Ella Jane Fitzgerald (April 25, 1917 – June 15, 1996) was an American jazz … Read Full Bio ↴Ella Jane Fitzgerald (April 25, 1917 – June 15, 1996) was an American jazz vocalist with a vocal range spanning three octaves (D♭3 to D♭6). Often referred to as the "First Lady of Song" and the "Queen of Jazz" or just simply "Lady Ella", she was noted for her purity of tone, impeccable diction, phrasing and intonation, and a "horn-like" improvisational ability, particularly in her scat singing.
Fitzgerald was a notable interpreter of the Great American Songbook. Over the course of her 60-year recording career, she sold 40 million copies of her 70-plus albums, won 14 Grammy Awards and received during her career many other major awards and honors.
Early life
Fitzgerald was born in Newport News, Virginia, the daughter of William Fitzgerald and Temperance "Tempie" Fitzgerald. Her parents were unmarried, and they had separated within a year of her birth. With her mother's new partner, a Portuguese immigrant named Joseph Da Silva, Ella and her mother moved to the city of Yonkers, in Westchester County, New York, as part of the first Great Migration of African Americans. Initially living in a single room, her mother and Da Silva soon found jobs and Ella's half-sister, Frances Da Silva, was born in 1923. By 1925, Fitzgerald and her family had moved to nearby School Street, then a predominantly poor Italian area. At the age of six, Fitzgerald began her formal education, and moved through a variety of schools before attending Benjamin Franklin Junior High School from 1929.
Fitzgerald had been passionate about dancing from third grade, being a fan of Earl "Snakehips" Tucker in particular, and would perform for her peers on the way to school and at lunchtime. Fitzgerald and her family were Methodists and were active in the Bethany African Methodist Episcopal Church, and she regularly attended worship services, Bible study, and Sunday school. The church would have provided Fitzgerald with her earliest experiences in formal music making, and she may have also had piano lessons during this period if her mother could afford it.
In her youth, Fitzgerald 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. Following this trauma, Fitzgerald's grades dropped dramatically, and she frequently skipped school. Abused by her stepfather, she ran away to her aunt and, at one point, worked as a lookout at a bordello and also with a Mafia-affiliated numbers runner. When the authorities caught up with her, she was first placed in the Colored Orphan Asylum in Riverdale, Bronx. However, when the orphanage proved too crowded, she was moved to the New York Training School for Girls in Hudson, New York, a state reformatory. Eventually she escaped and for a time she was homeless.
Early career
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 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 Connee Boswell. She sang Boswell's "Judy" and "The Object of My Affection," a song recorded by the Boswell Sisters, and won the first prize of US$25.00.
In January 1935, Fitzgerald won the chance to perform for a week with the Tiny Bradshaw band at the Harlem Opera House. She met drummer and bandleader Chick Webb there. Webb had already hired singer Charlie Linton to work with the band and was, The New York Times later wrote, "reluctant to sign her....because she was gawky and unkempt, a diamond in the rough." Webb offered her the opportunity to test with his band when they played a dance at Yale University. 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)".[10] 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 and her Famous Orchestra with Ella taking on the role of nominal bandleader. Fitzgerald recorded nearly 150 songs with the orchestra before it broke up in 1942, "the majority of them novelties and disposable pop fluff".
Decca years
Fitzgerald performing with Dizzy Gillespie, Ray Brown, Milt Jackson and Timme Rosenkrantz in September 1947, New York
In 1942, Fitzgerald left the band to begin a solo career. Now signed to the Decca label, she had several popular hits while recording with such artists as Bill Kenny & The Ink Spots, Louis Jordan, and The Delta Rhythm Boys.
With Decca's Milt Gabler as her manager, she began working regularly for the jazz impresario Norman Granz and appeared regularly in his Jazz at the Philharmonic (JATP) 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 led to new developments 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" arranged by Vic Schoen 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 bebop recording of "Oh, Lady Be Good!" (1947) was similarly popular and increased her reputation as one of the leading jazz vocalists.
Verve years
Fitzgerald was still performing at Granz's JATP concerts by 1955. She left Decca and Granz, now her manager, created Verve Records around her. 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 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. Her song selections ranged from standards to rarities and represented an attempt by Fitzgerald to cross over into a non-jazz audience. The sets are the most well-known items in her discography.
Ella Fitzgerald Sings the Duke Ellington Song Book 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, The New York Times columnist Frank Rich wrote that in the Songbook series Fitzgerald "performed a cultural transaction as extraordinary as Elvis' 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.
Fitzgerald also recorded albums exclusively devoted to the songs of Porter and Gershwin in 1972 and 1983; the albums being, respectively, Ella Loves Cole and Nice Work If You Can Get It. A later collection devoted to a single composer was released during her time with Pablo Records, Ella Abraça Jobim, featuring the songs of Antônio 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.
On March 15, 1955 Ella Fitzgerald opened her initial engagement at the Mocambo nightclub in Hollywood, after Marilyn Monroe 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. It has been widely reported that Fitzgerald was the first Black performer to play the Mocambo, following Monroe's intervention, but this is not true. African-American singers Herb Jefferies, Eartha Kitt, and Joyce Bryan all played the Mocambo in 1952 and 1953, according to stories published at the time in Jet magazine and Billboard.
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 and Twelve Nights in Hollywood display her vocal jazz canon. Ella in Berlin is still one of her best selling albums; it includes a Grammy-winning performance of "Mack the Knife" in which she forgets the lyrics, but improvises magnificently to compensate.
Verve Records was sold to MGM in 1963 for $3 million and in 1967 MGM failed to renew Fitzgerald's contract. Over the next five years she flitted between Atlantic, Capitol and Reprise. Her material at this time represented a departure from her typical jazz repertoire. For Capitol she recorded Brighten the Corner, an album of hymns, Ella Fitzgerald's Christmas, an album of traditional Christmas carols, Misty Blue, a country and western-influenced album, and 30 by Ella, a series of six medleys that fulfilled her obligations for the label. During this period, she had her last US chart single with a cover of Smokey Robinson's "Get Ready", previously a hit for The Temptations, and some months later a top-five hit for Rare Earth.
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. Ella in London recorded live in 1974 with pianist Tommy Flanagan, guitarist Joe Pass, bassist Keter Betts and drummer Bobby Durham, was considered by many to be some of her best work. The following year she again performed with Joe Pass on German television station NDR in Hamburg. Her years with Pablo Records also 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.
Film and television
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." 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 made numerous guest appearances on television shows, singing on The Frank Sinatra Show, The Andy Williams Show, The Pat Boone Chevy Showroom, and alongside other greats Nat King Cole, Dean Martin, Mel Tormé, and many others. She was also frequently featured on The Ed Sullivan Show. 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. A performance at Ronnie Scott's Jazz Club in London was filmed and shown on the BBC. Fitzgerald also made a one-off appearance alongside Sarah Vaughan and Pearl Bailey on a 1979 television special honoring Bailey. In 1980, she performed a medley of standards in a duet with Karen Carpenter on the Carpenters' television program Music, Music, Music.
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!" Her final commercial campaign was for American Express, in which she was photographed by Annie Leibovitz.
Collaborations
Fitzgerald's most famous collaborations were with the vocal quartet Bill Kenny & The Ink Spots, trumpeter Louis Armstrong, the guitarist Joe Pass, and the bandleaders Count Basie and Duke Ellington.
From 1943 to 1950, Fitzgerald recorded seven songs with The Ink Spots featuring Bill Kenny. Out of all seven recordings, four reached the top of the pop charts including "I'm Making Believe" and "Into Each Life Some Rain Must Fall" which both reached #1.
Fitzgerald recorded three Verve studio albums with Armstrong, two albums of standards (1956's Ella and Louis and 1957's Ella and Louis Again), and a third album featured music from the Gershwin musical Porgy and Bess. Fitzgerald also recorded a number of sides with Armstrong for Decca in the early 1950s.
Fitzgerald is sometimes referred to as the quintessential swing singer, and her meetings with Count Basie are highly regarded by critics. Fitzgerald features on one track on Basie's 1957 album One O'Clock Jump, while her 1963 album Ella and Basie! is remembered as one of her greatest recordings. With the 'New Testament' Basie band in full swing, and arrangements written by a young Quincy Jones, this album proved a respite from the 'Songbook' recordings and constant touring that Fitzgerald was engaged in during this period. Fitzgerald and Basie also collaborated on the 1972 album Jazz at Santa Monica Civic '72, and on the 1979 albums Digital III at Montreux, A Classy Pair and A Perfect Match.
Fitzgerald and Joe Pass recorded four albums together toward the end of Fitzgerald's career. She recorded several albums with piano accompaniment, but a guitar proved the perfect melodic foil for her. Fitzgerald and Pass appeared together on the albums Take Love Easy (1973), Easy Living (1986), Speak Love (1983) and Fitzgerald and Pass... Again (1976).
Fitzgerald and Duke Ellington recorded two live albums, and two studio albums. Her Duke Ellington Songbook placed Ellington firmly in the canon known as the Great American Songbook, and the 1960s saw Fitzgerald and the 'Duke' meet on the Côte d'Azur for the 1966 album Ella and Duke at the Cote D'Azur, and in Sweden for The Stockholm Concert, 1966. Their 1965 album Ella at Duke's Place is also extremely well received.
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.
Possibly 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 Antônio 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 Caesars Palace, Las Vegas, was seen as an important incentive for Sinatra to return from his self-imposed retirement of the early 1970s. The shows were a great success, and September 1975 saw them gross $1,000,000 in two weeks on Broadway, in a triumvirate with the Count Basie Orchestra.
Later life and death
In 1985, Fitzgerald was hospitalized briefly for respiratory problems, in 1986 for congestive heart failure,[36] and in 1990 for exhaustion. In 1993, she had to have both of her legs amputated below the knee due to the effects of diabetes. Her eyesight was affected as well.
In 1996, tired of being in the hospital, she wished to spend her last days at home. Confined to a wheelchair, she spent her final days in her backyard of her Beverly Hills mansion on Whittier, with her son Ray and 12 year old granddaughter Alice. "I just want to smell the air, listen to the birds and hear Alice laugh," she reportedly said. On her last day, she was wheeled outside one last time, and sat there for about an hour. When she was taken back in, she looked up with a soft smile on her face and said, "I'm ready to go now." She died in her home on June 15, 1996 at the age of 79. A few hours after her death, the Playboy Jazz Festival was launched at the Hollywood Bowl. In tribute, the marquee read: "Ella We Will Miss You." Her funeral was private, and she was buried at Inglewood Park Cemetery in Los Angeles.
Personal life
Fitzgerald married at least twice, and there is evidence that she may have married a third time. In 1941, she married Benny Kornegay, a convicted drug dealer and local dockworker. 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, bowing 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 labor in Sweden for stealing money from a young woman to whom he had previously been engaged.
Fitzgerald was also notoriously shy. Trumpet player Mario Bauzá, 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 but I think I do better when I sing."
Fitzgerald was a quiet but ardent supporter of many charities and non-profit organizations, including the American Heart Association and the City of Hope Medical Center. In 1993, she established the Ella Fitzgerald Charitable Foundation.
Awards, citations and honors
Fitzgerald won thirteen Grammy Awards, including one for Lifetime Achievement in 1967.
Other major awards and honors she received during her career were the Kennedy Center for the Performing Arts Medal of Honor Award, National Medal of Art, first Society of Singers Lifetime Achievement Award, named "Ella" in her honor, Presidential Medal of Freedom, and the George and Ira Gershwin Award for Lifetime Musical Achievement, UCLA Spring Sing. Across town at the University of Southern California, she received the USC "Magnum Opus" Award which hangs in the office of the Ella Fitzgerald Charitable Foundation. In 1990, she received an honorary doctorate of Music from Harvard University.
Tributes and legacy
The career history and archival material from Ella's long career are housed in the Archives Center at the Smithsonian's National Museum of American History, while her personal music arrangements are at the Library of Congress. Her extensive cookbook collection was donated to the Schlesinger Library at Harvard University, and her extensive collection of published sheet music was donated to UCLA.
In 1997, Newport News, Virginia created a music festival with Christopher Newport University to honor Ella Fitzgerald in her birth city. The Ella Fitzgerald Music Festival is designed to teach the region's youth of the musical legacy of Fitzgerald and jazz. Past performers at the week-long festival include: Diana Krall, Arturo Sandoval, Jean Carne, Phil Woods, Aretha Franklin, Freda Payne, Cassandra Wilson, Ethel Ennis, David Sanborn, Jane Monheit, Dianne Reeves, Dee Dee Bridgewater, Ramsey Lewis, Patti Austin, and Ann Hampton Callaway.
Callaway, Dee Dee Bridgewater, and Patti Austin have all recorded albums in tribute to Fitzgerald. Callaway's album To Ella with Love (1996) features fourteen jazz standards made popular by Fitzgerald, and the album also features the trumpeter Wynton Marsalis. Bridgewater's album Dear Ella (1997) featured many musicians that were closely associated with Fitzgerald during her career, including the pianist Lou Levy, the trumpeter Benny Powell, and Fitzgerald's second husband, double bassist Ray Brown. Bridgewater's following album, Live at Yoshi's, was recorded live on April 25, 1998, what would have been Fitzgerald's 81st birthday.
Austin's album, For Ella (2002) features 11 songs most immediately associated with Fitzgerald, and a twelfth song, "Hearing Ella Sing" is Austin's tribute to Fitzgerald. The album was nominated for a Grammy. 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". Folk singer Odetta's album To Ella (1998) is dedicated to Fitzgerald, but features no songs associated with her. Her 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, including 'Lady Ella' herself. She is also honored in the song "First Lady" by Canadian artist Nikki Yanofsky.
In 2008, the Downing-Gross Cultural Arts Center in Newport News named its brand new 276-seat theater the Ella Fitzgerald Theater. The theater is located several blocks away from her birthplace on Marshall Avenue. The Grand Opening performers (October 11 and 12, 2008) were Roberta Flack and Queen Esther Marrow.
In 2012, Rod Stewart performed a "virtual duet" with Ella Fitzgerald on his Christmas album Merry Christmas, Baby, and his television special of the same name.
In 2013, Google paid tribute to Ella by celebrating her 96th birthday with a Google Doodle on its US homepage.
There is a bronze sculpture of Fitzgerald in Yonkers, the city in which she grew up, created by American artist Vinnie Bagwell. It is located southeast of the main entrance to the Amtrak/Metro-North Railroad station in front of the city's old trolley barn. A bust of Fitzgerald is on the campus of Chapman University in Orange, California. On January 9, 2007, the United States Postal Service announced that Fitzgerald would be honored with her own postage stamp. The stamp was released in April 2007 as part of the Postal Service's Black Heritage series.
Fitzgerald was a notable interpreter of the Great American Songbook. Over the course of her 60-year recording career, she sold 40 million copies of her 70-plus albums, won 14 Grammy Awards and received during her career many other major awards and honors.
Early life
Fitzgerald was born in Newport News, Virginia, the daughter of William Fitzgerald and Temperance "Tempie" Fitzgerald. Her parents were unmarried, and they had separated within a year of her birth. With her mother's new partner, a Portuguese immigrant named Joseph Da Silva, Ella and her mother moved to the city of Yonkers, in Westchester County, New York, as part of the first Great Migration of African Americans. Initially living in a single room, her mother and Da Silva soon found jobs and Ella's half-sister, Frances Da Silva, was born in 1923. By 1925, Fitzgerald and her family had moved to nearby School Street, then a predominantly poor Italian area. At the age of six, Fitzgerald began her formal education, and moved through a variety of schools before attending Benjamin Franklin Junior High School from 1929.
Fitzgerald had been passionate about dancing from third grade, being a fan of Earl "Snakehips" Tucker in particular, and would perform for her peers on the way to school and at lunchtime. Fitzgerald and her family were Methodists and were active in the Bethany African Methodist Episcopal Church, and she regularly attended worship services, Bible study, and Sunday school. The church would have provided Fitzgerald with her earliest experiences in formal music making, and she may have also had piano lessons during this period if her mother could afford it.
In her youth, Fitzgerald 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. Following this trauma, Fitzgerald's grades dropped dramatically, and she frequently skipped school. Abused by her stepfather, she ran away to her aunt and, at one point, worked as a lookout at a bordello and also with a Mafia-affiliated numbers runner. When the authorities caught up with her, she was first placed in the Colored Orphan Asylum in Riverdale, Bronx. However, when the orphanage proved too crowded, she was moved to the New York Training School for Girls in Hudson, New York, a state reformatory. Eventually she escaped and for a time she was homeless.
Early career
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 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 Connee Boswell. She sang Boswell's "Judy" and "The Object of My Affection," a song recorded by the Boswell Sisters, and won the first prize of US$25.00.
In January 1935, Fitzgerald won the chance to perform for a week with the Tiny Bradshaw band at the Harlem Opera House. She met drummer and bandleader Chick Webb there. Webb had already hired singer Charlie Linton to work with the band and was, The New York Times later wrote, "reluctant to sign her....because she was gawky and unkempt, a diamond in the rough." Webb offered her the opportunity to test with his band when they played a dance at Yale University. 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)".[10] 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 and her Famous Orchestra with Ella taking on the role of nominal bandleader. Fitzgerald recorded nearly 150 songs with the orchestra before it broke up in 1942, "the majority of them novelties and disposable pop fluff".
Decca years
Fitzgerald performing with Dizzy Gillespie, Ray Brown, Milt Jackson and Timme Rosenkrantz in September 1947, New York
In 1942, Fitzgerald left the band to begin a solo career. Now signed to the Decca label, she had several popular hits while recording with such artists as Bill Kenny & The Ink Spots, Louis Jordan, and The Delta Rhythm Boys.
With Decca's Milt Gabler as her manager, she began working regularly for the jazz impresario Norman Granz and appeared regularly in his Jazz at the Philharmonic (JATP) 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 led to new developments 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" arranged by Vic Schoen 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 bebop recording of "Oh, Lady Be Good!" (1947) was similarly popular and increased her reputation as one of the leading jazz vocalists.
Verve years
Fitzgerald was still performing at Granz's JATP concerts by 1955. She left Decca and Granz, now her manager, created Verve Records around her. 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 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. Her song selections ranged from standards to rarities and represented an attempt by Fitzgerald to cross over into a non-jazz audience. The sets are the most well-known items in her discography.
Ella Fitzgerald Sings the Duke Ellington Song Book 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, The New York Times columnist Frank Rich wrote that in the Songbook series Fitzgerald "performed a cultural transaction as extraordinary as Elvis' 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.
Fitzgerald also recorded albums exclusively devoted to the songs of Porter and Gershwin in 1972 and 1983; the albums being, respectively, Ella Loves Cole and Nice Work If You Can Get It. A later collection devoted to a single composer was released during her time with Pablo Records, Ella Abraça Jobim, featuring the songs of Antônio 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.
On March 15, 1955 Ella Fitzgerald opened her initial engagement at the Mocambo nightclub in Hollywood, after Marilyn Monroe 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. It has been widely reported that Fitzgerald was the first Black performer to play the Mocambo, following Monroe's intervention, but this is not true. African-American singers Herb Jefferies, Eartha Kitt, and Joyce Bryan all played the Mocambo in 1952 and 1953, according to stories published at the time in Jet magazine and Billboard.
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 and Twelve Nights in Hollywood display her vocal jazz canon. Ella in Berlin is still one of her best selling albums; it includes a Grammy-winning performance of "Mack the Knife" in which she forgets the lyrics, but improvises magnificently to compensate.
Verve Records was sold to MGM in 1963 for $3 million and in 1967 MGM failed to renew Fitzgerald's contract. Over the next five years she flitted between Atlantic, Capitol and Reprise. Her material at this time represented a departure from her typical jazz repertoire. For Capitol she recorded Brighten the Corner, an album of hymns, Ella Fitzgerald's Christmas, an album of traditional Christmas carols, Misty Blue, a country and western-influenced album, and 30 by Ella, a series of six medleys that fulfilled her obligations for the label. During this period, she had her last US chart single with a cover of Smokey Robinson's "Get Ready", previously a hit for The Temptations, and some months later a top-five hit for Rare Earth.
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. Ella in London recorded live in 1974 with pianist Tommy Flanagan, guitarist Joe Pass, bassist Keter Betts and drummer Bobby Durham, was considered by many to be some of her best work. The following year she again performed with Joe Pass on German television station NDR in Hamburg. Her years with Pablo Records also 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.
Film and television
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." 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 made numerous guest appearances on television shows, singing on The Frank Sinatra Show, The Andy Williams Show, The Pat Boone Chevy Showroom, and alongside other greats Nat King Cole, Dean Martin, Mel Tormé, and many others. She was also frequently featured on The Ed Sullivan Show. 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. A performance at Ronnie Scott's Jazz Club in London was filmed and shown on the BBC. Fitzgerald also made a one-off appearance alongside Sarah Vaughan and Pearl Bailey on a 1979 television special honoring Bailey. In 1980, she performed a medley of standards in a duet with Karen Carpenter on the Carpenters' television program Music, Music, Music.
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!" Her final commercial campaign was for American Express, in which she was photographed by Annie Leibovitz.
Collaborations
Fitzgerald's most famous collaborations were with the vocal quartet Bill Kenny & The Ink Spots, trumpeter Louis Armstrong, the guitarist Joe Pass, and the bandleaders Count Basie and Duke Ellington.
From 1943 to 1950, Fitzgerald recorded seven songs with The Ink Spots featuring Bill Kenny. Out of all seven recordings, four reached the top of the pop charts including "I'm Making Believe" and "Into Each Life Some Rain Must Fall" which both reached #1.
Fitzgerald recorded three Verve studio albums with Armstrong, two albums of standards (1956's Ella and Louis and 1957's Ella and Louis Again), and a third album featured music from the Gershwin musical Porgy and Bess. Fitzgerald also recorded a number of sides with Armstrong for Decca in the early 1950s.
Fitzgerald is sometimes referred to as the quintessential swing singer, and her meetings with Count Basie are highly regarded by critics. Fitzgerald features on one track on Basie's 1957 album One O'Clock Jump, while her 1963 album Ella and Basie! is remembered as one of her greatest recordings. With the 'New Testament' Basie band in full swing, and arrangements written by a young Quincy Jones, this album proved a respite from the 'Songbook' recordings and constant touring that Fitzgerald was engaged in during this period. Fitzgerald and Basie also collaborated on the 1972 album Jazz at Santa Monica Civic '72, and on the 1979 albums Digital III at Montreux, A Classy Pair and A Perfect Match.
Fitzgerald and Joe Pass recorded four albums together toward the end of Fitzgerald's career. She recorded several albums with piano accompaniment, but a guitar proved the perfect melodic foil for her. Fitzgerald and Pass appeared together on the albums Take Love Easy (1973), Easy Living (1986), Speak Love (1983) and Fitzgerald and Pass... Again (1976).
Fitzgerald and Duke Ellington recorded two live albums, and two studio albums. Her Duke Ellington Songbook placed Ellington firmly in the canon known as the Great American Songbook, and the 1960s saw Fitzgerald and the 'Duke' meet on the Côte d'Azur for the 1966 album Ella and Duke at the Cote D'Azur, and in Sweden for The Stockholm Concert, 1966. Their 1965 album Ella at Duke's Place is also extremely well received.
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.
Possibly 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 Antônio 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 Caesars Palace, Las Vegas, was seen as an important incentive for Sinatra to return from his self-imposed retirement of the early 1970s. The shows were a great success, and September 1975 saw them gross $1,000,000 in two weeks on Broadway, in a triumvirate with the Count Basie Orchestra.
Later life and death
In 1985, Fitzgerald was hospitalized briefly for respiratory problems, in 1986 for congestive heart failure,[36] and in 1990 for exhaustion. In 1993, she had to have both of her legs amputated below the knee due to the effects of diabetes. Her eyesight was affected as well.
In 1996, tired of being in the hospital, she wished to spend her last days at home. Confined to a wheelchair, she spent her final days in her backyard of her Beverly Hills mansion on Whittier, with her son Ray and 12 year old granddaughter Alice. "I just want to smell the air, listen to the birds and hear Alice laugh," she reportedly said. On her last day, she was wheeled outside one last time, and sat there for about an hour. When she was taken back in, she looked up with a soft smile on her face and said, "I'm ready to go now." She died in her home on June 15, 1996 at the age of 79. A few hours after her death, the Playboy Jazz Festival was launched at the Hollywood Bowl. In tribute, the marquee read: "Ella We Will Miss You." Her funeral was private, and she was buried at Inglewood Park Cemetery in Los Angeles.
Personal life
Fitzgerald married at least twice, and there is evidence that she may have married a third time. In 1941, she married Benny Kornegay, a convicted drug dealer and local dockworker. 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, bowing 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 labor in Sweden for stealing money from a young woman to whom he had previously been engaged.
Fitzgerald was also notoriously shy. Trumpet player Mario Bauzá, 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 but I think I do better when I sing."
Fitzgerald was a quiet but ardent supporter of many charities and non-profit organizations, including the American Heart Association and the City of Hope Medical Center. In 1993, she established the Ella Fitzgerald Charitable Foundation.
Awards, citations and honors
Fitzgerald won thirteen Grammy Awards, including one for Lifetime Achievement in 1967.
Other major awards and honors she received during her career were the Kennedy Center for the Performing Arts Medal of Honor Award, National Medal of Art, first Society of Singers Lifetime Achievement Award, named "Ella" in her honor, Presidential Medal of Freedom, and the George and Ira Gershwin Award for Lifetime Musical Achievement, UCLA Spring Sing. Across town at the University of Southern California, she received the USC "Magnum Opus" Award which hangs in the office of the Ella Fitzgerald Charitable Foundation. In 1990, she received an honorary doctorate of Music from Harvard University.
Tributes and legacy
The career history and archival material from Ella's long career are housed in the Archives Center at the Smithsonian's National Museum of American History, while her personal music arrangements are at the Library of Congress. Her extensive cookbook collection was donated to the Schlesinger Library at Harvard University, and her extensive collection of published sheet music was donated to UCLA.
In 1997, Newport News, Virginia created a music festival with Christopher Newport University to honor Ella Fitzgerald in her birth city. The Ella Fitzgerald Music Festival is designed to teach the region's youth of the musical legacy of Fitzgerald and jazz. Past performers at the week-long festival include: Diana Krall, Arturo Sandoval, Jean Carne, Phil Woods, Aretha Franklin, Freda Payne, Cassandra Wilson, Ethel Ennis, David Sanborn, Jane Monheit, Dianne Reeves, Dee Dee Bridgewater, Ramsey Lewis, Patti Austin, and Ann Hampton Callaway.
Callaway, Dee Dee Bridgewater, and Patti Austin have all recorded albums in tribute to Fitzgerald. Callaway's album To Ella with Love (1996) features fourteen jazz standards made popular by Fitzgerald, and the album also features the trumpeter Wynton Marsalis. Bridgewater's album Dear Ella (1997) featured many musicians that were closely associated with Fitzgerald during her career, including the pianist Lou Levy, the trumpeter Benny Powell, and Fitzgerald's second husband, double bassist Ray Brown. Bridgewater's following album, Live at Yoshi's, was recorded live on April 25, 1998, what would have been Fitzgerald's 81st birthday.
Austin's album, For Ella (2002) features 11 songs most immediately associated with Fitzgerald, and a twelfth song, "Hearing Ella Sing" is Austin's tribute to Fitzgerald. The album was nominated for a Grammy. 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". Folk singer Odetta's album To Ella (1998) is dedicated to Fitzgerald, but features no songs associated with her. Her 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, including 'Lady Ella' herself. She is also honored in the song "First Lady" by Canadian artist Nikki Yanofsky.
In 2008, the Downing-Gross Cultural Arts Center in Newport News named its brand new 276-seat theater the Ella Fitzgerald Theater. The theater is located several blocks away from her birthplace on Marshall Avenue. The Grand Opening performers (October 11 and 12, 2008) were Roberta Flack and Queen Esther Marrow.
In 2012, Rod Stewart performed a "virtual duet" with Ella Fitzgerald on his Christmas album Merry Christmas, Baby, and his television special of the same name.
In 2013, Google paid tribute to Ella by celebrating her 96th birthday with a Google Doodle on its US homepage.
There is a bronze sculpture of Fitzgerald in Yonkers, the city in which she grew up, created by American artist Vinnie Bagwell. It is located southeast of the main entrance to the Amtrak/Metro-North Railroad station in front of the city's old trolley barn. A bust of Fitzgerald is on the campus of Chapman University in Orange, California. On January 9, 2007, the United States Postal Service announced that Fitzgerald would be honored with her own postage stamp. The stamp was released in April 2007 as part of the Postal Service's Black Heritage series.
Mack The Knife
Ella Fitzgerald Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Oh, the shark, babe, has such teeth, dear
And it shows them pearly white
Just a jackknife has old MacHeath, babe
And he keeps it, ah, out of sight
Ya know when that shark bites with his teeth, babe
Scarlet billows start to spread
Fancy gloves, oh, wears old MacHeath, babe
So there's never, never a trace of red
Now on the sidewalk, huh, huh, whoo sunny morning, un huh
Lies a body just oozin' life, eek
And someone's sneakin' 'round the corner
Could that someone be Mack the Knife?
There's a tugboat, huh, huh, down by the river don'tcha know
Where a cement bag's just a'drooppin' on down
Oh, that cement is just, it's there for the weight, dear
Five'll get ya ten old Macky's back in town
Now d'ja hear 'bout Louie Miller? He disappeared, babe
After drawin' out all his hard-earned cash
And now MacHeath spends just like a sailor
Could it be our boy's done somethin' rash?
Now Jenny Diver, ho, ho, yeah, Sukey Tawdry
Ooh, Miss Lotte Lenya and old Lucy Brown
Oh, the line forms on the right, babe
Now that Macky's back in town
I said Jenny Diver, whoa, Sukey Tawdry
Look out to Miss Lotte Lenya and old Lucy Brown
Yes, that line forms on the right, babe
Now that Macky's back in town
Look out, old Macky's back!!
And it shows them pearly white
Just a jackknife has old MacHeath, babe
And he keeps it, ah, out of sight
Ya know when that shark bites with his teeth, babe
Scarlet billows start to spread
Fancy gloves, oh, wears old MacHeath, babe
So there's never, never a trace of red
Now on the sidewalk, huh, huh, whoo sunny morning, un huh
Lies a body just oozin' life, eek
And someone's sneakin' 'round the corner
Could that someone be Mack the Knife?
There's a tugboat, huh, huh, down by the river don'tcha know
Where a cement bag's just a'drooppin' on down
Oh, that cement is just, it's there for the weight, dear
Five'll get ya ten old Macky's back in town
Now d'ja hear 'bout Louie Miller? He disappeared, babe
After drawin' out all his hard-earned cash
And now MacHeath spends just like a sailor
Could it be our boy's done somethin' rash?
Now Jenny Diver, ho, ho, yeah, Sukey Tawdry
Ooh, Miss Lotte Lenya and old Lucy Brown
Oh, the line forms on the right, babe
Now that Macky's back in town
I said Jenny Diver, whoa, Sukey Tawdry
Look out to Miss Lotte Lenya and old Lucy Brown
Yes, that line forms on the right, babe
Now that Macky's back in town
Look out, old Macky's back!!
The lyrics of Ella Fitzgerald's "Mack the Knife" tell the story of a mysterious and dangerous man named "MacHeath," otherwise known as "Mack the Knife." The song's opening line, "Oh, the shark, babe, has such teeth, dear, and it shows them pearly white," sets the tone for the rest of the piece. Mack the Knife is a ruthless and cunning criminal who has a weapon as deadly as a shark's teeth (a jackknife) and hides it from sight.
The song also touches on various other criminal activities, such as a murder on a sunny morning by someone who could potentially be Mack the Knife. The verse about Louie Miller's disappearance after drawing out his hard-earned cash implies that Mack the Knife may also be involved in robbery. The final verse mentions several women, including Jenny Diver, Sukey Tawdry, Miss Lotte Lenya, and Old Lucy Brown, who are all linked to Mack the Knife in some way.
Overall, the lyrics of "Mack the Knife" paint a picture of a dangerous world full of crime, murder, and mystery, with Mack the Knife at the center of it all.
Line by Line Meaning
Oh, the shark, babe, has such teeth, dear
The person being referred to has a sly and sharp mind, just like a shark's teeth.
And it shows them pearly white
The person's cunning nature is apparent to others as they are very subtle in their actions.
Just a jackknife has old MacHeath, babe
The person being referred to doesn't use violence to achieve their goals and is very calculated in their actions and decisions.
And he keeps it, ah, out of sight
The person being referred to keeps their plans and intentions hidden from others to maintain their advantage.
Ya know when that shark bites with his teeth, babe
When the person being referred to sets their plans in motion, it causes chaos and confusion much like when a shark bites its prey.
Scarlet billows start to spread
The consequences of that person's actions are severe and create chaos, like the spreading of red smoke throughout the air.
Fancy gloves, oh, wears old MacHeath, babe
The person being referred to wants to present themselves as sophisticated and reserved, hence wearing fancy gloves.
So there's never, never a trace of red
The person being referred to wants to make sure that their misdeeds are not easily traced or found out by anyone, hence no traces of red.
Now on the sidewalk, huh, huh, whoo sunny morning, un huh
A scene is set on a bright and sunny morning on a sidewalk.
Lies a body just oozin' life, eek
The body of an individual is shown, who has been severely injured or is on the brink on dying.
And someone's sneakin' 'round the corner
An unknown person is shown lurking around the corner, whose intentions are suspicious.
Could that someone be Mack the Knife'
The person being referred to, being notorious and sly, could be the suspect of the crime in the scene being set.
There's a tugboat, huh, huh, down by the river dontcha know
Another scene is set near a river, where a tugboat is passing.
Where a cement bag's just a'drooppin' on down
A cement bag is seen falling from the tugboat into the river below.
Oh, that cement is just, it's there for the weight, dear
The cement is not there for any constructive purpose, but rather as a heavy object to weigh something down.
Five'll get ya ten old Macky's back in town
A prediction is made that the notorious individual being referred to has returned to the vicinity.
Now d'ja hear 'bout Louie Miller' He disappeared, babe
A new character is introduced who has gone missing, and people are discussing their suspicions about the notorious person's involvement in the matter.
After drawin' out all his hard-earned cash
The missing person is known for having a lot of money that the notorious individual might have taken from them.
And now MacHeath spends just like a sailor
The notorious individual has recently come into a lot of wealth, and is spending it with extravagance.
Could it be our boy's done somethin' rash'
People are speculating that the notorious individual could have become reckless due to their newfound wealth and power and has done something regretful.
Now Jenny Diver, ho, ho, yeah, Sukey Tawdry
Several female characters are introduced with humorous names, implying their notoriety or promiscuity.
Ooh, Miss Lotte Lenya and old Lucy Brown
Two other female characters are introduced and they are known to have connections with the notorious individual being referred to.
Oh, the line forms on the right, babe
Due to the notorious individual's return, there is a queue of people lining up to meet him and take advantage of his business connections or money.
Now that Macky's back in town
The line reinforced that the notorious individual has indeed returned to the vicinity.
Look out, old Macky's back!!
The song ends with a warning, or a cry of joy, that the notorious individual has returned to make his mark once again, for better or worse.
Lyrics © BMG Rights Management, CONCORD MUSIC PUBLISHING LLC, Sony/ATV Music Publishing LLC, ACUM Ltd., Reservoir Media Management, Inc.
Written by: Kurt Weill, Bertolt Brecht, Marc Blitzstein
Lyrics Licensed & Provided by LyricFind
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@anakatamadze
Oh, the shark, babe, has such teeth, dear
And it shows them pearly white
Just a jackknife has old MacHeath, babe
And he keeps it, ah, out of sight
Ya know when that shark bites with his teeth, babe
Scarlet billows start to spread
Fancy gloves, oh, wears old MacHeath, babe
So there's never, never a trace of red
Now on the sidewalk, huh, huh, whoo sunny morning, un huh
Lies a body just oozin' life, eek
And someone's sneakin'? round the corner
Could that someone be Mack the Knife?
There's a tugboat, huh, huh, down by the river don't you know
Where a cement bag's just up and down
Oh, that cement is just, it's there for the weight, dear
Five'll get ya ten old Macky's back in town
Now d'ya hear 'bout Louie Miller? He disappeared, babe
After drawin' out all…
@BerkeleyBass
In the introduction to this tune, over the band's vamp, she said "I hope I remember all the words." She didn't, but being eternally unflappable, she didn't let it impact her perfect performance. As the words failed her she first scatted a little, and when the lyrics didn't come back, she proceeded to improvise on the history of the song: how Bobby Darren and Louis Armstrong had recorded it together, and how (so she said) she ("Ella") was now making a "wreck" (not "rec") of it. She tried to work the name of the town she was in into her improvised rendition, but couldn't remember that either until the very end of the coda. A masterful performance, and one that will go down in history for grace under stressful circumstances.
@phillipstephens4522
@BerkeleyBass. I read that this version was because she didn't know the song and it was given to her on the plane where she was to appear in Berlin and it is my favorite version of Mack the Knife!
@AndyMcDrew
I saw another recording of a live version of this song, and I think she must have sung it that way intentionally because she sings it the same way in this video in Sweden: https://www.youtube.com/watch?v=wYaEVSjg5BE@@phillipstephens4522
@777LuckyCharlie
⁰⁰⁰❤
@777LuckyCharlie
😊
@emusic96785
The vocal control is pure!!
@spmoran4703
The best .
@joedasilva2779
Excellent version 👌
@anibaloo
Her voice is sunshine personified.
@TS-tv2ik
Amen! 🌻