But Beautiful:remembering Ella
I thank Simon B for reminding me that it's ten years since the death of Ella Fitzgerald. Ten years in which some fine new jazz singers have come along (Claire Martin and Stacey Kent spring to mind), but no-one will ever equal Ella for sheer beauty of sound.
And yet Ella has had something of a bum deal in terms of reputation - particularly from jazz purists, who almost to a man (and I chose that expression carefully), will compare unfavourable to hr near-contemporary Billie Holiday. Billie (goes the jazz Party Line) may have had a limited voice, but she exuded passion, sincerity, true jaz feeling and a natural affinity with the blues. Ella, on the other hand, (this is still the Party Line, you understand) was all vocal technique, but had little or no feeling, no blues sensibility and - if you want the bald truth - was scarcely a jazz singer at all!
All of which is not just unfair to Ella: it's complete rubbish that owes more to ignorant mythology than it does to any serious musical appreciation. The idea that Billie was an authentic "jazz singer", whose every note was suffused with passion, sincerity and suffering, is a nonsense that owes more to her ghosted (and highly unreliable) 'autobiography' Lady Sings the Blues (and the awful Diana Ross film based upon it) . In reality, Billie -given the opportunity- demanded lush strings and 'commercial' arrangements on her later recording sessions (on which her voice was often dire). And Ellas could sing with sincerity and passion (try "Ill Wind" from her Harold Arlen album, or 'Do Nothing till You Hear from Me' from her Ellington album - both on 'Verve'), in addition to simply swinging like the clappers.
Jazz has always been very male. It was one of the first art forms to insist upon racial equality: how could it not, when all (excepting a few whites like Beiderbecke, Gooodman and Teagarden) its leading practitioners were black Americans? But the fact remains that, for all its racial equality, jazz was always seriously sexist.
Women were allowed in jazz as vocalists, provided they were pretty. Mary Lou Williams was the exception and even she had the advantage of being "the Pretty Gal Who Swings the Band"; she played the piano better than most men, and also arranged for Andy Kirk's band. Ella Fitzgerald, who could never have been called a "Pretty Gal" started singing in the 1930's, copying the white New Orleansian Connie Boswell: Ella , nervous as she alwys would be, won a talent competition at the Apollo Ballroom , and*wasn't* pretty but had the most fabulous voice. Benny Carter heard her there and recommended her to bandleader Chick Webb. From then on her career took off, first with Chick Webb's band (which she took over for two years when he died in 1939), and then as a soloist.
She adapted to bebop with ease; almost every record she made from the late 1940's through to the mid 1950's is a lesson in bop phrasing. She could also scat-sing with a facility and wit unmatched by anyone except Louis Armstrong or Leo Watson. Then, Norman Granz (of 'Verve' records) came up with the "Song Book" idea: give Ella the task of recording all the significant songs of - say- Gershwin, Porter, or Mercer, and give her the lush backing of Nelson Riddle, or the brassy drive of Billy May, and you have a series of classics. No serious music lover (even if you're not particularly into jazz) should be without them.
But Ella, despite her success, was never really happy. She wasn't obviously unhappy the way Billie Holiday was (although Billie's reputation as a tragic victim is at least in part the result of her own "successful exploitation of her (own) personal life" in the words of one commentator). Ella's unhappiness was, apparently, that she simply felt unloved and felt unattractive to men. Sarah Vaughan - another wonderful vocalist - felt the same way. Ella was married to the bass player Ray Brown for a while in the 1950's, but that didn't work out (nor did a second marriage), possibly because of her inferiority complex. Her friend, Marian Logan, at the time of a 1950 European tour with Norman Granz's 'Jazz at the Philharmonic' described her thus;
"She was shy and she was very insecure about her looks. She used to tell me, 'You're so beautiful'. It was hard on Ella. Everyone around her was so young and slim and she was young and fat, and she thought of herself, I guess, as kind of ordinary. Nobody ever made her realise that she had a beauty that was a lot different and a lot more lasting than the beauty of those 'look pretty and the next day look like a raggedy-bose-of yacka-may'. nobody ever made her feel valuable even for her talents. Nobody made much over her. She was always a very lonely person".
The jazz world is-rightly- proud of its longstanding anti-racism. it has little to be proud of in its treatment of women. The reason for Ella's underappreciation in jazz circles has, I suspect, a lot to do with her looks. She was- to put it bluntly- "matronly"("homely" is another frequently used description) in a world where female singers were judged as much by their looks as by their voice. Billie Holiday was not exactly a conventional beauty, but even in her declining years she remained a striking, handsome woman. Ella just had the voice.
She ended up as the elder stateswoman of jazz: nominally acknowledged by all, but lonely. Her performances never moved me in quite the the way Billie Holiday's do. But she kept the "Great American Songbook" alive the way no-one else could. For that - if nothing else- she deserves to be remembered.
Yes, Ella had real beauty, and not just in her voice (although that was-quite simply- the most gorgeous vocal sound ever produced in jazz or anywhere else): she was a lovely, loving, modest and strangely child-like talent who never quite believed in her own ability. In fact, she seems to have seriously doubted herself throughout her career. Her life strikes me as more tragic than that of Billie Holiday, who may have made bad choices in men and in many other matters, but did so voluntarily (it has even been suggested that she-Billie- was a masochist). Ella was lonely, insecure and never realised how important she was. The sexism and superficiality of the jazz/showbiz world, and the wider society it existed within, was, in large part, to blame. But that voice...
(NB: Fortunately, Ella's geatest recordings are widely and easily available: I recommend 'The Best of the Song Books', Verve 519 804-2 and 'The Best of the Song Books: The Ballads', Verve 521 867-2)
And yet Ella has had something of a bum deal in terms of reputation - particularly from jazz purists, who almost to a man (and I chose that expression carefully), will compare unfavourable to hr near-contemporary Billie Holiday. Billie (goes the jazz Party Line) may have had a limited voice, but she exuded passion, sincerity, true jaz feeling and a natural affinity with the blues. Ella, on the other hand, (this is still the Party Line, you understand) was all vocal technique, but had little or no feeling, no blues sensibility and - if you want the bald truth - was scarcely a jazz singer at all!
All of which is not just unfair to Ella: it's complete rubbish that owes more to ignorant mythology than it does to any serious musical appreciation. The idea that Billie was an authentic "jazz singer", whose every note was suffused with passion, sincerity and suffering, is a nonsense that owes more to her ghosted (and highly unreliable) 'autobiography' Lady Sings the Blues (and the awful Diana Ross film based upon it) . In reality, Billie -given the opportunity- demanded lush strings and 'commercial' arrangements on her later recording sessions (on which her voice was often dire). And Ellas could sing with sincerity and passion (try "Ill Wind" from her Harold Arlen album, or 'Do Nothing till You Hear from Me' from her Ellington album - both on 'Verve'), in addition to simply swinging like the clappers.
Jazz has always been very male. It was one of the first art forms to insist upon racial equality: how could it not, when all (excepting a few whites like Beiderbecke, Gooodman and Teagarden) its leading practitioners were black Americans? But the fact remains that, for all its racial equality, jazz was always seriously sexist.
Women were allowed in jazz as vocalists, provided they were pretty. Mary Lou Williams was the exception and even she had the advantage of being "the Pretty Gal Who Swings the Band"; she played the piano better than most men, and also arranged for Andy Kirk's band. Ella Fitzgerald, who could never have been called a "Pretty Gal" started singing in the 1930's, copying the white New Orleansian Connie Boswell: Ella , nervous as she alwys would be, won a talent competition at the Apollo Ballroom , and*wasn't* pretty but had the most fabulous voice. Benny Carter heard her there and recommended her to bandleader Chick Webb. From then on her career took off, first with Chick Webb's band (which she took over for two years when he died in 1939), and then as a soloist.
She adapted to bebop with ease; almost every record she made from the late 1940's through to the mid 1950's is a lesson in bop phrasing. She could also scat-sing with a facility and wit unmatched by anyone except Louis Armstrong or Leo Watson. Then, Norman Granz (of 'Verve' records) came up with the "Song Book" idea: give Ella the task of recording all the significant songs of - say- Gershwin, Porter, or Mercer, and give her the lush backing of Nelson Riddle, or the brassy drive of Billy May, and you have a series of classics. No serious music lover (even if you're not particularly into jazz) should be without them.
But Ella, despite her success, was never really happy. She wasn't obviously unhappy the way Billie Holiday was (although Billie's reputation as a tragic victim is at least in part the result of her own "successful exploitation of her (own) personal life" in the words of one commentator). Ella's unhappiness was, apparently, that she simply felt unloved and felt unattractive to men. Sarah Vaughan - another wonderful vocalist - felt the same way. Ella was married to the bass player Ray Brown for a while in the 1950's, but that didn't work out (nor did a second marriage), possibly because of her inferiority complex. Her friend, Marian Logan, at the time of a 1950 European tour with Norman Granz's 'Jazz at the Philharmonic' described her thus;
"She was shy and she was very insecure about her looks. She used to tell me, 'You're so beautiful'. It was hard on Ella. Everyone around her was so young and slim and she was young and fat, and she thought of herself, I guess, as kind of ordinary. Nobody ever made her realise that she had a beauty that was a lot different and a lot more lasting than the beauty of those 'look pretty and the next day look like a raggedy-bose-of yacka-may'. nobody ever made her feel valuable even for her talents. Nobody made much over her. She was always a very lonely person".
The jazz world is-rightly- proud of its longstanding anti-racism. it has little to be proud of in its treatment of women. The reason for Ella's underappreciation in jazz circles has, I suspect, a lot to do with her looks. She was- to put it bluntly- "matronly"("homely" is another frequently used description) in a world where female singers were judged as much by their looks as by their voice. Billie Holiday was not exactly a conventional beauty, but even in her declining years she remained a striking, handsome woman. Ella just had the voice.
She ended up as the elder stateswoman of jazz: nominally acknowledged by all, but lonely. Her performances never moved me in quite the the way Billie Holiday's do. But she kept the "Great American Songbook" alive the way no-one else could. For that - if nothing else- she deserves to be remembered.
Yes, Ella had real beauty, and not just in her voice (although that was-quite simply- the most gorgeous vocal sound ever produced in jazz or anywhere else): she was a lovely, loving, modest and strangely child-like talent who never quite believed in her own ability. In fact, she seems to have seriously doubted herself throughout her career. Her life strikes me as more tragic than that of Billie Holiday, who may have made bad choices in men and in many other matters, but did so voluntarily (it has even been suggested that she-Billie- was a masochist). Ella was lonely, insecure and never realised how important she was. The sexism and superficiality of the jazz/showbiz world, and the wider society it existed within, was, in large part, to blame. But that voice...
(NB: Fortunately, Ella's geatest recordings are widely and easily available: I recommend 'The Best of the Song Books', Verve 519 804-2 and 'The Best of the Song Books: The Ballads', Verve 521 867-2)
posted by Jim Denham at
3:06 PM
3 Comments:
my mistake: it's not 100 years since Ella's birth (she was born in 1917), but, as Simon B said, ten years since her death (in june 1996): I apologise for the mistake. But it's still a good excse to remember the wonders of Ella.
Just to avoid confusion: the above comment was posted immediately after I put the first draft of that article up on Thusday night, and realised I'd misremebered Simon B's post about Ella. I'm getting used to 100th anniversaries: Louis, Bechet, Duke, Venuti, etc, etc: I forgot that Ella was that much younger. Anyway, it's corrected now.
Hi Jim,
Very interesting piece.
I'm a big fan of Ella (and Billie Holiday and Satchmo), who I think has the most gorgeous voice I've ever heard, but am not any sort of jazz buff.
I didn't realise she had such an unhappy life.
I'll have a look at those CDs you mention, and see if there's something I haven't already got.
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