Ella Fitzgerald : Live At The Concertgebouw 1961

The Lost Recordings operates in an interesting niche: they excavate previously unreleased concert tapes from European radio archives, apply their proprietary Phoenix Mastering process, press them at Optimal Media in Germany, and sell them at premium prices to collectors who want to own something nobody else has heard. Whether that justifies the cost depends entirely on how much you value rarity versus pure sonic quality.

This 1961 Concertgebouw performance sat in the Dutch national archives for 56 years before Fondamenta discovered it in 2017. Ella recorded this just one year after her famous Berlin concert, performing with Lou Levy on piano, Herb Ellis on guitar, Wilfred Middlebrooks on bass, and Gus Johnson on drums. Norman Granz introduced the musicians, and Ella opened with "Too Close for Comfort," holding the audience firmly in hand from the first note.

The Source Material Reality
This is a mono radio broadcast recording from 1961, not a studio session. Understanding that context matters before you spend a premium price for this pressing. The original VARA tapes captured a live performance with all the sonic compromises that entails. Audience noise, hall acoustics, microphone placement decisions made for broadcast rather than archival quality. André Perriat handled the lacquer cuts, and Optimal Media pressed it on 180 gram vinyl.

Our copy arrived flat with clean surfaces and proper centering. The gatefold packaging is substantial with session photography and liner notes, though nothing extravagant. Build quality matches what you'd expect from Optimal, which means solid but not RTI or QRP level perfection.

Where This Pressing Works
The mastering captures Ella's vocal presence effectively. Her phrasing comes through clearly, the intimacy of her delivery maintained despite the broadcast source. The backing quartet stays properly proportioned in the mix, with Herb Ellis's guitar work audible without overwhelming the arrangement. For a 64 year old live recording, the tonal balance is impressive.

Surface noise is minimal on our copy, which matters significantly on quiet passages between songs or during ballad sections where any pressing defects would intrude. The mono presentation feels appropriate given the source. Some collectors obsess over stereo imaging, but this was recorded mono and mastered mono, which is exactly right.

The performance itself justifies the release. Ella at the height of her powers working through the Great American Songbook standards with a tight quartet behind her. The musical content is exceptional, which is why this tape deserved to see daylight after sitting in an archive for half a century.

The Honest Critique
The Lost Recordings charges premium pricing based primarily on rarity and the Phoenix Mastering process. Their marketing emphasizes the proprietary restoration techniques and limited availability. What they don't emphasize is that you're still working with broadcast tape limitations that no amount of mastering wizardry can completely overcome.

Vocal clarity is excellent but not reference grade. The upright bass sits slightly masked in the mix. The hall acoustics add a touch of smear to the midrange that's inherent to the venue and the recording setup. These aren't pressing flaws. These are source limitations. André Perriat did solid work with what he had, but he couldn't create information that wasn't on the original tapes.

Compare this to the recent Blue Note Tone Poet series pricing for studio recordings cut from pristine master tapes. The Lost Recordings asks nearly double that for live broadcast sources with inherent sonic compromises. You're paying for historical significance and exclusivity more than pure audio fidelity.

The Market Position
This is the unnumbered second edition. The first pressing was limited to 900 copies. Discogs The Lost Recordings typically sells out their initial runs quickly, then issues second pressings without numbering. Collectors debate whether the unnumbered editions match the first pressing quality, though I've seen no convincing evidence of any difference.

The label's collaboration with Devialet and Fondamenta gives them credibility in audiophile circles, but their catalog remains small and focused exclusively on jazz. If you're not specifically interested in previously unreleased live performances from 1960s European concert halls, their entire catalog might hold zero appeal regardless of pressing quality.

The Verdict
This is a well executed pressing of historically significant material that was never commercially released. The performance captures Ella Fitzgerald at peak form. The mastering and pressing work is professional. The packaging meets audiophile standards without excessive theatrics.

But let's be realistic about what you're buying. This is a 1961 broadcast recording with all the sonic limitations that implies. No amount of Phoenix Mastering can turn radio tape into studio master quality. If you collect Ella Fitzgerald and you want performances that aren't available anywhere else, this delivers exactly that. If you're chasing pure sonic perfection, you'll find better options in studio recordings cut from first generation tapes.

* Recommended for: Serious Ella Fitzgerald collectors.
* Recommended for: Jazz historians interested in previously unreleased material.
* Recommended for: Collectors who value rarity and historical significance.
* Skip if: You prioritize sonic purity over historical interest.
* Skip If: Premium pricing for live recordings doesn't appeal.
* Skip If: You're satisfied with Ella's widely available studio albums.

Bottom line: The Lost Recordings occupies a legitimate niche excavating worthy performances from archives and presenting them professionally. This Concertgebouw recording deserved release. The execution is competent. Just understand you're paying for exclusivity and historical value, not reference audio quality. 💵

💰Invest
💵 Consider
💸 Pass