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A Remembrance of Jazz Legend Ella Fitzgerald on Her Birthday and Playlist (LISTEN)

A Remembrance of Jazz Legend Ella Fitzgerald on Her Birthday and Playlist (LISTEN)

By goodblacknews on April 25, 2020
Ella Fitzgerald receiving her Honorary Doctorate in Music at Harvard University in 1990 (photo: Charles Krupa)

by Lori Lakin Hutcherson (@lakinhutcherson)

Although I’m typically calm-if-a-bit-nerdy when I meet artists I admire, there is one time in my life I fully lost my natural mind for someone. That someone was the woman and musical legend Good Black News is celebrating today, April 25, on what would have been her 103rd birthday – Ella Fitzgerald.

To set the scene, it was the day of my college graduation in June of 1990. I was standing in my black cap and gown next to my roommates, as the graduating class formed something akin to a Soul Train line for alumni, professors and distinguished guests to walk through on the way to taking the stage for the ceremony. I’d spent four long, great years earning a bachelor’s degree at Harvard in American History and Literature with a minor in African-American Studies. I also DJ’d at the college radio station 92.3FM WHRB all four of those years.

In addition to being all about hip-hop, house, R&B and dance music, I fell in love with jazz at WHRB, too. So much so that I got up several mornings a week to jock the 6-8am “Jazz Spectrum” program at WHRB, and even found a way to incorporate jazz into my senior thesis by comparing jazz autobiography to the slave narrative. Not exactly everyone’s idea of a page-turner, I know, but it was nice and egghead-y, earned me high honors from my department, and was a sneaky way to earn credit while spending time deepening my nascent love of jazz and jazz history.

So when I heard Ella Fitzgerald – the singer whose interpretation of “Lullaby of Birdland” took my heart and mind to heights of joy so unexpected that I immediately began to consume her versions of every standard as if they were musical narcotics – was on the list of people receiving honorary degrees from Harvard that year, I was beyond thrilled. Ella, Billie Holiday, Sarah Vaughan and Nancy Wilson were my personal Mt. Rushmore of jazz singers, and having her name indelibly connected to my class was momentous.

But I also knew she’d had some recent health issues (she was 73 at the time) and did not expect her to accept her doctorate in person. In fact, I was saying pretty much that to my roommate Susan as several of the distinguished graduation guests filed past us. And then I turned. And saw her. Elegant. Beautiful. Smiling. Ella.

There was a consistent smattering of applause accompanying every step she took. When I finally caught my breath, all that came roaring out of my mouth was the primal scream – “ELLLLLLLAAAAA!!!!  ELLLLLLLAAAAA!!!” I couldn’t stop. I was hopping up and down and cheering and – as I said before – losing my natural mind.

I saw on my roommate’s face and other faces around me that amused “Damn, what exactly is happening to her right now?” look, but that was all in slow motion and I did not care because a national treasure was walking towards me. The architect of vocal improvisation and scatting and so much pure jazz singing greatness was in my sights, and I could not contain myself.

I think Ella heard me before she saw me, because I saw her glance my way, smile, then veer close enough to lay her hand on my forearm. Yes, that’s right, I can now and forever brag that the one and only Ella Fitzgerald touched me.

As I observed her small but mighty hand on my forearm, it reminded me of my grandmother’s. From it I felt a gentle squeeze – and in that squeeze she communicated her amusement, her thanks, and, if I’m being 💯 about it, encouragement to get a gotdamn grip on myself and attempt some level of decorum. I was at my college graduation ceremony, her hand reminded me, not Showtime at the Apollo. And then she kept going down the line and when no more dignitaries were left to file past us, we collapsed the Soul Train line and headed to our seats.

https://youtu.be/or1kqkeGXrI

I have no idea what else was said or done during the rest of that ceremony – I spent most of it plotting with my wing woman Karen Moody on how to get close enough to the stage so I could ask Ella for her autograph. Moody offered to distract the security guard once the ceremony was over – she turned on her gift of gab and I was able to glide by and up to Miss Fitzgerald with a pen and the only paper I had, my graduation program. Ella graciously signed it and smiled at me once again as security quickly became undistracted and pointed me away.

Thirty years later, when I look back on this moment, I can’t help but ask myself exactly why I went so crazy. The obvious answer is, duh – ELLA FITZGERALD – but it was such lightning bolt of energy that came through me, it was more than that. Back then I didn’t know much about her life, her professional or personal struggles, but something in me knew to honor the totality of who she was, what she’d gone through and what she gave to this world.

Ella Fitzgerald deserved (and got) a full body-and-soul shout out from the younger generation through me that day. To let her know that she was seen, heard, loved and would never be forgotten, particularly by those, like me, who present to the world in the same type of package.

And here I am again, thirty years later, shouting out love and appreciation for the one and only Ella, master of tone, phrasing, intonation, improvisation and interpretation, so the next generation may know her and pass on to the next their appreciation for one of the best to ever do it.

Below is a playlist compiled in her honor, as well as several other resources and links to foster even more awareness of the “First Lady of Song.” Love you always, Ella!

[spotifyplaybutton play=”spotify:playlist:0LIoz4OZ7wvTwLWZcrevPt”]

Read more: http://www.ellafitzgerald.com/about/biography or https://www.biography.com/musician/ella-fitzgerald or

 Ella Fitzgerald: A Biography of the First Lady of Jazz by Stuart Nicholson

To see the trailer for upcoming documentary Ella Fitzgerald: Just One of Those Things, watch above.

R.I.P. Acclaimed Author Toni Morrison, 88, Nobel Laureate and Pulitzer Prize Winner

R.I.P. Acclaimed Author Toni Morrison, 88, Nobel Laureate and Pulitzer Prize Winner

By goodblacknews on August 6, 2019

Nobel laureate and Pulitzer Prize-Winning Author Toni Morrison, who wrote the acclaimed novels “Beloved,” ”Song of Solomon,” “The Bluest Eye,” “Jazz,” and “Sula” among other works, has passed away at age 88.

According to yahoo.com, publisher Alfred A. Knopf announced that Morrison died Monday night at Montefiore Medical Center in New York. Morrison’s family issued a statement through Knopf saying she died after a brief illness.

“Toni Morrison passed away peacefully last night surrounded by family and friends,” the family announced. “The consummate writer who treasured the written word, whether her own, her students or others, she read voraciously and was most at home when writing.”

“Her writing was not just beautiful but meaningful — a challenge to our conscience and a call to greater empathy,” Obama wrote Tuesday on his Facebook page. “She was as good a storyteller, as captivating, in person as she was on the page.”

“Narrative has never been merely entertainment for me,” she said in her Nobel lecture. “It is, I believe, one of the principal ways in which we absorb knowledge.”

The second of four children of a welder and a domestic worker, Morrison was born Chloe Ardelia Wofford in Lorain, Ohio, a steel town outside of Cleveland. She was encouraged by her parents to read and to think, and was unimpressed by the white kids in her community.

Recalling how she felt like an “aristocrat,” Morrison believed she was smarter and took it for granted she was wiser. She was an honors student in high school, and attended Howard University because she dreamed of life spent among black intellectuals.

Music Legend Sonny Rollins Endows "Sonny Scholars" Jazz Ensemble at Oberlin College

By goodblacknews on December 2, 2017

Jazz Master Sonny Rollins (photo via knkx.org)

via jbhe.com
Sonny Rollins, the legendary jazz saxophonist, has made a generous contribution to establish the Sonny Rollins Jazz Ensemble Fund at the Oberlin Conservatory of Music in Ohio.
Beginning in spring 2018, Oberlin College jazz studies majors may audition for the Oberlin Sonny Rollins Jazz Ensemble. Each student’s candidacy will be considered on the basis of four criteria: an audition for Oberlin’s jazz faculty, evidence of academic achievement, thoughtful response to a question about the place of jazz in the world, and service to humanity.
“Sonny Scholars” must dedicate at least two semesters to performing in the ensemble. They must also complete a winter-term project that embodies Rollins’ spirit of giving.
In explaining the rationale for this aspect of the program, Sonny Rollins said “people are hungry for a reason to live and to be happy. We’re asking these young musicians to look at the big picture, to tap into the universal power of a higher spirit, so they can give people what they need. Giving back to others teaches inner peace and inner spirituality. Everything is going to be open for them if they devote themselves in this way.”
Rollins gift to Oberlin grew out of his friendship with author and musician James McBride, a 1979 graduate of Oberlin College. The gift was made in recognition of the institution’s long legacy of access and social justice advocacy. In particular, Rollins was moved by Oberlin’s place as the first institution of higher learning to adopt a policy to admit students of color and the first to confer degrees to women, and by the contributions of alumni such as Will Marion Cook, a black violinist and composer who graduated in 1888 and who went on to become an important teacher and mentor to Duke Ellington.
Andrea Kalyn, dean of the Oberlin Conservatory of Music, stated “that the legendary Sonny Rollins — an artist of truly extraordinary accomplishment, soulfulness, and character — would entrust Oberlin to steward his legacy is the highest honor, and deeply humbling.”
Source: https://www.jbhe.com/2017/11/music-legend-sonny-rollins-endows-a-jazz-ensemble-at-oberlin-college/

The National Jazz Museum in Harlem Finds a Permanent Home

By goodblacknews on April 10, 2016
The musicians Terri Davis, left, and Bill Saxton at the opening of the National Jazz Museum in Harlem. (YANA PASKOVA FOR THE NEW YORK TIMES)

article by Nate Chinen via nytimes.com

The National Jazz Museum in Harlem has always been, like the music it honors, a study in adaptability. For the last 15 years, it has operated out of a modest fourth-floor space in East Harlem, while developing big plans for a permanent home. Now, after weathering a few disappointments, the museum has relocated to a new storefront on West 129th Street, in a move that signals not only an improvement to its public facilities but also a renewal of its mission.

“Being in a new space has shifted our approach to what is possible,” Ryan Maloney, the museum’s director of education and programming, said during an opening reception on Tuesday night, as a quartet led by the pianist Marc Cary played a hard-swinging Hank Mobley tune.

The museum now sits off Malcolm X Boulevard, a couple of blocks north of Sylvia’s and Red Rooster, the emblematic culinary institutions of old and new Harlem. It occupies the ground floor of a new condominium building, and while it’s not a large footprint — just under 2,400 square feet, of which 1,900 is devoted to public space — the design and layout were carefully considered.

In some ways, the embrace of that small scale reflects well on the institution. Founded in 1997 by Leonard Garment, former counsel to President Richard M. Nixon, the National Jazz Museum in Harlem began with noble intentions but limited resources. “We flailed around for several years, and while we did, the money ran out,” Mr. Garment wrote in a 2002 article for The New York Times. (He died in 2013.)

The museum found its footing, in incremental steps, under the executive leadership of Loren Schoenberg. A veteran saxophonist, pianist, educator and historian, Mr. Schoenberg brought an air of authority to the museum, while strengthening its bonds with the jazz public and institutions like the Smithsonian. He enlisted two artistic directors, both still actively involved: the bassist Christian McBride and the pianist Jon Batiste. (Mr. McBride is the recently announced new artistic director for the Newport Jazz Festival; Mr. Batiste, the bandleader on “The Late Show With Stephen Colbert,” was one of Mr. Schoenberg’s students at Juilliard.)

Toni Morrison Receives $25,000 Honorary Award From PEN for American Fiction

By goodblacknews on March 2, 2016
Nobel Laureate Toni Morrison (photo via
article by Hillel Italie via blackamericaweb.com
NEW YORK (AP) — Nobel laureate Toni Morrison has received an honorary prize named for another Nobel winner, the late Saul Bellow.
PEN America, the literary and human rights organization, told The Associated Press on Tuesday that Morrison has been given the $25,000 PEN/Saul Bellow Award for Achievement in American fiction. Morrison, 85, is known for such novels as “Beloved,” ”Song of Solomon” and “Jazz.”
“Revelatory, intelligent, bold, her fiction is invested in the black experience, in black lives, and in black consciousness, material from which she has forged a singular American aesthetic,” awards judge Louise Erdrich, herself a prize-winning novelist, said in a statement. “Toni Morrison not only opened doors to others when she began to publish, she has also stayed grounded in the issues of her time.”
PEN announced several other prizes on Tuesday.
Lisa Ko’s “The Leavers” won the PEN/Bellwether Prize for Socially Engaged Fiction, a $25,000 award. John Schulian, a sports writer for numerous publications, received the $5,000 PEN/ESPN Lifetime Achievement Award for Literary Sports Writing. Ed Roberson was given the $5,000 PEN/Voelcker Award for Poetry.
Three playwrights received prizes: Lynn Nottage, whose works include the Pulitzer-winning “Ruined,” was named a Master American Dramatist; Young Jean Lee was cited as an American Playwright in Mid-Career and Branden Jacobs-Jenkins as an Emerging American Playwright.
To read more, go to: http://blackamericaweb.com/2016/03/01/toni-morrison-receives-25000-honorary-award-from-pen/

R.I.P. Composer, Pianist and Jazz Crusader Joe Sample

By goodblacknews on September 16, 2014
Joe Sample at the Montreux Jazz Festival in 2011. His last solo album, “Children of the Sun,” is to be released this fall. (Credit: Jean-Christophe Bott/Agence France-Presse — Getty Images)

Joe Sample, who became a jazz star in the 1960s as the pianist with the Jazz Crusaders and an even bigger star a decade later when he began playing electric keyboards and the group simplified its name to the Crusaders, died on Friday in Houston. He was 75.

The cause was mesothelioma, said his manager, Patrick Rains.

The Jazz Crusaders, who played the muscular, bluesy variation on bebop known as hard bop, had their roots in Houston, where Mr. Sample, the tenor saxophonist Wilton Felder and the drummer Nesbert Hooper (better known by the self-explanatory first name Stix) began performing together as the Swingsters while in high school.

Mr. Sample met the trombonist Wayne Henderson at Texas Southern University and added him, the bassist Henry Wilson and the flutist Hubert Laws — who would soon achieve considerable fame on his own — to the group, which changed its name to the Modern Jazz Sextet.

The band worked in the Houston area for several years but did not have much success until Mr. Sample, Mr. Felder, Mr. Hooper and Mr. Henderson moved to Los Angeles and changed their name to the Jazz Crusaders, a reference to the drummer Art Blakey’s seminal hard-bop ensemble, the Jazz Messengers. Their first album, “Freedom Sound,” released on the Pacific Jazz label in 1961, sold well, and they recorded prolifically for the rest of the decade, with all four members contributing compositions, while performing to enthusiastic audiences and critical praise.

In the early 1970s, as the audience for jazz declined, the band underwent yet another name change, this one signifying a change in musical direction. Augmenting their sound with electric guitar and electric bass, with Mr. Sample playing mostly electric keyboards, the Jazz Crusaders became the Crusaders. Their first album under that name, “Crusaders 1,” featuring four compositions by Mr. Sample, was released on the Blue Thumb label in 1972.

Born On This Day in 1917: American Musical Legend Ella Fitzgerald

By goodblacknews on April 25, 2013

Ella FitzgeraldElla Fitzgerald (April 25, 1917 – June 15, 1996), also known as the “First Lady of Song”, “Queen of Jazz”, and “Lady Ella”, was an American jazz vocalist with a vocal range spanning three octaves (D♭3 to D♭6). 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 59-year recording career, she sold 40 million copies of her 70-plus albums, won 13 Grammy Awards and was awarded the National Medal of Arts by Ronald Reagan and the Presidential Medal of Freedom by George H. W. Bush.
ella_fitzgeralds_96th_birthday-1212009-hpAs Google honors Ella with her own Google Doodle today (pictured left), learn more about her life and music on Wikipedia.org.  Also, it is truly worth watching all seven minutes and thirty-nine seconds of the video below as Al Jarreau and Nancy Wilson honor Ella with a spectacular version of one of her biggest hits, “A Tisket, A Tasket” at the 1988 NAACP Image Awards.  Then, after 71 year-old Fitzgerald receives her award, she sings a dynamic, swinging, commanding version of “You Are The Sunshine of My Life” that is not to be missed:
[youtube http://www.youtube.com/watch?v=9AYin310AaI&w=420&h=315]
article by Lori Lakin Hutcherson

'The Girls In The Band' Gets A 1-Week Theatrical (Untold Stories Of Women Jazz Instrumentalists)

By goodblacknews on April 17, 2013

From Shadow and Act‘s Tambay A. Obenson via indiewire.com:
Web-wide reactions to this when I first wrote about this film in late 2011 was strong; lots of excited folks curious and anxious to see it, and with good reason, given the subject matter.  And some of those same people (specifically those who live in New York City) will be pleased to know that it’s getting a 1-week theatrical run at the Film Society of Lincoln Center, from May 10 – 16, after a lengthy film festival circuit run.
So if you happen to be in or around NYC during those specific dates, and you’re interested in seeing the film, here’s your chance to do so (I suspect there’ll be other similar limited theatrical runs in other parts of the country; but no confirmation of that).
A quick recap:
Director Judy Chaikin’s documentary, The Girls In The Band, highlights the untold stories of women in jazz and big band instrumentalists, from the 1930s to the present day.
I’d say, for the average enthusiast, it’s likely an easier challenge to name women jazz vocalists than instrumentalists. Images like the one above probably aren’t the first to come to mind when most of us think of jazz music. And Chaikin’s doc hopes to influence that, with this poignant narrative, which includes lots of wonderful archival footage, telling the fascinating stories about the lives and careers of these trailblazing women who endured sexism, racism and diminished opportunities for decades, yet continued to persevere, inspire and elevate their talents in a field that seldom welcomed them.
The film also looks at the present-day young women who are following in the footsteps of those who paved the way for them in the male-dominated world of jazz.  For more on the upcoming theatrical run, visit the Lincoln Center website HERE.
Watch the trailer below:
[youtube http://www.youtube.com/watch?v=o6XDjh8gRGg&w=560&h=315]

The Whitney Museum of American Art Presents ‘Blues for Smoke,’ a Look at Blues, Jazz and American History

By goodblacknews on April 14, 2013

Charlie Parker

Beauford Delaney
Portrait of Charlie Parker, 1968, Oil on canvas
Courtesy of Michael Rosenfeld Gallery, New York

The Whitney Museum of American Art exhibit, “Blues for Smoke,” features an exciting array of works by a wide range of contemporary black artists. But it offers so much more. A journey back in time, the combination of works, inspired by African-American music, slips you, with a heady mix of anticipation and foreboding, into a dark, back alley jazz club that would be easily at home in the ruins of Potsdam, Berlin, or along the steamy backwater canals of New Orleans. The mood of the show captures the feeling of folks gathered at smatterings of café tables as you enter, where you sit and listen to live jazz vocals in an atmosphere tinged with the bite of a gin cocktail and the halo of cigarette smoke.

Prince to Headline 47th Montreux Jazz Festival

By goodblacknews on February 16, 2013
Prince will play three headline shows at the Montreux Jazz Festival this July, for what will be the famous fest’s first edition since its founder Claude Nobs passed away.  The master musician will perform over the three nights of July 13, 14 and 15, organizers of the Swiss music event have announced. Montreux is familiar turf for Prince. He first played at the fest in 2007 and returned in 2009, when he delivered two shows in the same evening.
Prince recently returned to the spotlight with the new track “Screwdriver,” and he was on hand at the Grammy Awards to present Gotye and Kimbra with the Record of the Year trophy. On May 19, Prince will receive the Icon Award and perform at the 2013 Billboard Music Awards.
Prince Returns with ‘Screwdriver’ Song: Listen
The Montreux Jazz Festival is entering a new era without its founder and former GM Claude Nobs, who died in January after sustaining injuries from a fall while cross-country skiing on Christmas Eve. Just months earlier, he’d stepped away from the event he created back in 1967.  The 47th Montreux Jazz Festival runs from July 5-20. The full line-up will be unveiled April 18.
article by Lars Brandle via billboard.com