Ella Fitzgerald

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Assuming you want to learn more about songwriting, and assuming you agree with me that you can learn a lot by studying the old masters, I can give you a resource that will give you a basic and graduate education.

Songwriting Tools -- Ella Fitzgerald's Song Books

The Ella Fitzgerald Song Books were records issued from the mid-50s to the mid-60s by VERVE, a Jazz label known for having the top talent in the field.

Verve guru Norman Granz came up with the idea for this series, which basically delineated the Great American Songbook (GAS). Now, the GAS is not a formal list of music, but it is basically a repertoire that is agreed-upon by people as the Standards (with a capital “S”) of popular music prior to the rock and roll era.

What makes a song a standard? And why would you like to write a standard?

The term is given to songs that are so great that they never go out of style and most popular singers like to record their versions. Don’t let the “pre-rock and roll” tag fool you. These songs are still recorded many times a year by big stars. In the past we have seen collections of standards from people like Rod Stewart, Carly Simon, Linda Ronstadt, Harry Nilsson, and the Supremes who were big stars in the 60s and 70s and found new audiences when their own style of music was no longer in great demand.

Recently, Lady Gaga teamed up with 40s and 50s crooner Tony Bennet to record those same standards. Michael Buble has been active for about 15 years keeping the Sinatra torch burning for new audiences. Queen Latifah broke away from her hip-hop base with “The Dana Owens Album” (guess what her real name is?). And Cyndi Lauper had some girl-fun with the standards too.

The benefits to a songwriter are apparent — constant royalty checks from getting your songs recorded over and over. Even if you beat the odds and make the pop charts, your song may only have a shelf-life of a few months. An “evergreen” standard can be your retirement program and support you the rest of your life.

Ella Fitzgerald was the perfect person to present the great songbooks. Her voice was versatile and she could handle anything from “sweet” to “hot.” Even without the songbooks, she would have been considered legendary. We are fortunate she made these albums.

Two things that set Ella’s songbooks apart from the many other collections of GAS:

1.) She usually includes the verse. Terminology has changed in the past century, but basically what we know a song today is usually the refrain (or sometimes called chorus) of the song. Take a well-known song like “My Funny Valentine” and you will discover that there is an introduction to the song you may never have heard before. Ella’s version is one of the best (of course). It was traditional for a song to have a verse. Later, the verse was dropped and a lot of the short-attention-span people would say, “Don’t bore us, skip to the chorus). Trivia: Jerome Kern preferred the term “burthen” — an archaic term. That’s just the kind of guy he was, and you’ll see it written on sheet music.

2.) Norman Granz made sure she had the best arrangers of the day in the studio with her — the people that made the biggest hits with Sinatra, Nat King Cole and Bing Crosby. The arrangements range from large, lush orchestras to swinging big bands to cool and smooth small jazz combos. They frame Ella’s voice perfectly and Ella is a chameleon who can take on any style.

The collection includes eight albums. Most have more than one disc. They all start with “Ella Fitzgerald Sings …” and the titles are —

… the Cole Porter Songbook (1956)
… the Rodgers & Hart Songbook (1956)
… the Duke Ellington Songbook (1957) (Duke Ellington & Billy Strayhorn)
… the Irving Berlin Songbook (1958)
… the George and Ira Gershwin Songbook (1959)
… the Harold Arlen Songbook (1961)
… the Jerome Kern Songbook (1963)
… the Johnny Mercer Songbook (1964)

And there was one later addition that Granz convinced Ella to record for another label (Pablo Records in 1981 that was not “American” — but many of the songs are standards that are included on GAS albums:

… the Antonio Carlos Jobim Songbook (Portuguese title: Ella Abraça Jobim) (1981) Jobim was a Brasilian songwriter and performer who brought his Bossa Nova stylings to the mainstream. He wrote for and even recorded with Sinatra and his songs have been covered by all the stars of the GAS.

Verve reissued the eight albums in 1994 in a boxed set and won the 1995 Grammy for Best Historical Recording.

When I say these recordings are great learning tools, I am not saying that you have to learn to write these types of songs.

What I am saying is that you can learn what can be done … and learn tricks used by the greatest songwriters of the 20th century. Most of the techniques of songwriting — even the songs at the top of the charts today — are old. Maybe more than a century old. They come from roots in other countries as well as the USA.

And of course these are not the only examples that you should pay attention to. There are many great songs that have been written through history.

But if you really love music and you really love songwriting, you won’t view these songs as some drudgery like school homework. You will greedily consume them and keep returning to them whenever you feel the need for inspiration.

But I urge you — pay attention to the music. Pay attention to the lyrics. Learn from these songs.

And like consuming good food, these will nourish your talent and make you into a powerful songwriter.

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The two people most responsible for bringing jazz music into the mainstream got together 60 years ago this month and cut a record that is now an historical touchstone. I’m speaking of “Ella and Louis” the first duet album by jazz titans Fitzgerald and Armstrong.

Ella Fitzgerald and Louis Armstrong

Ella Fitzgerald and Louis Armstrong recorded their first duet album 60 years ago.

But the unsung hero of this project — and of popularizing jazz music as well as integrating audiences and venues — was Norman Granz.

“Ella and Louis” fueled a revival of that body of work we call The Great American Songbook — a treasure trove of music mostly created by white Jewish men — and spread it to a multi-cultural audience. And there it sits today, with most major artists giving their take on the various songs in the (informal) Songbook. In fact, Michael Feinstein gets a laugh out of telling audiences his name for it — “the Rod Stewart songbook.”

Norman Granz was a music promoter, concert impresario, talent agent and founder of several record labels — the best-known and most successful of which is Verve. His name is synonymous with jazz music to those in the know.

Most of the big-name jazz stars you’ve heard of were on a Granz record label and a Granz-produced concert. He was white and Jewish and was determined to integrate jazz music through music.

His biggest accomplishment was probably JATP –“Jazz at the Philharmonic” — which became a catalog of firsts.

In 1944 the Philharmonic Auditorium in Los Angeles had never featured jazz music before, and it didn’t intend to until Granz started working on them. The first concert was so successful that several more followed. JATP became international concert tours and popular live albums.

Using an integrated bill of performers, Granz refused to book the show at segregated theaters and halls. The tour ran for over ten years, until about 1957.

But as well as getting the music out to integrated audiences in integrated music halls, Granz got the musicians higher pay and acceptance at formerly segregated lodging while on tour.

He later tackled the task of integrating the hotels and casinos in Las Vegas.

In other words, the Norman Granz legacy is monumental. And along the path, his career was marked by remarkable accomplishments. And that was perfectly exemplified by the album he produced 60 years ago — “Ella and Louis.”

“It was perhaps more of a cultural leap, in the middle of that tumultuous century, that two black performers could be considered the best interpreters of white show tunes, and that the extemporaneous heart of jazz could elevate the whole to iconic status, desegregating American popular culture in just eleven songs.”

For the full story behind this album, you can check out this link:
https://blog.longreads.com/2016/11/07/the-story-of-ella-and-louis-60-years-later/

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Happy Valentine’s Day, Lovers!

This is either the happiest day or the saddest day of the year, depending upon the state of your love life.  As a happily married man, I’ve enjoyed a permanent valentine for twenty years and we tend to celebrate any old time we please.  It works out well.

Songwriters Richard Rodgers and Lorenz Hart

Richard Rodgers and Lorenz Hart

As music lovers, my valentine and I are both great fans of the Great American Songbook standard “My Funny Valentine” — a show tune from the 1937 Richard Rodgers and Lorenz Hart musical “Babes in Arms.”

I’m sure you’ve heard it.  This popular jazz standard has appeared on over 1300 albums performed by over 600 artists. It’s even been performed on “American Idol,” so even the Gen-X, Y or Z kids should know it.

Whether your favorite version is traditional (like Ella Fitzgerald or Frank Sinatra) or jazzy (like Miles Davis or Chet Baker), you can probably find a version to suit your mood.

Name your favorite performer, and chances are, you’ll find a recording of this song. Michael Bublé?  Too easy.  Jerry Garcia?  Believe it or not — YES.

The perennial song was written by Richard Rodgers and Lorenz Hart.  Of course the music is absolutely beautiful, but the lyrics make this the ultimate valentine song.

Read more on The Most Popular Valentine Song EVER!…

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