting that Fitzgerald’s solo, recorded in 1961, is significantly better than this duet. Nevertheless, it isn’t one of the better songs on Ella And Louis Again but there are other excellent interpretations to listen to, such as Fred Astaire’s early recording, even if it isn’t as emotive as Frank Sinatra's. For modern renditions, look no further than Jane Monheit and Michael Bublé’s recording and check out the exceptional music video for Willie Nelson and Diana Krall’s interpretation.

Gee, Baby, Ain’t I Good To You? is a great tune and it’s wonderful to hear Armstrong’s trumpet again. Unlike the continuous inclusion throughout Ella & Louis, Armstrong’s magical trumpeting is only featured on six of the nineteen songs found on this release so it’s an audible pleasure when it appears in the mix.

Other notable renditions include the original from the Nat King Cole Trio, Diana Krall’s dedication to Nat King Cole, and Dr. John’s unpretentious recording on Afterglow. Dizzy Gillespie’s instrumental, while a little shrill, is also magnificent, as is Count Basie’s performance.

Let’s Call The Whole Thing Off is a masterpiece!

While I can’t think of a better interpretation, you may thoroughly enjoy Fred Astaire’s recording and Bing Crosby’s duet with Rosemary Clooney. Fitzgerald’s solo performance from Ella Fitzgerald Sings the George and Ira Gershwin Song Book is sung in a similar manner to the duet but I’ve got to be honest and say that I miss Armstrong when listening to this version.

These Foolish Things (Remind Me Of You), as a Fitzgerald solo recording, is flawless. Her vocal prowess is perfectly suited to the style and no one has done it better. In my opinion, this is Ella’s song. Although, Nat “King” Cole’s interpretation is magnificent as is Aaron Neville’s soulful rendition.

I’ve Got My Love To Keep Me Warm is a great tune but the sequencing shifts too much from These Foolish Things (Remind Me Of You) thereby creating a jolt to the senses; an aspect that wasn’t present on Ella & Louis. Fitzgerald would record I’ve Got My Love To Keep Me Warm a year later for Ella Fitzgerald Sings the Irving Berlin Song Book; a solid recording but nowhere near the duet found on Ella And Louis Again.

Willow Weep For Me is a solid Armstrong solo. While you’ll thoroughly enjoy listening to it, I’d suggest that it isn’t a song that you’ll seek out on its own. Wes Montgomery’s masterpiece, however, is well worth tracking down.

I’m Puttin’ All My Eggs In One Basket is an upbeat tune that is simply fun. They don’t make music like this anymore; an adage, yes, but one that rings true when you listen to a classic recording such as this. Armstrong did record the song in 1936 and while it’s lovely, I’m so glad it was rerecorded for this release for it’s an improvement over the original, particularly as it relates to the duet style. Fitzgerald also rerecorded it as a solo in 1958 and it's a little smoother than that on Ella And Louis Again, thereby making it a must-listen. Fred Astaire’s interpretation is also worthy of your time if you haven’t previously heard it.

A Fine Romance continues the lighthearted style. If only all tunes, particularly modern music, were this carefree? It’s not that I dislike modern recordings, many are exceptional, but when you go back and listen to this type of music you find there’s something special, often innocent, and excitingly memorable; elements that are sadly missing from many modern releases.

Fitzgerald rerecorded the tune for her album, Ella Fitzgerald Sings the Jerome Kern Song Book in 1963; it’s lovely but something is missing. Yes, dear reader, I feel it works better as a duet. That said, Kiri Te Kanawa knocks her solo out of the park.

Ill Wind is the final Fitzgerald solo performance, on Ella And Louis Again, and as beautiful as she performs it, I prefer Frank Sinatra’s recording from In The Wee Small Hours. Additionally, The Ben Webster Quintet recorded a masterful rendition on Soulville.

Love Is Here To Stay is perfect jazz club material and while it’s been covered considerably, it’s amazing that so many modern jazz musicians have overlooked it.

Is Fitzgerald and Armstrong’s interpretation the best version of the song? Yes and no!

When you have Sinatra performing it masterfully on Songs For Swingin’ Lovers, I simply don’t feel Fitzgerald and Armstrong matched his recording.

I Get A Kick Out Of You, Cole Porter’s opus, is the final Armstrong solo and what a performance it is. Yes, Sinatra recorded the song but in this case, as much as I love his rendition, Armstrong knocks it out of the park. Michael Bublé’s 2018 recording, from Love, is a solid modern take but is arguably too similar to Sinatra’s to set them adequately apart. Interestingly, Fitzgerald did record I Get A Kick Out Of You on Ella Fitzgerald Sings the Cole Porter Song Book from 1956; it’s magnificent and one can only wonder why it wasn’t performed as a duet on Ella And Louis Again.

Another notable recording is Rod Stewart’s from Fly Me to the Moon... The Great American Songbook, Vol. V.

Learnin’ The Blues is a great closer, especially with Armstrong’s trumpeting, but it is ultimately Fitzgerald’s gorgeous vocal that makes me want to play the album again. Frank Sinatra’s recording is one of the best, as is Willie Nelson’s from That’s Life, but the mix of Fitzgerald and Armstrong offers listeners something special that the solo recordings can’t give us; a rustic and simultaneously smooth rendition that can only be achieved due to the different, but complementary, styles of Fitzgerald and Armstrong.

While Ella And Louis Again can never live up to, or surpass, the brilliance of Ella & Louis it should not be ignored for if the former were a five-star release then this follow-up would be a four-star album; an excellent musical experience by anyone’s standards.