Ella όπως λέμε jazz...
"The First Lady of Song," Ella Fitzgerald was arguably the finest female jazz singer of all time (although some may vote for Sarah Vaughan or Billie Holiday). Blessed with a beautiful voice and a wide range, Fitzgerald could outswing anyone, was a brilliant scat singer, and had near-perfect elocution; one could always understand the words she sang. The one fault was that, since she always sounded so happy to be singing, Fitzgerald did not always dig below the surface of the lyrics she interpreted and she even made a downbeat song such as "Love for Sale" sound joyous. However, when one evaluates her career on a whole, there is simply no one else in her class.
One could never guess from her singing that Ella Fitzgerald's early days were as grim as Billie Holiday's. Growing up in poverty, Fitzgerald was literally homeless for the year before she got her big break. In 1934, she appeared at the Apollo Theater in Harlem, winning an amateur contest by singing "Judy" in the style of her idol, Connee Boswell. After a short stint with Tiny Bradshaw, Fitzgerald was brought to the attention of Chick Webb by Benny Carter (who was in the audience at the Apollo). Webb, who was not impressed by the 17-year-old's appearance, was reluctantly persuaded to let her sing with his orchestra on a one-nighter. She went over well and soon the drummer recognized her commercial potential. Starting in 1935, Fitzgerald began recording with Webb's Orchestra, and by 1937 over half of the band's selections featured her voice. "A-Tisket, A-Tasket" became a huge hit in 1938 and "Undecided" soon followed. During this era, Fitzgerald was essentially a pop/swing singer who was best on ballads while her medium-tempo performances were generally juvenile novelties. She already had a beautiful voice but did not improvise or scat much; that would develop later.
On June 16, 1939, Chick Webb died. It was decided that Fitzgerald would front the orchestra even though she had little to do with the repertoire or hiring or firing the musicians. She retained her popularity and when she broke up the band in 1941 and went solo; it was not long before her Decca recordings contained more than their share of hits. She was teamed with the Ink Spots, Louis Jordan, and the Delta Rhythm Boys for some best-sellers, and in 1946 began working regularly for Norman Granz's Jazz at the Philharmonic. Granz became her manager although it would be nearly a decade before he could get her on his label. A major change occurred in Fitzgerald's singing around this period. She toured with Dizzy Gillespie's big band, adopted bop as part of her style, and started including exciting scat-filled romps in her set. Her recordings of "Lady Be Good," "How High the Moon," and "Flying Home" during 1945-1947 became popular and her stature as a major jazz singer rose as a result. For a time (December 10, 1947-August 28, 1953) she was married to bassist Ray Brown and used his trio as a backup group. Fitzgerald's series of duets with pianist Ellis Larkins in 1950 (a 1954 encore with Larkins was a successful follow-up) found her interpreting George Gershwin songs, predating her upcoming Songbooks series.
After appearing in the film Pete Kelly's Blues in 1955, Fitzgerald signed with Norman Granz's Verve label and over the next few years she would record extensive Songbooks of the music of Cole Porter, the Gershwins, Rodgers & Hart, Duke Ellington, Harold Arlen, Jerome Kern, and Johnny Mercer. Although (with the exception of the Ellington sets) those were not her most jazz-oriented projects (Fitzgeraldstuck mostly to the melody and was generally accompanied by string orchestras), the prestigious projects did a great deal to uplift her stature. At the peak of her powers around 1960, Fitzgerald's hilarious live version of "Mack the Knife" (in which she forgot the words and made up her own) from Ella in Berlin is a classic and virtually all of her Verve recordings are worth getting.
Fitzgerald's Capitol and Reprise recordings of 1967-1970 are not on the same level as she attempted to "update" her singing by including pop songs such as "Sunny" and "I Heard It Through the Grapevine," sounding quite silly in the process. But Fitzgerald's later years were saved by Norman Granz's decision to form a new label, Pablo. 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. Her voice began to fade during this era and by the 1980s her decline due to age was quite noticeable. Troubles with her eyes and heart knocked her out of action for periods of time, although her increasingly rare appearances found Fitzgerald still retaining her sense of swing and joyful style. By 1994, Ella Fitzgerald was in retirement and she passed away two years later, but she remains a household name and scores of her recordings are easily available on CD
Artist Biography by Scott Yanow
Ella Fitzgerald, London Symphony Orchestra
- Someone To Watch Over Me (Audio)
EllaFitzgeraldVEVO
Ella Fitzgerald - People Will Say We're In Love
Ella όπως λέμε jazz...
Αν η Ella Fitzgerald ζούσε στις 19 Απριλίου θα είχε συμπληρώσει τα εκατό χρόνια της. Καθώς όμως ο αιώνας καλώς ή κακώς υπερβαίνει το προσδόκιμο ζωής της συντριπτικής πλειοψηφίας των ανθρώπων άφησε τον κόσμο και ιδίως την μουσική αρκετά πιο μόνους στις 15 Ιουνίου 1996, λίγους μήνες μετά τα εβδομηκοστά ένατα γενέθλια της. Η παραμονή της στον πλανήτη μας μπορεί να μην ήταν τόσο μακρόχρονη όσο θα την ήθελαν πάρα πολλοί μουσικόφιλοι αλλά ευτυχώς ήταν τόση ώστε να της επιτρέψει να αφήσει πίσω της έναν πάρα πολύ μεγάλο όγκο έργου το οποίο φυσικά για έναν ερμηνευτή ή ερμηνεύτρια που αυτό το οποίο κάνει, το να τα τραγουδάει, τελειώνει μόλις πραγματωθεί, όταν τελειώνει κάθε τραγούδι του/της, δεν μπορεί παρά να είναι η ποσότητα των ηχογραφήσεων που έκανε.
Η Ella Jane Fitzgerald όπως ήταν το πλήρες όνομα της ήταν από εκείνους και εκείνες που όχι μόνον πραγματοποιούν ασταμάτητα και ακούραστα ζωντανές εμφανίσεις (το ακούραστα ισχύει κυριολεκτικά στην περίπτωση της, μέχρι και τρία χρόνια πριν από τον θάνατο της και ενώ ήδη είχε σοβαρότατα προβλήματα υγείας και το ότι τις διέκοψε τότε οφείλεται στο ότι ο προχωρημένος διαβήτης έκανε αναγκαίο τον ακρωτηριασμό αμφοτέρων των κάτω άκρων της στο ύψος του γονάτου) αλλά και ηχογραφούσε σχεδόν συνεχώς, σε στούντιο αλλά πολύ συχνά και τις συναυλίες της. Οι ηχογραφήσεις της λοιπόν είναι τόσες πολλές ώστε να μπορούν να κυκλοφορούν νέοι δίσκοι της ακόμα και εφέτος, με αφορμή την επέτειο των εκατό χρόνων από την γέννηση της!
Οχι, δεν πρόκειται για αστείο αλλά για πραγματικότητα. Άλλωστε αν ήταν αστείο, ακόμα και το να σκεφτόταν μόνο κανείς, πόσο μάλλον να υλοποιούσε την σκέψη του, θα ήταν τρομερά κακόγουστο. Πρόκειται για απολύτως αληθινό γεγονός και, σαν τέτοιο, δεν θα μπορούσε παρά να χαρακτηρίζεται από εξαιρετική καλαισθησία, αν δεν ίσχυε αυτό απλά δεν θα είχε συμβεί ποτέ. Για να λυθεί το μικρό μυστήριο και επειδή προφανώς η ανάσταση νεκρών είναι ανέφικτη με το «νέος δίσκος» δεν εννοώ κάποιον στον οποίο ακούγεται η Ella Fitzgerald να τραγουδάει...μετά θάνατον, ούτε καν κάποια ξεχασμένη κάπου ηχογράφηση της, αυτό άλλωστε δεν θα συνιστούσε νέο δίσκο. Αυτό που εννοώ είναι ότι η εξέλιξη της τεχνολογίας επιτρέπει ήδη εδώ και πολλά χρόνια να διαχωρίζονται τα επιμέρους στοιχεία (ή κανάλια, για όσους θέλουν την τεχνική ορολογία) ακόμα και πάρα πολύ παλαιών ηχογραφήσεων.
Εν προκειμένω κάποιοι είχαν την ιδέα ή και την έμπνευση να διαχωρίσουν την φωνή της Fitzgerald από μερικά από τα πλέον όχι απλά γνωστά αλλά κλασικά τραγούδια της και να κάνουν με αυτήν κάτι που όχι μόνο δεν είχε συμβεί αλλά σίγουρα ούτε είχε πέρασε ποτέ από το μυαλό οποιουδήποτε όσο ήταν εν ζωή.
Αυτό δεν είναι άλλο από το να βάλουν να συνοδεύει την φωνή της όχι μιαν έστω και ιδιαίτερα πολυμελής jazz big band με την ενίσχυση κάποιων εγχόρδων αλλά μια αληθινή, κανονική συμφωνική ορχήστρα! Η ορχήστρα αυτή μάλιστα είναι μία από τις αντικειμενικά και διαχρονικά καλύτερες διεθνώς, η London Symphony Orchestra. Η επιτυχία ή μη αυτού του εγχειρήματος δεν μπορούσε βέβαια να εξαρτάται από έναν και μόνο παράγοντα, το πως θα γίνονταν οι νέες και τόσο διαφορετικές από τις αυθεντικές ενορχηστρώσεις και την ποιότητα τους.
Ο Αργεντινός (αλλά μόνιμα εγκατεστημένος στην Αμερική) συνθέτης, ενορχηστρωτής και μαέστρος Jorge Calandrelli που ανέλαβε την πολύ δύσκολη ομολογουμένως αποστολή έκανε και στα δύο σκέλη εξαιρετική δουλειά. Τόσο πολύ ώστε θα μπορούσε πολύ ωραία κανείς να πιστέψει ότι όντως κάποια στιγμή η Ella Fitzgerald τραγούδησε με την συνοδεία της London Symphony Orchestra και, ακόμα περισσότερο, να πειστεί ότι, ακόμα και αν στην πραγματικότητα δεν συνέβη ποτέ, ήταν απολύτως φυσικό για εκείνη να τραγουδάει έχοντας πίσω της μια συμφωνική ορχήστρα (και σε αυτό το σημείο δεν μπορεί να μην σου περάσει από το μυαλό ότι ο χαρακτηρισμός «Μαρία Κάλλας της jazz» που είχε μεταχειριστεί κάποτε κάποιος για αυτήν τελικά ίσως να μην ήταν υπερβολικός).
Η αίσθηση είναι φυσικά πολύ διαφορετική από το να την ακούς με ένα μεγαλύτερο ή μικρότερο jazz σύνολο αλλά το ίδιο καλαίσθητη και απλά, αφοπλιστικά σχεδόν, όμορφη. Τα πνευστά και τα κρουστά της ορχήστρας συνοδεύουν φυσικά την φωνή της στα ξεσπάσματα της και γενικότερα στις υψηλότερες περιοχές της αλλά είναι όταν η θαλπωρή του σώματος των εγχόρδων αγκαλιάζει θαρρείς τις τόσο σαγηνευτικές μεσαίες και ιδίως χαμηλές συχνότητες της (ένα στοιχείο της εντυπωσιακότατης σοπράνο φωνής της που λίγοι του έχουν δώσει την σημασία την οποία θα έπρεπε ή και ακόμα το έχουν προσέξει) με σχεδόν....στοργικό τρόπο, «φωτίζοντας» την από μιαν οπτική γωνία διαφορετική από όλες τις μέχρι τώρα, που φαίνεται το νόημα αλλά και η αξία του εγχειρήματος.
Το αποτέλεσμα όλου αυτού του μόχθου αλλά και της ολοφάνερης αγάπης απάντων των συντελεστών για την κορυφαία ερμηνεύτρια είναι το «Ella With The London Symphony Orchestra – Someone To Watch Over Me». Δώδεκα τραγούδια από την αναμφίβολα χρυσή περίοδο της, τις δεκαετίες του ’40 και του ΄50, όταν κυκλοφορούσε τους δίσκους της αντίστοιχα στις εταιρείες Decca και Verve, η δεύτερη ιδρύθηκε το 1955 από τον τότε μάνατζερ της και επί της ουσίας για να δώσει δισκογραφική στέγη στην ίδια. Στη συνέχεια βέβαια η Verve εξελίχθηκε, μαζί με την παλαιότερη της Blue Note, στην σημαντικότερη jazz δισκογραφική εταιρεία στην Αμερική, αν όχι διεθνώς, εξακολουθεί να είναι ενεργή αν και πλέον ως τμήμα του πολυεθνικού ομίλου Universal και, διόλου συμπτωματικά προφανώς, αυτή κυκλοφόρησε το εν λόγω CD. Δώδεκα τραγούδια που φυσικά ανήκουν στο λεγόμενο Great American Songbook, τον «κανόνα» δηλαδή που αποτέλεσε την βάση καταρχήν για το αμερικανικό και στη συνέχεια για το διεθνές ποπ τραγούδι. Τραγούδια με άλλα λόγια των Rogers & Hart,Cole Porter, George (και Ira) Gershwin όπως το ομότιτλο και μερικών ακόμα αναλόγων, δύο από αυτά σε ντουέτο με τον πλέον ιδανικό παρτενέρ της στη σκηνή μα και στο στούντιο, τον μέγιστο καταρχήν τρομπετίστα και στη συνέχεια τραγουδιστή Louis Armstrong και ένα ακόμα στο οποίο, πάντα με την βοήθεια της τεχνολογίας, ενώνει την φωνή του με την δική της ο καλός σύγχρονος jazz ερμηνευτής Gregory Porter.
Όλα αυτά φυσικά δεν θα μπορούσαν να είχαν συμβεί δίχως την πρώτη ύλη που σκοπός του εγχειρήματος δεν είναι παρά να την αναδείξει. Αυτή η πρώτη ύλη είναι βέβαια η φωνή ή καλύτερα η ερμηνεία της Ella Fitzgerald, αυτό το εξαιρετικά σπάνιο φαινόμενο του συνδυασμού του ήχου ο οποίος παραγόταν από τις φωνητικές χορδές της και έβγαινε από το στόμα της και των συναισθημάτων που μετέφερε αυτός, έναν συνδυασμό που είναι μετρημένες στα δάκτυλα οι φορές τις οποίες τον συναντούμε σε ανθρώπους με καμία μουσική παιδεία εκτός από την χορωδία της εκκλησίας στα παιδικά τους χρόνια όπως εκείνη. Η Ella Fitzgerald ήταν πολύ περισσότερο από μιαν απλά «πολύ καλή φωνή». Ηταν ένας άνθρωπος με ικανότητες και δυνατότητες οι οποίες σαφώς υπερβαίνουν αυτές του μέσου όρου ο οποίος έζησε μια ζωή πολύ δύσκολη σε ένα μεγάλο μέρος της αλλά και τόσο πυκνή όσο αναλογικά δεν είναι τριών και τεσσάρων άλλων.
Η Ella Fitzgerald ήταν το παιδί μαύρων γονιών που δεν είχαν παντρευτεί αλλά μόνο ζούσαν μαζί (στα τέλη της δεύτερης δεκαετίας του εικοστού αιώνα στην συντηρητική στο έπακρο Αμερική!) το οποίο είχε εξαιρετικές επιδόσεις στο σχολείο, είχε κλίση στον χορό και τον λάτρευε αλλά δεν μπόρεσε ποτέ να ασχοληθεί μαζί του και όμως, μετά τον θάνατο της μητέρας της όταν ήταν δέκα πέντε ετών και τον βιασμό της από τον πατριό της, υποχρεώθηκε όχι μόνο να εγκαταλείψει το σχολείο αλλά και να πάει να ζήσει μαζί με την θεία της και τον σύζυγο της τελευταίας, μια τόσο απότομη αλλαγή όλων των συνθηκών της ζωής της που πολύ σύντομα την έφερε σε ένα δρόμο του κοινωνικού περιθωρίου αλλά και της παρανομίας ο οποίος περνούσε μέσα από οίκους ανοχής και πρόωρες ερωτικές σχέσεις με προαγωγούς, ακόμα και εμπόρους ναρκωτικών και τελικά την οδήγησε στο αναμορφωτήριο από το οποίο δραπέτευσε για να ζήσει ένα διάστημα κυριολεκτικά στους δρόμους της Νέας Υόρκης ως άστεγη! Παρ’ όλη την τόσο προβληματική και τραυματική εφηβική ηλικία της όμως το φωνητικό χάρισμα της στάθηκε φάρος για εκείνη και πριν καν συμπληρώσει τα δέκα οκτώ χρόνια της είχε αρχίσει να τραγουδάει επαγγελματικά.
Η σκληρά εργαζόμενη τραγουδίστρια που γρήγορα άρχισε να καθιερώνεται παντρεύτηκε δύο φορές, πιθανόν και μια τρίτη, με έναν αρκετά νεότερο της Νορβηγό, χωρίς όμως αυτό να επιβεβαιωθεί επίσημα ποτέ, δεν απέκτησε δικά της παιδιά αλλά αφοσιώθηκε σε ένα που υιοθέτησαν μαζί με τον δεύτερο σύζυγο της με τον οποίο χώρισαν αρκετά σύντομα, τον αληθινό γιο της πλέον από τον οποίο ευτύχησε να δει μιαν εγγονή. Με εξαίρεση αυτό το παιδί το δεύτερο ήμισυ της ζωής της το πέρασε μόνη της, δίχως σύντροφο ή άλλη οικογένεια. Μια γυναίκα που ενώ το κοινό την αποθέωνε στις αναρίθμητες συναυλίας της στην προσωπική ζωή της ήταν ένας μοναχικός, τρομερά ντροπαλός και εξαιρετικά ανασφαλής εντέλει άνθρωπος, γεγονός που την έκανε και υπέρ του δέοντος σεμνή. Είναι χαρακτηριστικό το περιστατικό όταν, λαμβάνοντας ένα από τα τόσα βραβεία και διακρίσεις με τα οποία τιμήθηκε, είπε «μάλλον θα πω το λάθος πράγμα, όπως κάνω πάντα, αλλά κακώς βρίσκομαι εδώ και ακόμα πιο κακώς λέω οτιδήποτε, τα καταφέρνω καλά μόνον όταν τραγουδώ»!
Η προσωπική της ανασφάλεια όμως δεν την εμπόδισε καθόλου από το να είναι με τον δικό της, σεμνό, διακριτικό και ευγενικό τρόπο, μία από τις πιο ένθερμες αγωνίστριες για τα δικαιώματα των μαύρων, γεγονός για το οποίο επίσης τιμήθηκε πολλές φορές, ανάμεσα στα άλλα και με την ανώτατη μη στρατιωτική διάκριση στην Αμερική, το Προεδρικό Μετάλλιο Της Ελευθερίας. Το ειλικρινές και έμπρακτο ενδιαφέρον της για το κοινωνικό περιβάλλον στο οποίο μεγάλωσε και εξακολούθησε να ζει και ειδικά για τους μη προνομιούχους του το έδειξε και με την ίδρυση τρία χρόνια πριν τον θάνατο της ενός οργανισμού που σκοπός του ήταν να ενισχύσει τη γενική αλλά και την μουσική παιδεία, την ιατρική φροντίδα για τους μη έχοντες και την ιατρική έρευνα.
Το πόση δύναμη, σωματική και πολύ περισσότερο ψυχική, διέθετε το απέδειξε με την καρτερικότητα και το ψυχικό μεγαλείο με τα οποία αντιμετώπισε τα πάρα πολλά προβλήματα, καρδιολογικά μα και όρασης, που της προκάλεσε ο διαβήτης πριν ακόμα από τον ακρωτηριασμό της. Όταν κουράστηκε από την μακρόχρονη νοσηλεία με δική της απόφαση έφυγε από το νοσοκομείο και πήγε να περάσει τις τελευταίες ημέρες της στο σπίτι της, μαζί με τον γιο και την εγγονή της. Νιώθοντας πως το τέλος πλησίαζε ζήτησε από τον γιο της να την πάει με το αμαξίδιο της για τελευταία φορά στον ανθισμένο κήπο, έμεινε εκεί για μια ώρα μόνη της και όταν την έφερε ξανά στο σπίτι κοίταξε προς τα πάνω και με ένα πλατύ χαμόγελο στο πρόσωπο της είπε «τώρα είμαι έτοιμη να φύγω». Πέθανε λίγες ώρες αργότερα από καρδιακή προσβολή, όχι τόσο πλήρης ημερών αλλά σίγουρα υπερπλήρης από μια ζωή που την βίωσε, με αγάπη και δίψα για αυτήν, σε κάθε πλευρά και έκφανση της. Ηταν αυτή ακριβώς η τόσο πλούσια από όλο το εύρος των εμπειριών και συναισθημάτων ζωή, από την εξαθλίωση της καθημερινότητας μιας άστεγης έφηβης στην επαγγελματική καταξίωση και την καθολική αποδοχή, από τα τραύματα μιας άγουρης ακόμα ψυχής στην απόλαυση του να υπάρχεις και όχι απλά να ζεις η οποία της έδωσε την δύναμη να αντέξει και τόσο σωματικό πόνο, από την δυστυχία στη χαρά, ακόμα και την ευτυχία, του να μπορείς να δώσεις απλόχερα, όχι μόνον υλικά αλλά και πνευματικά, ακόμα και ηθικά, η πορεία ενός ανθρώπου που όσο βελτιωνόταν η ζωή του τόσο καλύτερος έσωθεν γινόταν ο ίδιος, που στάθηκε το μεγαλύτερο εφόδιο της και τροφοδότησε το πως τραγουδούσε αλλά και έκανε scatting (η ιδιωματική ερμηνευτική τεχνική της jazz όπου δεν εκφέρονται λέξεις αλλά μόνο συλλαβές ή ακόμα και φθόγγοι και στην οποία ήταν επίσης άριστη) έτσι ώστε να καταστήσει την Ella Fitzgerald το μοναδικό γυναικείο ανάλογο της ανδρικής The Voice του εικοστού αιώνα, του επίσης ανυπέρβλητου Frank Sinatra.
Η καλή μουσική προορίζεται φυσικά για να ακούγεται όλες τις εποχές και κάθε ημέρα του έτους. Στην Αμερική, την γενέτειρα της jazz – άλλωστε είναι και ένα από τα σημαντικότερα πολιτιστικά δώρα της στον υπόλοιπο κόσμο – προφανώς αυτό συμβαίνει και με το παραπάνω, όχι όμως και σε πολλές ευρωπαϊκές χώρες και περισσότερο ίσως από κάθε άλλη στην Ελλάδα όπου το ιδίωμα έχει ταυτιστεί κυρίως με την περίοδο των Εορτών. Αν λοιπόν δεν έχετε ανακαλύψει ακόμα το μεγαλείο και την ομορφιά του ιδιώματος θα πω πολύ απλά ότι η Ella Fitzgerald είναι ο καλύτερος τρόπος για να το κάνετε, πολύ περισσότερο και από την αμέσως επόμενη, κατά την γνώμη μου, σε αξία τραγουδίστρια της jazz, την επίσης πολύ μεγάλη Billie Holiday, πολύ διαφορετική μεν στο ύφος και την έκφραση της από εκείνη αλλά από την άλλη πολύ κοινών δυσμενών καταβολών και background που όμως το γεγονός ότι, αντίθετα με την Fitzgerald, ήταν τόσο αδύναμη σαν άνθρωπος δεν της επέτρεψε να τα αντιμετωπίσει ποτέ με αποτέλεσμα δυστυχώς να μην δώσει όσα θα μπορούσε και θα έπρεπε αλλά και να πεθάνει λόγω των καταχρήσεων αλκοόλ και ναρκωτικών τρομερά πρόωρα, μόλις σαράντα τεσσάρων ετών.
Η σύγκριση με την επίσης θρυλική Lady Day, όπως ήταν το παρωνύμιο της Billie Holiday, είναι ένας ακόμα λόγος ο οποίος δικαιώνει απόλυτα μία φράση που ειπώθηκε για την Ella Fitzgerald και η οποία συνοψίζει μάλλον οτιδήποτε μπορεί να ειπωθεί γα εκείνη, «υπάρχουν πάρα πολλές καλές jazz τραγουδίστριες αλλά μόνον η Ella ερμηνεύει την jazz». Ας είναι λοιπόν το «Ella With The London Symphony Orchestra – Someone To Watch Over Me» η αφορμή για να γνωρίσετε αυτή την κολοσσιαία ερμηνεύτρια και ταυτόχρονα για να έρθετε σε επαφή με τον υπέροχο κόσμο της jazz, αν αυτό δεν έχει συμβεί ακόμα. Θα είναι το καλύτερο, μουσικό τουλάχιστον, δώρο που μπορείτε να κάνετε στον εαυτό σας για το 2018!
Θάνος Μαντζάνας,
κριτικός μουσικής, δημοσιογράφος, συγγραφέας
30/12/2017
Ella - Biography (*)
Ella - Biography (*)
Dubbed "The First Lady of Song," Ella Fitzgerald was the most popular female jazz singer in the United States for more than half a century. In her lifetime, she won 13 Grammy awards and sold over 40 million albums.
Her voice was flexible, wide-ranging, accurate and ageless. She could sing sultry ballads, sweet jazz and imitate every instrument in an orchestra. She worked with all the jazz greats, from Duke Ellington, Count Basie and Nat King Cole, to Frank Sinatra, Dizzy Gillespie and Benny Goodman. (Or rather, some might say all the jazz greats had the pleasure of working with Ella.)
She performed at top venues all over the world, and packed them to the hilt. Her audiences were as diverse as her vocal range. They were rich and poor, made up of all races, all religions and all nationalities. In fact, many of them had just one binding factor in common - they all loved her.
Humble but happy beginnings
Ella Jane Fitzgerald was born in Newport News, Va. on April 25, 1917. Her father, William, and mother, Temperance (Tempie), parted ways shortly after her birth. Together, Tempie and Ella went to Yonkers, N.Y, where they eventually moved in with Tempie's longtime boyfriend Joseph Da Silva. Ella's half-sister, Frances, was born in 1923 and soon she began referring to Joe as her stepfather.
To support the family, Joe dug ditches and was a part-time chauffeur, while Tempie worked at a laundromat and did some catering. Occasionally, Ella took on small jobs to contribute money as well. Perhaps naïve to the circumstances, Ella worked as a runner for local gamblers, picking up their bets and dropping off money.
Their apartment was in a mixed neighborhood, where Ella made friends easily. She considered herself more of a tomboy, and often joined in the neighborhood games of baseball. Sports aside, she enjoyed dancing and singing with her friends, and some evenings they would take the train into Harlem and watch various acts at the Apollo Theater.
A rough patch
In 1932, Tempie died from serious injuries that she received in a car accident. Ella took the loss very hard. After staying with Joe for a short time, Tempie's sister Virginia took Ella home. Shortly afterward Joe suffered a heart attack and died, and her little sister Frances joined them.
Unable to adjust to the new circumstances, Ella became increasingly unhappy and entered into a difficult period of her life. Her grades dropped dramatically, and she frequently skipped school. After getting into trouble with the police, she was taken into custody and sent to a reform school. Living there was even more unbearable, as she suffered beatings at the hands of her caretakers.
Eventually Ella escaped from the reformatory. The 15-year-old found herself broke and alone during the Great Depression, and strove to endure.
Never one to complain, Ella later reflected on her most difficult years with an appreciation for how they helped her to mature. She used the memories from these times to help gather emotions for performances, and felt she was more grateful for her success because she knew what it was like to struggle in life.
"What's she going to do?"
In 1934 Ella's name was pulled in a weekly drawing at the Apollo and she won the opportunity to compete in Amateur Night. Ella went to the theater that night planning to dance, but when the frenzied Edwards Sisters closed the main show, Ella changed her mind. "They were the dancingest sisters around," Ella said, and she felt her act would not compare.
Once on stage, faced with boos and murmurs of "What's she going to do?" from the rowdy crowd, a scared and disheveled Ella made the last minute decision to sing. She asked the band to play Hoagy Carmichael's "Judy," a song she knew well because Connee Boswell's rendition of it was among Tempie's favorites. Ella quickly quieted the audience, and by the song's end they were demanding an encore. She obliged and sang the flip side of the Boswell Sister's record, "The Object of My Affections."
Off stage, and away from people she knew well, Ella was shy and reserved. She was self-conscious about her appearance, and for a while even doubted the extent of her abilities. On stage, however, Ella was surprised to find she had no fear. She felt at home in the spotlight.
"Once up there, I felt the acceptance and love from my audience," Ella said. "I knew I wanted to sing before people the rest of my life."
In the band that night was saxophonist and arranger Benny Carter. Impressed with her natural talent, he began introducing Ella to people who could help launch her career. In the process he and Ella became lifelong friends, often working together.
Fueled by enthusiastic supporters, Ella began entering - and winning - every talent show she could find. In January 1935 she won the chance to perform for a week with the Tiny Bradshaw band at the Harlem Opera House. It was there that Ella first met drummer and bandleader Chick Webb. Although her voice impressed him, Chick had already hired male singer Charlie Linton for the band. He offered Ella the opportunity to test with his band when they played a dance at Yale University.
"If the kids like her," Chick said, "she stays."
Despite the tough crowd, Ella was a major success, and Chick hired her to travel with the band for $12.50 a week.
Jazzing things up
In mid 1936, Ella made her first recording. "Love and Kisses" was released under the Decca label, with moderate success. By this time she was performing with Chick's band at the prestigious Harlem's Savoy Ballroom, often referred to as "The World's Most Famous Ballroom."
Shortly afterward, Ella began singing a rendition of the song, "(If You Can't Sing It) You Have to Swing It." During this time, the era of big swing bands was shifting, and the focus was turning more toward bebop. Ella played with the new style, often using her voice to take on the role of another horn in the band. "You Have to Swing It" was one of the first times she began experimenting with scat singing, and her improvisation and vocalization thrilled fans. Throughout her career, Ella would master scat singing, turning it into a form of art.
In 1938, at the age of 21, Ella recorded a playful version of the nursery rhyme, "A-Tisket, A-Tasket." The album sold 1 million copies, hit number one, and stayed on the pop charts for 17 weeks. Suddenly, Ella Fitzgerald was famous.
Coming into her own
On June 16, 1939, Ella mourned the loss of her mentor Chick Webb. In his absence the band was renamed "Ella Fitzgerald and Her Famous Band," and she took on the overwhelming task of bandleader.
Perhaps in search of stability and protection, Ella married Benny Kornegay, a local dockworker who had been pursuing her. Upon learning that Kornegay had a criminal history, Ella realized that the relationship was a mistake and had the marriage annulled.
While on tour with Dizzy Gillespie's band in 1946, Ella fell in love with bassist Ray Brown. The two were married and eventually adopted a son, whom they named Ray, Jr.
At the time, Ray was working for producer and manager Norman Granz on the "Jazz at the Philharmonic" tour. Norman saw that Ella had what it took to be an international star, and he convinced Ella to sign with him. It was the beginning of a lifelong business relationship and friendship.
Under Norman's management, Ella joined the Philharmonic tour, worked with Louis Armstrong on several albums and began producing her infamous songbook series. From 1956-1964, she recorded covers of other musicians' albums, including those by Cole Porter, Duke Ellington, the Gershwins, Johnny Mercer, Irving Berlin, and Rodgers and Hart. The series was wildly popular, both with Ella's fans and the artists she covered.
"I never knew how good our songs were until I heard Ella Fitzgerald sing them," Ira Gershwin once remarked.
Ella also began appearing on television variety shows. She quickly became a favorite and frequent guest on numerous programs, including "The Bing Crosby Show," "The Dinah Shore Show," "The Frank Sinatra Show," "The Ed Sullivan Show," "The Tonight Show," "The Nat King Cole Show," "The Andy Willams Show" and "The Dean Martin Show."
Due to a busy touring schedule, Ella and Ray were often away from home, straining the bond with their son. Ultimately, Ray Jr. and Ella reconnected and mended their relationship.
"All I can say is that she gave to me as much as she could," Ray, Jr. later said, "and she loved me as much as she could."
Unfortunately, busy work schedules also hurt Ray and Ella's marriage. The two divorced in 1952, but remained good friends for the rest of their lives.
Overcoming discrimination
On the touring circuit it was well-known that Ella's manager felt very strongly about civil rights and required equal treatment for his musicians, regardless of their color. Norman refused to accept any type of discrimination at hotels, restaurants or concert halls, even when they traveled to the Deep South.
Once, while in Dallas touring for the Philharmonic, a police squad irritated by Norman's principles barged backstage to hassle the performers. They came into Ella's dressing room, where band members Dizzy Gillespie and Illinois Jacquet were shooting dice, and arrested everyone.
"They took us down," Ella later recalled, "and then when we got there, they had the nerve to ask for an autograph."
Norman wasn't the only one willing to stand up for Ella. She received support from numerous celebrity fans, including a zealous Marilyn Monroe.
"I owe Marilyn Monroe a real debt," Ella later said. "It was because of her that I played the Mocambo, a very popular nightclub in the '50s. She personally called the owner of the Mocambo, and told him she wanted me booked immediately, and if he would do it, she would take a front table every night. She told him - and it was true, due to Marilyn's superstar status - that the press would go wild. The owner said yes, and Marilyn was there, front table, every night. The press went overboard. After that, I never had to play a small jazz club again. She was an unusual woman - a little ahead of her times. And she didn't know it."
Worldwide recognition
Ella continued to work as hard as she had early on in her career, despite the ill effects on her health. She toured all over the world, sometimes performing two shows a day in cities hundreds of miles apart. In 1974, Ella spent a legendary two weeks performing in New York with Frank Sinatra and Count Basie. Still going strong five years later, she was inducted into the Down Beat magazine Hall of Fame, and received Kennedy Center Honors for her continuing contributions to the arts.
Outside of the arts, Ella had a deep concern for child welfare. Though this aspect of her life was rarely publicized, she frequently made generous donations to organizations for disadvantaged youths, and the continuation of these contributions was part of the driving force that prevented her from slowing down. Additionally, when Frances died, Ella felt she had the additional responsibilities of taking care of her sister's family.
In 1987, United States President Ronald Reagan awarded Ella the National Medal of Arts. It was one of her most prized moments. France followed suit several years later, presenting her with their Commander of Arts and Letters award, while Yale, Dartmouth and several other universities bestowed Ella with honorary doctorates.
End of an era
In September of 1986, Ella underwent quintuple coronary bypass surgery. Doctors also replaced a valve in her heart and diagnosed her with diabetes, which they blamed for her failing eyesight. The press carried rumors that she would never be able to sing again, but Ella proved them wrong. Despite protests by family and friends, including Norman, Ella returned to the stage and pushed on with an exhaustive schedule.
By the 1990s, Ella had recorded over 200 albums. In 1991, she gave her final concert at New York's renowned Carnegie Hall. It was the 26th time she performed there.
As the effects from her diabetes worsened, 76-year-old Ella experienced severe circulatory problems and was forced to have both of her legs amputated below the knees. She never fully recovered from the surgery, and afterward, was rarely able to perform. During this time, Ella enjoyed sitting outside in her backyard, and spending time with Ray, Jr. and her granddaughter Alice.
"I just want to smell the air, listen to the birds and hear Alice laugh," she said.
On June 15, 1996, Ella Fitzgerald died in her Beverly Hills home. Hours later, signs of remembrance began to appear all over the world. A wreath of white flowers stood next to her star on the Hollywood Walk of Fame, and a marquee outside the Hollywood Bowl theater read, "Ella, we will miss you."
After a private memorial service, traffic on the freeway was stopped to let her funeral procession pass through. She was laid to rest in the "Sanctuary of the Bells" section of the Sunset Mission Mausoleum at Inglewood Park Cemetery in Inglewood, Calif.
Her voice was flexible, wide-ranging, accurate and ageless. She could sing sultry ballads, sweet jazz and imitate every instrument in an orchestra. She worked with all the jazz greats, from Duke Ellington, Count Basie and Nat King Cole, to Frank Sinatra, Dizzy Gillespie and Benny Goodman. (Or rather, some might say all the jazz greats had the pleasure of working with Ella.)
She performed at top venues all over the world, and packed them to the hilt. Her audiences were as diverse as her vocal range. They were rich and poor, made up of all races, all religions and all nationalities. In fact, many of them had just one binding factor in common - they all loved her.
Humble but happy beginnings
Ella Jane Fitzgerald was born in Newport News, Va. on April 25, 1917. Her father, William, and mother, Temperance (Tempie), parted ways shortly after her birth. Together, Tempie and Ella went to Yonkers, N.Y, where they eventually moved in with Tempie's longtime boyfriend Joseph Da Silva. Ella's half-sister, Frances, was born in 1923 and soon she began referring to Joe as her stepfather.
To support the family, Joe dug ditches and was a part-time chauffeur, while Tempie worked at a laundromat and did some catering. Occasionally, Ella took on small jobs to contribute money as well. Perhaps naïve to the circumstances, Ella worked as a runner for local gamblers, picking up their bets and dropping off money.
Their apartment was in a mixed neighborhood, where Ella made friends easily. She considered herself more of a tomboy, and often joined in the neighborhood games of baseball. Sports aside, she enjoyed dancing and singing with her friends, and some evenings they would take the train into Harlem and watch various acts at the Apollo Theater.
A rough patch
In 1932, Tempie died from serious injuries that she received in a car accident. Ella took the loss very hard. After staying with Joe for a short time, Tempie's sister Virginia took Ella home. Shortly afterward Joe suffered a heart attack and died, and her little sister Frances joined them.
Unable to adjust to the new circumstances, Ella became increasingly unhappy and entered into a difficult period of her life. Her grades dropped dramatically, and she frequently skipped school. After getting into trouble with the police, she was taken into custody and sent to a reform school. Living there was even more unbearable, as she suffered beatings at the hands of her caretakers.
Eventually Ella escaped from the reformatory. The 15-year-old found herself broke and alone during the Great Depression, and strove to endure.
Never one to complain, Ella later reflected on her most difficult years with an appreciation for how they helped her to mature. She used the memories from these times to help gather emotions for performances, and felt she was more grateful for her success because she knew what it was like to struggle in life.
"What's she going to do?"
In 1934 Ella's name was pulled in a weekly drawing at the Apollo and she won the opportunity to compete in Amateur Night. Ella went to the theater that night planning to dance, but when the frenzied Edwards Sisters closed the main show, Ella changed her mind. "They were the dancingest sisters around," Ella said, and she felt her act would not compare.
Once on stage, faced with boos and murmurs of "What's she going to do?" from the rowdy crowd, a scared and disheveled Ella made the last minute decision to sing. She asked the band to play Hoagy Carmichael's "Judy," a song she knew well because Connee Boswell's rendition of it was among Tempie's favorites. Ella quickly quieted the audience, and by the song's end they were demanding an encore. She obliged and sang the flip side of the Boswell Sister's record, "The Object of My Affections."
Off stage, and away from people she knew well, Ella was shy and reserved. She was self-conscious about her appearance, and for a while even doubted the extent of her abilities. On stage, however, Ella was surprised to find she had no fear. She felt at home in the spotlight.
"Once up there, I felt the acceptance and love from my audience," Ella said. "I knew I wanted to sing before people the rest of my life."
In the band that night was saxophonist and arranger Benny Carter. Impressed with her natural talent, he began introducing Ella to people who could help launch her career. In the process he and Ella became lifelong friends, often working together.
Fueled by enthusiastic supporters, Ella began entering - and winning - every talent show she could find. In January 1935 she won the chance to perform for a week with the Tiny Bradshaw band at the Harlem Opera House. It was there that Ella first met drummer and bandleader Chick Webb. Although her voice impressed him, Chick had already hired male singer Charlie Linton for the band. He offered Ella the opportunity to test with his band when they played a dance at Yale University.
"If the kids like her," Chick said, "she stays."
Despite the tough crowd, Ella was a major success, and Chick hired her to travel with the band for $12.50 a week.
Jazzing things up
In mid 1936, Ella made her first recording. "Love and Kisses" was released under the Decca label, with moderate success. By this time she was performing with Chick's band at the prestigious Harlem's Savoy Ballroom, often referred to as "The World's Most Famous Ballroom."
Shortly afterward, Ella began singing a rendition of the song, "(If You Can't Sing It) You Have to Swing It." During this time, the era of big swing bands was shifting, and the focus was turning more toward bebop. Ella played with the new style, often using her voice to take on the role of another horn in the band. "You Have to Swing It" was one of the first times she began experimenting with scat singing, and her improvisation and vocalization thrilled fans. Throughout her career, Ella would master scat singing, turning it into a form of art.
In 1938, at the age of 21, Ella recorded a playful version of the nursery rhyme, "A-Tisket, A-Tasket." The album sold 1 million copies, hit number one, and stayed on the pop charts for 17 weeks. Suddenly, Ella Fitzgerald was famous.
Coming into her own
On June 16, 1939, Ella mourned the loss of her mentor Chick Webb. In his absence the band was renamed "Ella Fitzgerald and Her Famous Band," and she took on the overwhelming task of bandleader.
Perhaps in search of stability and protection, Ella married Benny Kornegay, a local dockworker who had been pursuing her. Upon learning that Kornegay had a criminal history, Ella realized that the relationship was a mistake and had the marriage annulled.
While on tour with Dizzy Gillespie's band in 1946, Ella fell in love with bassist Ray Brown. The two were married and eventually adopted a son, whom they named Ray, Jr.
At the time, Ray was working for producer and manager Norman Granz on the "Jazz at the Philharmonic" tour. Norman saw that Ella had what it took to be an international star, and he convinced Ella to sign with him. It was the beginning of a lifelong business relationship and friendship.
Under Norman's management, Ella joined the Philharmonic tour, worked with Louis Armstrong on several albums and began producing her infamous songbook series. From 1956-1964, she recorded covers of other musicians' albums, including those by Cole Porter, Duke Ellington, the Gershwins, Johnny Mercer, Irving Berlin, and Rodgers and Hart. The series was wildly popular, both with Ella's fans and the artists she covered.
"I never knew how good our songs were until I heard Ella Fitzgerald sing them," Ira Gershwin once remarked.
Ella also began appearing on television variety shows. She quickly became a favorite and frequent guest on numerous programs, including "The Bing Crosby Show," "The Dinah Shore Show," "The Frank Sinatra Show," "The Ed Sullivan Show," "The Tonight Show," "The Nat King Cole Show," "The Andy Willams Show" and "The Dean Martin Show."
Due to a busy touring schedule, Ella and Ray were often away from home, straining the bond with their son. Ultimately, Ray Jr. and Ella reconnected and mended their relationship.
"All I can say is that she gave to me as much as she could," Ray, Jr. later said, "and she loved me as much as she could."
Unfortunately, busy work schedules also hurt Ray and Ella's marriage. The two divorced in 1952, but remained good friends for the rest of their lives.
Overcoming discrimination
On the touring circuit it was well-known that Ella's manager felt very strongly about civil rights and required equal treatment for his musicians, regardless of their color. Norman refused to accept any type of discrimination at hotels, restaurants or concert halls, even when they traveled to the Deep South.
Once, while in Dallas touring for the Philharmonic, a police squad irritated by Norman's principles barged backstage to hassle the performers. They came into Ella's dressing room, where band members Dizzy Gillespie and Illinois Jacquet were shooting dice, and arrested everyone.
"They took us down," Ella later recalled, "and then when we got there, they had the nerve to ask for an autograph."
Norman wasn't the only one willing to stand up for Ella. She received support from numerous celebrity fans, including a zealous Marilyn Monroe.
"I owe Marilyn Monroe a real debt," Ella later said. "It was because of her that I played the Mocambo, a very popular nightclub in the '50s. She personally called the owner of the Mocambo, and told him she wanted me booked immediately, and if he would do it, she would take a front table every night. She told him - and it was true, due to Marilyn's superstar status - that the press would go wild. The owner said yes, and Marilyn was there, front table, every night. The press went overboard. After that, I never had to play a small jazz club again. She was an unusual woman - a little ahead of her times. And she didn't know it."
Worldwide recognition
Ella continued to work as hard as she had early on in her career, despite the ill effects on her health. She toured all over the world, sometimes performing two shows a day in cities hundreds of miles apart. In 1974, Ella spent a legendary two weeks performing in New York with Frank Sinatra and Count Basie. Still going strong five years later, she was inducted into the Down Beat magazine Hall of Fame, and received Kennedy Center Honors for her continuing contributions to the arts.
Outside of the arts, Ella had a deep concern for child welfare. Though this aspect of her life was rarely publicized, she frequently made generous donations to organizations for disadvantaged youths, and the continuation of these contributions was part of the driving force that prevented her from slowing down. Additionally, when Frances died, Ella felt she had the additional responsibilities of taking care of her sister's family.
In 1987, United States President Ronald Reagan awarded Ella the National Medal of Arts. It was one of her most prized moments. France followed suit several years later, presenting her with their Commander of Arts and Letters award, while Yale, Dartmouth and several other universities bestowed Ella with honorary doctorates.
End of an era
In September of 1986, Ella underwent quintuple coronary bypass surgery. Doctors also replaced a valve in her heart and diagnosed her with diabetes, which they blamed for her failing eyesight. The press carried rumors that she would never be able to sing again, but Ella proved them wrong. Despite protests by family and friends, including Norman, Ella returned to the stage and pushed on with an exhaustive schedule.
By the 1990s, Ella had recorded over 200 albums. In 1991, she gave her final concert at New York's renowned Carnegie Hall. It was the 26th time she performed there.
As the effects from her diabetes worsened, 76-year-old Ella experienced severe circulatory problems and was forced to have both of her legs amputated below the knees. She never fully recovered from the surgery, and afterward, was rarely able to perform. During this time, Ella enjoyed sitting outside in her backyard, and spending time with Ray, Jr. and her granddaughter Alice.
"I just want to smell the air, listen to the birds and hear Alice laugh," she said.
On June 15, 1996, Ella Fitzgerald died in her Beverly Hills home. Hours later, signs of remembrance began to appear all over the world. A wreath of white flowers stood next to her star on the Hollywood Walk of Fame, and a marquee outside the Hollywood Bowl theater read, "Ella, we will miss you."
After a private memorial service, traffic on the freeway was stopped to let her funeral procession pass through. She was laid to rest in the "Sanctuary of the Bells" section of the Sunset Mission Mausoleum at Inglewood Park Cemetery in Inglewood, Calif.
ΠΑΡΑΠΟΜΠΕΣ-ΠΗΓΕΣ
Έλλα Φιτζέραλντ - ALBUMS
https://www.allmusic.com/artist/ella-fitzgerald-mn0000184502/discography
Youtube - Ella Fitzgerald
Ella Fitzgerald - Misty
kcraveme
Ella Fitzgerald - The Shadow Of Your Smile
Ella Fitzgerald - Oh, What A Night For Love
Ella Fitzgerald - Cheek To Cheek
Sleigh Ride - Ella Fitzgerald Jazz Collection
White Christmas (Second Version) - Ella Fitzgerald Jazz Collection
Have Yourself a Merry Little Christmas - Ella Fitzgerald Jazz Collection
What Are You Doing New Year's Eve - Ella Fitzgerald Jazz Collection
We Three Kings of Orient Are - Ella Fitzgerald Jazz Collection
Winter Wonderland - Ella Fitzgerald Jazz Collection
Ella Fitzgerald - Moonlight Serenade
I've Grown Accustomed to His Face - Ella Fitzgerald Jazz Collection
September Song - Ella Fitzgerald Jazz Collection
I'm Thru With Love - Ella Fitzgerald Jazz Collection
Ella Fitzgerald - How High The Moon
(High Quality - Remastered)
Nuova Canaria Recor
Moonlight in Vermont - Ella Fitzgerald Jazz Collection
I'll Never Be the Same - Ella Fitzgerald Jazz Collection
Ella Fitzgerald - Blue Skies
Then You've Never Been Blue - Ella Fitzgerald Jazz Collection
Lost in a Fog - Ella Fitzgerald Jazz Collection
Ella Fitzgerald - The Nearness of You
Ella Fitzgerald - My Funny Valentine
Ella Fitzgerald - Caravan
The Best Of Ella Fitzgerald
01 A foggy day 00:11 02 All by myself 03:46 03 Anything goes 06:16 04 Blue moon 08:29 05 Cheek to cheek 11:46 06 From this moment on 15:36 07 Get Happy 18:54 08 Jingle Bells 22:25 09 Little girl Blue 24:49 10 Love for sale 28:42 11 My funny Valentine 31:41 12 My romance 35:56 13 Night and day 39:22 14 Out of this world 42:29 15 Over the rainbow 47:07 16 Prelude to a kiss 51:29 17 Shall we dance? 56:59 18 The lady is a Tramp 01:00:09 19 The man I love 01:03:32 20 What is this thing called love? 01:07:24
The Best of Ella Fitzgerald
01 Dreamer (Vivo Sonhando) [0:00] 02 You're Blase [4:47] 03 Fine And Mellow [8:10] 04 Honeysuckle Rose [14:16] 05 Street Of Dreams [20:22] 06 I'm Walkin' [24:25] 07 This Love That I'm Found [29:53] 08 I'm Getting Sentimental Over You [35:03] 09 How Long Has This Been Going On? [37:55] 10 Don't Be That Way [42:25]
Ella & Louis - The Anthology
Ella Fitzgerald and Louis Armstrong - Ella and Louis,1956.
Classic Vocal Jazz Music.
00:00 Can't we be Friends? (1956) 03:44 Isn't This a Lovely Day? (1956) 09:56 Moonlight in Vermont (1956) 13:30 They can't Take That Away from Me (1956) 18:05 Under a Blanket of Blue (1956) 22:28 Tenderly (1956) 27:21 A Foggy Day (in London Town) (1956) 31:50 Stars Fell on Alabama (1956) 35:18 Cheek to Cheek (1956) 41:07 The Nearness of You (1956) 46:42 April in Paris (1956)
Ella Fitzgerald sings
the Cole Porter songbook
00:00 - All Through the Night 03:17 - Anything Goes 06:40 - Miss Otis Regrets 09:43 - Too Darn Hot 13:33 - In the Still of the Night 16:13 - I Get a Kick Out of You 20:15 - Do I Love You 24:06 - Always True to You in My Fashion 26:57 - Let's Do It 30:32 - Just One of Those Things 34:04 - Everyttime We Say Goodbye 37:39 - All of You 39:24 - Begin the Beguine 43:04 - Get Out of Town 46:29 - I Am in Love 50:38 - From This Moment On
Ella Fitzgerald Sings
The George And Ira Gershwin Songbook.
1 | 00:00 | Ella Fitzgerald - The Man I Love 2 | 03:52 | Ella Fitzgerald - I Got Rhythm 3 | 07:00 | Ella Fitzgerald - 'S Wonderful 4 | 10:31 | Ella Fitzgerald - A Foggy Day 5 | 14:04 | Ella Fitzgerald - Just Another Rhumba 6 | 19:41 | Ella Fitzgerald - Embraceable You 7 | 24:34 | Ella Fitzgerald - Isn't It a Pity? 8 | 28:00 | Ella Fitzgerald - Slap That Bass 9 | 31:23 | Ella Fitzgerald - But Not for Me 10 | 34:58 | Ella Fitzgerald - (I've Got) Beginner's Luck 11 | 38:08 | Ella Fitzgerald - Sam And Delilah 12 | 41:26 | Ella Fitzgerald - Oh, Lady Be Good 13 | 45:28 | Ella Fitzgerald - Ambulatory Suite Promenade (Walking The Dog) - March Of The Swiss Soldiers - Fidgety Feet 14 | 52:44 | Ella Fitzgerald - Shall We Dance? 15 | 55:54 | Ella Fitzgerald - Lorelei 16 | 59:16 | Ella Fitzgerald - Clap Yo' Hands 17 | 1:01:46 | Ella Fitzgerald - Looking for a Boy 18 | 1:04:53 | Ella Fitzgerald - Aren't You Kind Of Glad We Did? 19 | 1:08:23 | Ella Fitzgerald - The Preludes Prelude I - Prelude II - Prelude III 20 | 1:14:58 | Ella Fitzgerald - Soon 21 | 1:17:20 | Ella Fitzgerald - Let's Kiss And Make Up 22 | 1:21:12 | Ella Fitzgerald - By Strauss 23 | 1:23:44 | Ella Fitzgerald - I Can't Be Bothered Now 24 | 1:26:34 | Ella Fitzgerald - Boy Wanted 25 | 1:30:10 | Ella Fitzgerald - Of Thee I Sing (Baby) 26 | 1:33:19 | Ella Fitzgerald - Treat Me Rough 27 | 1:36:16 | Ella Fitzgerald - The Real American Folk Song 28 | 1:40:01 | Ella Fitzgerald - Boy! What Love Has Done To Me! 29 | 1:43:51 | Ella Fitzgerald - Cheerful Little Earful 30 | 1:45:59 | Ella Fitzgerald - Stiff Upper Lip 31 | 1:48:52 | Ella Fitzgerald - Love Is Sweeping The Country 32 | 1:52:19 | Ella Fitzgerald - My Cousin In Milwaukee 33 | 1:55:29 | Ella Fitzgerald - Bidin' My Time 34 | 1:58:11 | Ella Fitzgerald - I Was Doing All Right 35 | 2:01:39 | Ella Fitzgerald - Someone To Watch Over Me 36 | 2:06:13 | Ella Fitzgerald - My One and Only 37 | 2:08:50 | Ella Fitzgerald - Fascinatin' Rhythm 38 | 2:12:16 | Ella Fitzgerald - For You, For Me, For Evermore 39 | 2:15:41 | Ella Fitzgerald - Nice Work If You Can Get It 40 | 2:19:15 | Ella Fitzgerald - Let's Call The Whole Thing Off 41 | 2:23:44 | Ella Fitzgerald - Love Walked In 42 | 2:27:37 | Ella Fitzgerald - Love Is Here To Stay 43 | 2:31:32 | Ella Fitzgerald - You've Got What Gets Me 44 | 2:33:48 | Ella Fitzgerald - Oh, So Nice 45 | 2:37:30 | Ella Fitzgerald - How Long Has This Been Going On? 46 | 2:41:17 | Ella Fitzgerald - Funny Face 47 | 2:44:41 | Ella Fitzgerald - They Can't Take That Away From Me 48 | 2:47:51 | Ella Fitzgerald - Somebody Loves Me 49 | 2:50:29 | Ella Fitzgerald - I've Got A Crush On You 50 | 2:53:59 | Ella Fitzgerald - He Loves And She Loves 51 | 2:56:48 | Ella Fitzgerald - "The Half Of It, Dearie" Blues 52 | 3:00:35 | Ella Fitzgerald - That Certain Feeling 53 | 3:03:39 | Ella Fitzgerald - Somebody From Somewhere 54 | 3:06:48 | Ella Fitzgerald - They All Laughed 55 | 3:09:53 | Ella Fitzgerald - Who Cares? 56 | 3:13:01 | Ella Fitzgerald - Strike Up The Band 57 | 3:15:36 | Ella Fitzgerald - Things Are Looking Up
Ella Fitzgerald Sings
the Harold Arlen Songbook
1 | 00:00 | Ella Fitzgerald - Over the Rainbow 2 | 04:22 | Ella Fitzgerald - Ill Wind 3 | 08:17 | Ella Fitzgerald - Let's Fall in Love 4 | 12:23 | Ella Fitzgerald - That Old Black Magic 5 | 16:37 | Ella Fitzgerald - Come Rain or Come Shine 6 | 20:02 | Ella Fitzgerald - Get Happy 7 | 23:36 | Ella Fitzgerald - It's Only a Paper Moon 8 | 27:13 | Ella Fitzgerald - Stormy Weather (Keeps Rainin' All the Time) 9 | 32:30 | Ella Fitzgerald - Blues in the Night (My Mama Done Tol' Me) 10 | 39:46 | Ella Fitzgerald - Between the Devil and the Deep Blue Sea 11 | 42:12 | Ella Fitzgerald - It Was Written in the Stars 12 | 47:24 | Ella Fitzgerald - The Man That Got Away 13 | 52:45 | Ella Fitzgerald - I Gotta Right to Sing the Blues 14 | 57:59 | Ella Fitzgerald - When the Sun Comes Out 15 | 1:03:08 | Ella Fitzgerald - Out of This World 16 | 1:05:55 | Ella Fitzgerald - Happiness Is a Thing Called Joe 17 | 1:09:26 | Ella Fitzgerald - Ding-Dong! the Witch Is Dead 18 | 1:12:46 | Ella Fitzgerald - As Long As I Live 19 | 1:16:34 | Ella Fitzgerald - Sing My Heart 20 | 1:19:24 | Ella Fitzgerald - One for My Baby (And One More for the Road) 21 | 1:23:23 | Ella Fitzgerald - My Shining Hour 22 | 1:27:26 | Ella Fitzgerald - Ac-Cent-Tchu-Ate the Positive 23 | 1:31:04 | Ella Fitzgerald - I've Got the World On a String 24 | 1:35:59 | Ella Fitzgerald - Let's Take a Walk Around the Block 25 | 1:40:02 | Ella Fitzgerald - This Time the Dream's On Me 26 | 1:44:42 | Ella Fitzgerald - Hooray for Love
Ella Fitzgerald - Blue Moon
1 | 00:00 | Ella Fitzgerald - Imagination 2 | 02:37 | Ella Fitzgerald - Misty 3 | 05:30 | Ella Fitzgerald - Willow Weep For Me 4 | 09:34 | Ella Fitzgerald - Manhattan 5 | 12:25 | Ella Fitzgerald - Smooth Sailing 6 | 15:31 | Ella Fitzgerald - Star Dust 7 | 19:33 | Ella Fitzgerald - These Foolish Things 8 | 27:09 | Ella Fitzgerald - I Can't Give You Anything But Love, Baby 9 | 30:41 | Ella Fitzgerald - Embraceable You 10 | 35:34 | Ella Fitzgerald - I'll Never Be The Same 11 | 40:01 | Ella Fitzgerald - With A Song In My Heart 12 | 42:47 | Ella Fitzgerald - Nice Work If You Can Get It 13 | 45:25 | Ella Fitzgerald - Dream A Little Dream Of Me 14 | 48:31 | Ella Fitzgerald - Lost In A Fog 15 | 52:35 | Ella Fitzgerald - Baby, What Else Can I Do? 16 | 56:23 | Ella Fitzgerald - I Get A Kick Out Of You 17 | 1:00:25 | Ella Fitzgerald - My One And Only 18 | 1:03:41 | Ella Fitzgerald - Stairway To The Stars 19 | 1:06:35 | Ella Fitzgerald - People Will Say We're In Love 20 | 1:09:47 | Ella Fitzgerald - Bewitched 21 | 1:16:50 | Ella Fitzgerald - Let's Do It (let's Fall In Love) 22 | 1:20:25 | Ella Fitzgerald - Blue Moon 23 | 1:23:38 | Ella Fitzgerald - Blue Skies 24 | 1:27:24 | Ella Fitzgerald - I've Got You Under My Skin 25 | 1:30:10 | Ella Fitzgerald - Georgia On My Mind
Ella Fitzgerald - But Not For Me
1 | 00:00 | Ella Fitzgerald - I've Got The World On A String 2 | 03:18 | Ella Fitzgerald - Smooth Sailing 3 | 06:24 | Ella Fitzgerald - Bewitched, Bothered, And Bewildered 4 | 13:29 | Ella Fitzgerald - Nice Work If You Can Get It 5 | 16:07 | Louis Armstrong & Ella Fitzgerald - There's A Boat Dat's Leavin' Soon For New York 6 | 21:05 | Ella Fitzgerald - Stormy Weather 7 | 26:19 | Ella Fitzgerald - But Not For Me 8 | 29:33 | Ella Fitzgerald - Cotton Tail 9 | 32:59 | Ella Fitzgerald - Bewitched 10 | 40:03 | Louis Armstrong & Ella Fitzgerald - Can't We Be Friends 11 | 43:50 | Ella Fitzgerald - Spring Will Be A Little Late This Year 12 | 47:11 | Ella Fitzgerald - After You've Gone 13 | 51:19 | Ella Fitzgerald - I Got It Bad (and That Ain't Good) 14 | 57:35 | Louis Armstrong & Ella Fitzgerald - They All Laughed 15 | 1:01:22 | Ella Fitzgerald - Blue Moon 16 | 1:04:34 | Ella Fitzgerald & Nelson Riddle - I Hear Music 17 | 1:06:54 | Ella Fitzgerald - Tenderly 18 | 1:10:07 | Ella Fitzgerald - I've Got A Crush On You 19 | 1:13:22 | Ella Fitzgerald - Georgia On My Mind 20 | 1:16:53 | Louis Armstrong & Ella Fitzgerald - Our Love Is Here To Stay 21 | 1:20:54 | Ella Fitzgerald - Blue Skies 22 | 1:24:40 | Ella Fitzgerald - Moonlight In Vermont 23 | 1:28:00 | Ella Fitzgerald - Get Happy 24 | 1:31:32 | Ella Fitzgerald - Let's Do It (let's Fall In Love) 25 | 1:35:07 | Ella Fitzgerald - Star Dust 26 | 1:39:08 | Ella Fitzgerald - Someone To Watch Over Me 27 | 1:42:24 | Ella Fitzgerald - I've Got You Under My Skin