Today is
the one hundredth birthday of vocalist Ella Fitzgerald. When jazz critics
debate the superlative jazz singers, they start with Ella Fitzgerald and Billie
Holiday, then move on to everyone else. Ella has always been number one on my
personal list. She offered what I wanted in a jazz singer: an impeccable sense
of swing, respect for the composer’s melody, and emotion tempered in measured
amounts.
In 1999 I
had the good fortune to interview pianist Paul Smith in Los Angeles. He cited
his time as Ella Fitgzerald’s accompanist as a career highlight:
 |
| Paul Smith, in 1999 |
MR: Tell
me about working with Ella if you don’t mind.
PS: That
was a total delight. Musically you can’t beat it. I mean it spoiled you for
most other singers. She was such an easy person to play for. I mean that was a
case, I mean when she’s scatting, you play one-fifteenth of what you’re capable
of playing. We did one album together, which I bought three or four copies of
for posterity for my family and everything, and it’s called “The Intimate
Ella,” and it’s just piano and her.
And it’s the one album where nobody plays
choruses. I mean most, I’d say 99% of her albums, she was the band singer. The
band played 16 bars, or if it was done with Oscar or Joe Pass or whoever, I mean
they played choruses and they played behind her, and it was kind of like a
coordinated thing between them but it wasn’t really her album. And this one,
she loved to sing ballads. And I don’t think she had ever done a complete
ballad album, she always ended up having to scat or having to do swinging
things. So we did like 15 tunes, all ballads. And she was at the height of her
career at that time. And I said, “I’m going to play four bars, and you sing.
There’s no piano choruses, nobody else, this is just you, you just do what you
want to do.” And it turned out to be — I mean it’s a singer’s tour de force.
Every singer should listen to that whole album. That’s where the statement came
from she could sing the telephone book and make it sound good. Because she did
all the tunes that people have trouble with — “Melancholy Baby,” “Who’s Sorry
Now,” and the “Black Coffee,” “One for the Road.” It’s just a beautiful album,
not because I’m on it but just from the singing standpoint she was exquisite
and singing just what she wanted to sing. She didn’t want to do any scat,
didn’t want any tunes where she had to ad lib. She did her little ad libs,
which she does on ballads, but generally it’s straight melody pretty much. And
it’s a great album for her.
You can
view the full interview with Paul Smith on the Fillius Jazz Archive
YouTube Channel.
Here’s a
link to “Angel Eyes,” one of the cuts from “The Intimate Ella.”
As a
contrast, you may also enjoy this classic performance of Ella scatting on “How High the Moon.”
Happy Birthday,
Ella!
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