Today is the anniversary of the birth of Ella Fitzgerald. She was a remarkable artist. Each period of her long career is rewarding, though she deepened her art as she got older. She excelled in a wide variety of material and in every musical setting. There is an emotional reserve or detachment in her singing, but there is also joy and an irrepressible sense of fun in her approach.
The songs that served as vehicles for her virtuosity invariably displayed her sense of fun. Listen, for example, to “How High the Moon,” “Air Mail Special,” “Flying Home,” “C Jam Blues,” or “You’ll Have to Swing It (Mr. Paganini).” The fun is vividly on display in her startling impersonation of Louis Armstrong on “Basin Street Blues.”
She could also bring out the beauty in a ballad, as she did, for example, in “Stormy Weather” with Joe Pass. Ann Hampton Callaway calls this “her unspoken side.”
Fitzgerald became a professional singer at an early age, but the route was surprisingly indirect. She originally turned up at amateur night at the Apollo Theater on a bet at age 17 to perform as a dancer. She reassessed her prospects when she took a look at the competition and decided to sing instead. She performed “Judy” and “The Object of My Affection” in the style of her idol, Connee Boswell (of the Boswell Sisters). Biographer Stuart Nicholson reports: “To Ella’s delight and surprise, she brought down the house.”
Fitzgerald won the talent show, moving on to become one of the great artists of the twentieth century. In a personal life marred by misfortune — she became an orphan as a teenager, ended up in reform school, and lived without a home the year before she appeared at the Apollo — her winning the talent contest as a singer was not her only good luck. Her work with Dizzie Gillespie’s band in the 1940’s added the discoveries of bebop to her repertoire. But her long association with producer/manager Norman Granz must be credited as the best thing that ever happened to her.
Granz loved good music and hated racial prejudice in roughly equal measure. He put his money where his mouth was too, generally refusing to book his artists in racially segregated venues or otherwise accommodate Jim Crow. Unfortunately, this extremely interesting figure has yet to receive the full-scale biographical treatment that he deserves in his own right (though Nat Hentoff put together an illuminating BBC radio series on him).
Fitzgerald must have trusted Granz deeply. Her relationship with him was a permanent fixture in her life.
Granz first brought Fitzgerald aboard his epochal Jazz at the Philharmonic concerts in the 1940’s, becoming her manager in 1953. Granz was responsible for her career from the mid-’50’s on, the period during which she became a world-renowned artist. He produced the “songbook” series of albums on Verve that brought Fitzgerald the respectful attention of a wide audience.
Granz produced Fitzgerald’s concerts around the world. She reveled in the adulation of enthusiastic European audiences and did some of her best work before them. Take a listen, for example, to “Ella in Rome” (1958), “Mack the Knife: The Complete Ella Live in Berlin” (1960), or “Ella in Hamburg” (1965).
Granz founded Verve in part to record Fitzgerald when her contract with Decca expired, and then founded Pablo Records to resume recording her after he sold Verve. Scott Yanow’s Allmusic profile observes:
Fitzgerald’s later years were saved by Norman Granz’s decision to form…Pablo [in 1973]. Starting with a Santa Monica Civic concert in 1972 that is climaxed by Fitzgerald’s incredible version of “C Jam Blues” (in which she trades off with and “battles” five classic jazzmen), Fitzgerald was showcased in jazz settings throughout the 1970s with the likes of Count Basie, Oscar Peterson, and Joe Pass, among others.
In the video above Granz introduces the finale of his1958 JATP show including Ella at Amsterdam’s Concertgebouw. The lineup features the Oscar Peterson trio with Ray Brown on bass and Herb Ellis on guitar. Violinist Stuff Smith, Peterson, Ellis and trumpet player Roy Eldridge take the solos on Ellington’s “It Don’t Mean a Thing (If It Ain’t Got That Swing).” There was no musical setting in which Ella didn’t shine, but this historic footage places Ella in a great one.
In the video below, Ella sings W.C. Handy’s classic “St. Louis Blues” backed by Count Basie and his big band at Montreux in 1979. In this performance you can hear America singing: “I hate to see that evenin’ sun go down.” Ella is past her prime, as is the Basie band, but (Sarah Vaughan excepted) she’s still about a million miles beyond whoever was second best that year.
As Ella leaves the stage, the band plays “A-Tisket, A-Tasket,” the song Ella had worked up and turned into her first hit when she recorded it with the Chick Webb Orchestra in 1938. It’s an exit that brings her magnificent career full circle.