Ella Fitzgerald

Ella Jane Fitzgerald (April 25, 1917 – June 15, 1996), also known as "Lady Ella" and the "First Lady of Song", is considered one of the most influential jazz vocalists of the 20th century.

With a vocal range spanning three octaves, she was noted for her purity of tone, phrasing and intonation, and a "horn-like" improvisational ability, particularly in her scat singing. She is widely considered to have been one of the supreme interpreters of the Great American Songbook.

Big-band singing

In January 1935, Fitzgerald won the chance to perform for a week with the Tiny Bradshaw band at the Harlem Opera House. She met drummer and bandleader Chick Webb here for the first time. Webb had already hired singer Charlie Linton to work with the band, and was, The New York Times later wrote, "reluctant to sign her....because she was gawky and unkempt, a diamond in the rough."[5] Webb offered her the opportunity to test with his band when they played a dance at Yale University. Despite the rough crowd, she was a great success, and Webb hired her to travel with the band for $12.50 a week.
Ella Fitzgerald photographed by Carl Van Vechten in 1940.

She began singing regularly with Webb's Orchestra through 1935, at Harlem's Savoy Ballroom. Fitzgerald recorded several hit songs with them, including "Love and Kisses" and "(If You Can't Sing It) You'll Have to Swing It (Mr. Paganini)" but it was her 1938 version of the nursery rhyme, "A-Tisket, A-Tasket", a song she co-wrote, that brought her wide public acclaim.

Chick Webb died on June 16, 1939, and his band was renamed "Ella Fitzgerald and her Famous Orchestra" with Ella taking the role of bandleader. Fitzgerald recorded nearly 150 sides during her time with the orchestra, most of which, like "A-Tisket, A-Tasket", were "novelties and disposable pop fluff."[5]

The Decca years

In 1942, Fitzgerald left the band to begin a solo career. Now signed to the Decca label, she had several popular hits, while recording with such artists as the Ink Spots, Louis Jordan, and the Delta Rhythm Boys.

With Decca's Milt Gabler as her manager, she began working regularly for the jazz impresario Norman Granz, and appearing regularly in his Jazz at the Philharmonic concerts. Fitzgerald's relationship with Granz was further cemented when he became her manager, although it would be nearly a decade before he could record her on one of his many record labels.

With the demise of the Swing era, and the decline of the great touring big bands, a major change in jazz music occurred. The advent of bebop caused a major change in Fitzgerald's vocal style, influenced by her work with Dizzy Gillespie's big band. It was in this period that Fitzgerald started including scat singing as a major part of her performance repertoire. While singing with Gillespie, Fitzgerald recalled, "I just tried to do [with my voice] what I heard the horns in the band doing."[7]

Her 1945 scat recording of "Flying Home" would later be described by The New York Times as "one of the most influential vocal jazz records of the decade....Where other singers, most notably Louis Armstrong, had tried similar improvisation, no one before Miss Fitzgerald employed the technique with such dazzling inventiveness."[5] Her be-bop recordings of "Oh, Lady be Good!" (1947) and "How High the Moon" were similarly popular, and increased her reputation as one of the leading jazz vocalists.

Perhaps responding to criticism, and under pressure from Granz (who felt that Fitzgerald was given unsuitable material to record during this period), her last years on the Decca label saw Fitzgerald recording a series of duets with pianist Ellis Larkins, released in 1950 as Ella Sings Gershwin.

Move to Verve and mainstream success
Fitzgerald on the cover of her landmark 1956 album, Ella Fitzgerald Sings the Cole Porter Songbook.

Still performing at Granz's JATP concerts, by 1955, Fitzgerald left Decca, and Granz, now her manager, created Verve Records around her.

Fitzgerald later described the period as strategically crucial, saying, "I had gotten to the point where I was only singing be-bop. I thought be-bop was 'it', and that all I had to do was go some place and sing bop. But it finally got to the point where I had no place to sing. I realized then that there was more to music than bop. Norman....felt that I should do other things, so he produced The Cole Porter Songbook with me. It was a turning point in my life."[5]

Ella Fitzgerald Sings the Cole Porter Songbook, released in 1956, was the first of eight multi-album "Songbook" sets Fitzgerald would record for Verve at irregular intervals from 1956 to 1964. The composers and lyricists spotlighted on each set, taken together, represent the greatest part of the cultural canon known as the Great American Songbook. Fitzgerald's song selections ranged from standards to rarities, and represented an attempt by Fitzgerald to cross over into a non-jazz audience.

Ella Fitzgerald Sings the Duke Ellington Songbook was the only Songbook on which the composer she interpreted played with her. Duke Ellington and his longtime collaborator Billy Strayhorn both appeared on exactly half the set's 38 tracks, and wrote two new pieces of music for the album: "The E and D Blues", and a four-movement musical portrait of Fitzgerald (the only "Songbook" track on which Fitzgerald does not sing).

The Songbook series ended up becoming the singer's most critically acclaimed and commercially successful work, and probably her most significant offering to American culture. The New York Times wrote in 1996, "These albums were among the first pop records to devote such serious attention to individual songwriters, and they were instrumental in establishing the pop album as a vehicle for serious musical exploration."[5]

A few days after Fitzgerald's death, New York Times columnist Frank Rich wrote that in the Songbook series Fitzgerald "performed a cultural transaction as extraordinary as Elvis's contemporaneous integration of white and African-American soul. Here was a black woman popularizing urban songs often written by immigrant Jews to a national audience of predominantly white Christians."[6] Frank Sinatra was moved out of respect for Fitzgerald to block Capitol Records from re-releasing his own recordings in a similar, single composer vein.

Ella Fitzgerald also recorded albums exclusively devoted to the songs of Porter and Gershwin in 1972 and 1983, the albums being Ella Loves Cole and Nice Work If You Can Get It, respectively. A later collection devoted to a single composer was released during her time with Pablo Records, Ella Abraça Jobim, featuring the songs of Antonio Carlos Jobim.

While recording the 'Songbooks' and the occasional studio album, Fitzgerald toured 40 to 45 weeks per year in the United States and internationally, under the tutelage of Norman Granz. Granz helped solidify her position as one of the leading live jazz performers.[5]

In the mid-1950s, Fitzgerald became the first African-American to perform at the Mocambo, after Marilyn Monroe had lobbied the owner for the booking. The booking was instrumental in Fitzgerald's career. The incident was turned into a play by Bonnie Greer in 2005.

There are several live albums on Verve that are highly regarded by critics: Ella at the Opera House shows a typical JATP set from Fitzgerald, Ella in Rome displays her vocal jazz canon, while Ella in Berlin is still one of her biggest selling albums; it includes a famous version of "Mack the Knife", on which she forgets the lyrics, but improvises magnificently to compensate.

Later years

Verve Records was sold to MGM in 1963 for $3 million, and in 1967 MGM failed to renew Fitzgerald's contract. Over the next five years, she flitted between several labels, namely Atlantic, Capitol and Reprise. A selection of her material at this time represent a departure from her typical jazz repertoire; for Capitol she recorded Brighten the Corner, an album of hymns, Ella Fitzgerald's Christmas, an album of traditional Christmas carols, Misty Blue, a country and western-influenced album, and 30 by Ella, a series of six medleys that fulfilled her obligations for the label.

During this period, she had her last US chart single with a cover of Smokey Robinson's "Get Ready", previously a hit for The Temptations, and some months later a top-five hit for Rare Earth.

The surprise success of the 1972 album Jazz at Santa Monica Civic '72 led Granz to found Pablo Records, his first record label since the sale of Verve. Fitzgerald recorded some 20 albums for the label. Her years on Pablo documented the decline in her voice; "She frequently used shorter, stabbing phrases, and her voice was harder, with a wider vibrato," one biographer wrote.[3] Plagued by health problems, Fitzgerald made her last recording in 1991 and her last public performances in 1993.[8]