Fitzgerald, whose superb voice, wide repertoire, and accessible singing style appealed to both jazz and pop audiences, scored her first recording hit with "A-Tisket A-Tasket" (1938) and went on to become a perennially popular artist with such performances as the million-selling "I'm Making Believe" (1944, with the Ink Spots), the historic scat "Flying Home" (1945), the be-bop "Lady Be Good" (1947), and many hundreds more. She also wrote a number of songs and made numerous concert tours of the United States, Europe, and Asia. She appeared in several films, including Pete Kelly's Blues (1955) and St. Louis Blues (1958). Despite ill health, Fitzgerald continued performing into the early 1990s.
See biography by S. Nicholson (1994); C. Zwerin, dir., Ella Fitzgerald: Something to Live For (documentary film, 1999).
(born April 25, 1917, Newport News, Va., U.S.—died June 15, 1996, Beverly Hills, Calif.) U.S. singer. She won an amateur contest at Harlem's Apollo Theatre in 1934 and became the star of drummer Chick Webb's big band the following year. Her association with manager and impresario Norman Granz in the late 1940s led to performances with Jazz at the Philharmonic and a famous series of “Songbook” recordings, each featuring the work of a single popular-song composer. Fitzgerald was one of the greatest scat singers in jazz; her clear, girlish voice and virtuosity made her one of the best-selling vocal recording artists in history.
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With a vocal range spanning three octaves, she was noted for her purity of tone, phrasing and intonation, and a "horn-like" improvisational ability, particularly in her scat singing. She is widely considered to have been one of the supreme interpreters of the Great American Songbook.
Over a recording career that lasted 57 years, she was the winner of 13 Grammy Awards, and was awarded the National Medal of Art by Ronald Reagan and the Presidential Medal of Freedom by George H. W. Bush.
In her youth, she wanted to be a dancer, although she loved listening to jazz recordings by Louis Armstrong, Bing Crosby and The Boswell Sisters. She idolized the lead singer Connee Boswell, later saying, "My mother brought home one of her records, and I fell in love with it....I tried so hard to sound just like her."
In 1932, her mother died from a heart attack. After staying with Da Silva for a short time, she was taken in by Tempie's sister, Virginia. Shortly afterward, Da Silva suffered a heart attack and died, and her sister Frances joined Ella at Virginia's home in New York City.
Following these traumas, Fitzgerald's grades dropped dramatically, and she frequently skipped school. At one point, she worked as a lookout at a bordello and also with a Mafia-affiliated numbers runner. After getting into trouble with the police, she was taken into custody and sent to a reform school. Eventually she escaped from the reformatory, and for a time was homeless.
She made her singing debut at 17 on November 21, 1934 at the Apollo Theater in Harlem, New York. She pulled in a weekly audience at the Apollo and she won the opportunity to compete in one of the earliest of its famous "Amateur Nights." She had originally intended to go on stage and dance but, intimidated by the Edwards Sisters, a local dance duo, she opted to sing instead, in the style of Connie Boswell. She sang Hoagy Carmichael's "Judy" and "The Object of My Affection", a song recorded by the Boswell Sisters, and won the first prize of US$25.00.
She began singing regularly with Webb's Orchestra through 1935, at Harlem's Savoy Ballroom. Fitzgerald recorded several hit songs with them, including "Love and Kisses" and "(If You Can't Sing It) You'll Have to Swing It (Mr. Paganini)" but it was her 1938 version of the nursery rhyme, "A-Tisket, A-Tasket", a song she co-wrote, that brought her wide public acclaim.
Chick Webb died on June 16, 1939, and his band was renamed "Ella Fitzgerald and her Famous Orchestra" with Ella taking the role of bandleader. Fitzgerald recorded nearly 150 sides during her time with the orchestra, most of which, like "A-Tisket, A-Tasket", were "novelties and disposable pop fluff."
With Decca's Milt Gabler as her manager, she began working regularly for the jazz impresario Norman Granz, and appearing regularly in his Jazz at the Philharmonic concerts. Fitzgerald's relationship with Granz was further cemented when he became her manager, although it would be nearly a decade before he could record her on one of his many record labels.
With the demise of the Swing era, and the decline of the great touring big bands, a major change in jazz music occurred. The advent of bebop caused a major change in Fitzgerald's vocal style, influenced by her work with Dizzy Gillespie's big band. It was in this period that Fitzgerald started including scat singing as a major part of her performance repertoire. While singing with Gillespie, Fitzgerald recalled, "I just tried to do [with my voice] what I heard the horns in the band doing."
Her 1945 scat recording of "Flying Home" would later be described by The New York Times as "one of the most influential vocal jazz records of the decade....Where other singers, most notably Louis Armstrong, had tried similar improvisation, no one before Miss Fitzgerald employed the technique with such dazzling inventiveness." Her be-bop recordings of "Oh, Lady be Good!" (1947) and "How High the Moon" were similarly popular, and increased her reputation as one of the leading jazz vocalists.
Perhaps responding to criticism, and under pressure from Granz (who felt that Fitzgerald was given unsuitable material to record during this period), her last years on the Decca label saw Fitzgerald recording a series of duets with pianist Ellis Larkins, released in 1950 as Ella Sings Gershwin.
Fitzgerald later described the period as strategically crucial, saying, "I had gotten to the point where I was only singing be-bop. I thought be-bop was 'it', and that all I had to do was go some place and sing bop. But it finally got to the point where I had no place to sing. I realized then that there was more to music than bop. Norman....felt that I should do other things, so he produced The Cole Porter Songbook with me. It was a turning point in my life."
Ella Fitzgerald Sings the Cole Porter Songbook, released in 1956, was the first of eight multi-album "Songbook" sets Fitzgerald would record for Verve at irregular intervals from 1956 to 1964. The composers and lyricists spotlighted on each set, taken together, represent the greatest part of the cultural canon known as the Great American Songbook. Fitzgerald's song selections ranged from standards to rarities, and represented an attempt by Fitzgerald to cross over into a non-jazz audience.
Ella Fitzgerald Sings the Duke Ellington Songbook was the only Songbook on which the composer she interpreted played with her. Duke Ellington and his longtime collaborator Billy Strayhorn both appeared on exactly half the set's 38 tracks, and wrote two new pieces of music for the album: "The E and D Blues", and a four-movement musical portrait of Fitzgerald (the only "Songbook" track on which Fitzgerald does not sing).
The Songbook series ended up becoming the singer's most critically acclaimed and commercially successful work, and probably her most significant offering to American culture. The New York Times wrote in 1996, "These albums were among the first pop records to devote such serious attention to individual songwriters, and they were instrumental in establishing the pop album as a vehicle for serious musical exploration."
A few days after Fitzgerald's death, New York Times columnist Frank Rich wrote that in the Songbook series Fitzgerald "performed a cultural transaction as extraordinary as Elvis's contemporaneous integration of white and African-American soul. Here was a black woman popularizing urban songs often written by immigrant Jews to a national audience of predominantly white Christians." Frank Sinatra was moved out of respect for Fitzgerald to block Capitol Records from re-releasing his own recordings in a similar, single composer vein.
Ella Fitzgerald also recorded albums exclusively devoted to the songs of Porter and Gershwin in 1972 and 1983, the albums being Ella Loves Cole and Nice Work If You Can Get It, respectively. A later collection devoted to a single composer was released during her time with Pablo Records, Ella Abraça Jobim, featuring the songs of Antonio Carlos Jobim.
While recording the 'Songbooks' and the occasional studio album, Fitzgerald toured 40 to 45 weeks per year in the United States and internationally, under the tutelage of Norman Granz. Granz helped solidify her position as one of the leading live jazz performers.
In the mid-1950s, Fitzgerald became the first African-American to perform at the Mocambo, after Marilyn Monroe had lobbied the owner for the booking. The booking was instrumental in Fitzgerald's career. The incident was turned into a play by Bonnie Greer in 2005.
There are several live albums on Verve that are highly regarded by critics: Ella at the Opera House shows a typical JATP set from Fitzgerald, Ella in Rome displays her vocal jazz canon, while Ella in Berlin is still one of her biggest selling albums; it includes a famous version of "Mack the Knife", on which she forgets the lyrics, but improvises magnificently to compensate.
The surprise success of the 1972 album Jazz at Santa Monica Civic '72 led Granz to found Pablo Records, his first record label since the sale of Verve. Fitzgerald recorded some 20 albums for the label. Her years on Pablo documented the decline in her voice; "She frequently used shorter, stabbing phrases, and her voice was harder, with a wider vibrato," one biographer wrote. Plagued by health problems, Fitzgerald made her last recording in 1991 and her last public performances in 1993.
Fitzgerald married twice, though there is evidence that she may have married a third time. In 1941 she married Benny Kornegay, a convicted drug dealer. The marriage was annulled after two years.
Her second marriage, in December 1947, was to the famous bass player Ray Brown, whom she had met while on tour with Dizzy Gillespie's band a year earlier. Together they adopted a child born to Fitzgerald's half-sister, Frances, whom they christened Ray Brown, Jr. With Fitzgerald and Brown often busy touring and recording, the child was largely raised by her aunt, Virginia. Fitzgerald and Brown divorced in 1953, owing to the various career pressures both were experiencing at the time, though they would continue to perform together.
In July 1957, Reuters reported that Fitzgerald had secretly married Thor Einar Larsen, a young Norwegian, in Oslo. She had even gone as far as furnishing an apartment in Oslo, but the affair was quickly forgotten when Larsen was sentenced to five months hard labour in Sweden for stealing money from a young woman to whom he had previously been engaged.
Fitzgerald was also notoriously shy. Trumpet player Mario Bauza, who played behind Fitzgerald in her early years with Chick Webb, remembered that "She didn’t hang out much. When she got into the band, she was dedicated to her music….She was a lonely girl around New York, just kept herself to herself, for the gig." When, later in her career, the Society of Singers named an award after her, Fitzgerald explained, "I don't want to say the wrong thing, which I always do. I think I do better when I sing."
Already blinded by the effects of diabetes, Fitzgerald had both her legs amputated in 1993 . In 1996 she died of the disease in Beverly Hills, California, at the age of 79. She is interred in the Inglewood Park Cemetery in Inglewood, California. Several of Fitzgerald's awards, significant personal possessions and documents were donated to the Smithsonian Institution, the library of Boston University, the Library of Congress, and the Schoenberg Library at UCLA.
In her most notable screen role, Fitzgerald played the part of singer Maggie Jackson in Jack Webb's 1955 jazz film Pete Kelly's Blues. The film costarred Janet Leigh and singer Peggy Lee. Even though she had already worked in the movies (she had sung briefly in the 1942 Abbott and Costello film Ride 'Em Cowboy), she was "delighted" when Norman Granz negotiated the role for her, and, "at the time....considered her role in the Warner Brothers movie the biggest thing ever to have happened to her." Amid The New York Times' pan of the film when it opened in August 1955, the reviewer wrote, "About five minutes (out of ninety-five) suggest the picture this might have been. Take the ingenious prologue....Or take the fleeting scenes when the wonderful Ella Fitzgerald, allotted a few spoken lines, fills the screen and sound track with her strong mobile features and voice.
Similar to another African-American jazz singer, Lena Horne, Fitzgerald's race precluded major big-screen success. After Pete Kelly's Blues, she appeared in sporadic movie cameos, in St. Louis Blues (1958), and Let No Man Write My Epitaph (1960). Much later, she appeared in the 1980s television drama The White Shadow.
She also made numerous guest appearances on television shows, singing on the The Frank Sinatra Show, and alongside Nat King Cole, Dean Martin, Mel Tormé and many others. Perhaps her most unusual and intriguing performance was of the 'Three Little Maids' song from Gilbert and Sullivan's comic operetta The Mikado alongside Joan Sutherland and Dinah Shore on Shore's weekly variety series in 1963. Fitzgerald also made a one-off appearance alongside Sarah Vaughan and Pearl Bailey on a 1979 television special honoring Bailey.
Fitzgerald also appeared in TV commercials, her most memorable being an ad for Memorex. In the commercials, she sang a note that shattered a glass while being recorded on a Memorex cassette tape. The tape was played back and the recording also broke the glass, asking "Is it live, or is it Memorex?" She also starred in a number of commercials for Kentucky Fried Chicken, singing and scatting to the fast-food chain's longtime slogan, "We do chicken right!"
Fitzgerald had a number of famous jazz musicians and soloists as sidemen over her long career. The trumpeters Roy Eldridge and Dizzy Gillespie, the guitarist Herb Ellis, and the pianists Tommy Flanagan, Oscar Peterson, Lou Levy, Paul Smith, Jimmy Rowles, and Ellis Larkins all worked with Ella mostly in live, small group settings.
Perhaps Fitzgerald's greatest unrealized collaboration (in terms of popular music) was a studio or live album with Frank Sinatra. The two appeared on the same stage only periodically over the years, in television specials in 1958 and 1959, and again on 1967's A Man and His Music + Ella + Jobim, a show that also featured Antonio Carlos Jobim. Pianist Paul Smith has said, "Ella loved working with [Frank]. Sinatra gave her his dressing room on A Man and His Music and couldn’t do enough for her." When asked, Norman Granz would cite "complex contractual reasons" for the fact that the two artists never recorded together. Fitzgerald's appearance with Sinatra and Count Basie in June 1974 for a series of concerts at Caesar's Palace, Las Vegas was seen as an important impetus upon Sinatra returning from his self-imposed retirement of the early 1970s. The shows were a great success, and September of that year saw them gross $1,000,000 in two weeks on Broadway, in a triumvirate with the Count Basie Orchestra.
In 2007 We All Love Ella, was released, a tribute album recorded for the 90th anniversary of Fitzgerald's birth. It featured artists such as Michael Bublé, Natalie Cole, Chaka Khan, Gladys Knight, Diana Krall, k.d. lang, Queen Latifah, Ledisi, Dianne Reeves, Linda Ronstadt, and Lizz Wright, collating songs most readily associated with the "First Lady of Song".
The folk singer Odetta's album To Ella (1998) is dedicated to Fitzgerald, but features no songs associated with her. Fitzgerald's long serving accompanist Tommy Flanagan affectionately remembered Fitzgerald on his album Lady be Good...For Ella (1994).
Fitzgerald is also referred to on the 1987 song "Ella, elle l'a" by French singer France Gall, the 1976 Stevie Wonder hit "Sir Duke" from his album Songs in the Key of Life, and the song "I Love Being Here With You", written by Peggy Lee and Bill Schluger. Sinatra's 1986 recording of "Mack the Knife" from his album L.A. Is My Lady (1984), includes a homage to some of the song's previous performers, along the lines dreamed up on by Fitzgerald on her 1960 album Ella in Berlin, he includes 'Lady Ella' herself.