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. 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. 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. 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.
In mid , Ella made her first recording. Ella played with the new style, often using her voice to take on the role of another horn in the band. Throughout her career, Ella would master scat singing, turning it into a form of art. In , at the age of 21, Ella recorded a playful version of the nursery rhyme, "A-Tisket, A-Tasket. Suddenly, Ella Fitzgerald was famous. On June 16, , 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. 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.
The series was wildly popular, both with Ella's fans and the artists she covered. Ella also began appearing on television variety shows. Due to a busy touring schedule, Ella and Ray were often away from home, straining the bond with their son. Ultimately, Ray Jr. Unfortunately, busy work schedules also hurt Ray and Ella's marriage. The two divorced in , but remained good friends for the rest of their lives.
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. Norman wasn't the only one willing to stand up for Ella.
She received support from numerous celebrity fans, including a zealous Marilyn Monroe. 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. 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.
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.
Something To Live For 5. Wives And Lovers 6. So Danco Samba 7. Let's Do It 8. Lover Man 9. This informal-sounding, never before released Stockholm concert recording from shows why Fitzgerald as primarily a live performer is not such a bad thing. Backed by Duke Ellington's orchestra and her own trio of pianist Jimmy Jones, bassist Joe Comfort, and drummer Gus Johnson, she shows off her incredible interpretive skills on a mix of standards heavy with Ellington and Strayhorn classics.
Along with a rousing rendition of "Cottontail" featuring a scatting Fitzgerald and tenor saxophonist Paul Gonsalves trading fours , there's a pop swinging version of "Satin Doll" and all too rarely heard vocal takes of "Imagine My Frustration" and "Something to Live For. While maybe not as essential as Ella's Verve songbooks, The Stockholm Concert is still a must for any serious Fitzgerald fan.
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