The second and final duet album from jazz's most beloved pairing, recorded in 1957 at Capitol Studios with Oscar Peterson's trio and Armstrong's All-Stars. It's warmer, looser, and more playful than the first—a masterclass in how two giants can share a microphone without stepping on each other's toes.
The first time they sang together, it was a handshake with a melody. By the second album, they were trading secrets.
Ella and Louis Again arrived in 1957, barely a year after the first record that made everyone wonder why nobody had thought of it sooner. Verve’s Norman Granz—the man who managed both artists and produced nearly everything they did for his label—knew the chemistry was too good to leave as a one-off. He booked three sessions across late 1956 and early 1957, mostly at Capitol Studios in Hollywood, and let the tape roll.
The rhythm section is Oscar Peterson’s trio—Peterson on piano, Herb Ellis on guitar, Ray Brown on bass—with Buddy Rich on drums. When Armstrong’s All-Stars sit in, you get Trummy Young’s trombone, Edmond Hall’s clarinet, and the rolling piano of Billy Kyle. It’s a bigger, more varied sound than the first album, but it never feels crowded.
The Balance of Two Voices
The duets are what you came for. “They Can’t Take That Away From Me” finds Armstrong growling through the verse while Fitzgerald floats in on the chorus, holding notes like she’s testing the air. “Let’s Call the Whole Thing Off” is a comic masterpiece—two people who can barely agree on pronunciation, grinning through the argument. You can hear them smile.
But the album’s heart is in its solo moments. Fitzgerald’s “Bewitched, Bothered and Bewildered” is slow, almost uncomfortably honest, her voice a hairline crack away from breaking. Armstrong’s “Rockin’ Chair” lets him settle into the low rumble that made his voice unmistakable—part gravel, part honey, all warmth.
Val Valentin engineered the sessions with the same clean, present sound that defined Verve’s best jazz records. The piano sits slightly left, bass dead center, drums tucked just behind the vocalists. It’s a mix that keeps you leaning in.
There’s no grand finale here. The album ends with “Stompin’ at the Savoy,” a swinger that sends you out tapping your foot. No need for a curtain call. The music just stopped when they ran out of good tunes.
What is the difference between 'Ella and Louis' and 'Ella and Louis Again'?
The first album (1956) is more restrained, with a smaller ensemble (just Oscar Peterson's trio plus Buddy Rich) and focuses on ballads. 'Again' expands the lineup to include Armstrong's All-Stars on several tracks and mixes up tempos with more swing numbers and duets.
Why didn't Ella Fitzgerald and Louis Armstrong record more albums together?
Both artists had demanding solo careers and different touring schedules. Norman Granz managed them both and wanted to capture the chemistry while it was fresh, but after 'Again' they didn't reunite for a full album. Their occasional TV appearances together are the only other surviving collaborations.
Who plays on the quartet tracks vs. the full band tracks?
The quartet tracks feature Oscar Peterson (piano), Herb Ellis (guitar), Ray Brown (bass), and Buddy Rich (drums). The full band tracks add Armstrong's All-Stars: Trummy Young (trombone), Edmond Hall (clarinet), Billy Kyle (piano), Dale Jones (bass), and Barrett Deems (drums). The album alternates between the two configurations.
Further Reading