Their vocal rapport was so strong that Armstrong's absence from trumpet didn't matter as much as you'd think.
Ella and Louis Again picks up where Ella and Louis (1956) left off, but it's a different animal. The first album was all duets—Ella and Louis trading phrases, playing off each other's phrasing. This one loosens the formula. Seven tracks go solo, giving each of them room to breathe without the other. That might sound like a step backward, but it actually works. You get a clearer picture of what each singer brings to the table when they're not always in conversation.
The big change musically is Armstrong's trumpet. On the predecessor, he played on every track. Here he shows up on six. The Oscar Peterson Trio returns to back them, now joined by drummer Louie Bellson. That's a solid outfit—Peterson's always swinging, and Bellson keeps things moving. Alex Henderson, writing for AllMusic, nailed it: their vocal rapport is so strong that the trumpet shortage doesn't hurt. Armstrong still sounds like Armstrong whether he's blowing or singing, and Fitzgerald is Fitzgerald no matter what. The duo spends more time together than apart, which is where the real magic lives. When they're on the same track, there's an ease between them that feels earned, not forced.
This isn't the album that changed jazz or anything like that. It's a solid professional job by two singers who knew exactly what they were doing. If you've heard the first Ella and Louis record and want more of that chemistry, this delivers. It's comfortable, well-played, and frankly worth your time. Not every jazz album needs to be a landmark. Sometimes you just want to hear two great singers who like each other, backed by musicians who can keep up.