Billie Holiday, Sarah Vaughan, Dinah Washington & Ella Fitzgerald

There was a time, decades ago, when jazz singers occasionally had hits - not just nightclub showstoppers or deejay favorites, but chart-topping singles that spun in jukeboxes and even made the hit parade. For black artists such as Billie Holiday, Ella Fitzgerald, Sarah Vaughan, and Dinah Washington, those songs opened the door to a mainstream acceptance that might never have happened otherwise. Whatever they recorded, though, these singers' personalities leap off the discs. "I can sing anything - anything at all," declared Washington. "I sing blues, pop, and if I have to I can go to church." On Four by Four, Lady, Ella, Sassy, and Miss D do all the above and more.


About Billie Holiday

Billie Holiday was a true artist of her day and rose as a social phenomenon in the 1950s. Her soulful, unique singing voice and her ability to boldly turn any material that she confronted into her own music made her a superstar of her time. Today, Holiday is remembered for her masterpieces, creativity and vivacity, as many of Holiday's songs are as well known today as they were decades ago. Holiday's poignant voice is still considered to be one of the greatest jazz voices of all time.
Holiday (born Eleanora Fagan) grew up in jazz talent-rich Baltimore in the 1920s. As a young teenager, Holiday served the beginning part of her so-called "apprenticeship" by singing along with records by Bessie Smith or Louis Armstrong in after-hours jazz clubs. When Holiday's mother, Sadie Fagan, moved to New York in search of a better job, Billie eventually went with her. She made her true singing debut in obscure Harlem nightclubs and borrowed her professional name - Billie Holiday - from screen star Billie Dove. Although she never underwent any technical training and never even so much as learned how to read music, Holiday quickly became an active participant in what was then one of the most vibrant jazz scenes in the country. She would move from one club to another, working for tips. She would sometimes sing with the accompaniment of a house piano player while other times she would work as part of a group of performers.
At the age of 18 and after gaining more experience than most adult musicians can claim, Holiday was spotted by John Hammond and cut her first record as part of a studio group led by Benny Goodman, who was then just on the verge of public prominence. In 1935 Holiday's career got a big push when she recorded four sides that went on to become hits, including "What a Little Moonlight Can Do" and "Miss Brown to You." This landed her a recording contract of her own, and then, until 1942, she recorded a number of master tracks that would ultimately become an important building block of early American jazz music.
Holiday began working with Lester Young in 1936, who pegged her with her now-famous nickname of "Lady Day." When Holiday joined Count Basie in 1937 and then Artie Shaw in 1938, she became one of the very first black women to work with a white orchestra, an impressive accomplishment of her time.
In the 1930s, when Holiday was working with Columbia Records, she was first introduced to the poem "Strange Fruit," an emotional piece about the lynching of a black man. Though Columbia would not allow her to record the piece due to subject matter, Holiday went on to record the song with an alternate label, Commodore, and the song eventually became one of Holiday's classics. It was "Strange Fruit" that eventually prompted Lady Day to continue more of her signature, moving ballads.
Holiday recorded about 100 new recordings on another label, Verve, from 1952 to 1959. Her voice became more rugged and vulnerable on these tracks than earlier in her career. During this period, she toured Europe, and made her final studio recordings for the MGM label in March of 1959.
Despite her lack of technical training, Holiday's unique diction, inimitable phrasing and acute dramatic intensity made her the outstanding jazz singer of her day. White gardenias, worn in her hair, became her trademark. "Singing songs like the 'The Man I Love' or 'Porgy' is no more work than sitting down and eating Chinese roast duck, and I love roast duck," she wrote in her autobiography. "I've lived songs like that."
Billie Holiday, a musical legend still popular today, died an untimely death at the age of 44. Her emotive voice, innovative techniques and touching songs will forever be remembered and enjoyed.

About Sarah Vaughan

Real Name: Sarah Lois Vaughan
b. 27th March 1924, Newark, New Jersey, U.S.A.
d. 3rd April 1990, Los Angeles, California, U.S.A.
Sarah Vaughan's contribution to the female jazz vocal genre, during the twentieth century, puts her alongside the likes of Dinah Washington, Billie Holliday and Ella Fitzgerald.
As a child Sarah Vaughan sang in church and had extensive piano lessons from 1931-39, which helped her become a capable keyboardist. After she won an amateur contest at the Apollo Theatre, she was hired for the Earl Hines big band as a singer and second vocalist. Unfortunately, the musicians' recording strike kept her off record during this period (1943-44). When lifelong friend Billy Eckstine broke away to form his own orchestra, Vaughan joined him, making her recording debut. She enjoyed her time with Eckstine's orchestra, where she became influenced by a couple of his sidemen, Charlie Parker and Dizzy Gillespie, both of whom had also been with Hines during her stint.
Vaughan was one of the first singers to fully incorporate bop phrasing in her singing, and to have the vocal chops to pull it off on the level of a Parker and Gillespie. Apart from a few months with John Kirby from 1945-46, Sarah Vaughan spent the remainder of her career as a solo star. Although Sarah held an unusual stage appearance in 1945 (her first husband George Treadwell would greatly assist her with her appearance), there was no denying her excellent voice. She made several early sessions for Continental: a 31st December, 1944 date highlighted by her vocal version of 'A Night In Tunisia,' which was called 'Interlude,' and a 25th May, 1945 session for that label that had Gillespie and Parker as sidemen. However, it was her 1946-48 selections for Musicraft (which included 'If You Could See Me Now,' 'Tenderly' and 'It's Magic') that found her rapidly gaining maturity and adding bop-oriented phrasing to popular songs. Signed to Columbia where she recorded during 1949-53, 'Sassy' continued to build on her popularity. Although some of those sessions were quite commercial, eight classic selections cut with Jimmy Jones' band during 18-19th May, 1950 (an octet including Miles Davis) showed that she could sing jazz with the best.
During the 1950's, Sarah recorded middle-of-the-road pop material with orchestras for Mercury, and jazz dates (including a memorable collaboration with Clifford Brown) for the label's subsidiary, EmArcy. Later record label associations included Roulette (1960-64), back with Mercury (1963-67), and after a surprising four years off records, Mainstream (1971-74). Through the years, Vaughan's voice deepened a bit, but never lost its power, flexibility or range.
She was a masterful scat singer and was able to outswing nearly everyone (except for Ella). Vaughan was with Norman Granz's Pablo label from 1977-82, and only during her last few years did her recording career falter a bit, with only two forgettable efforts after 1982. On of her final recordings were the 'Brazilian Romance' sessions, where Sarah worked alongside many greats from that country, including Ivan Lins.
A fine swansong to an excellent career.

About Dinah Washington

Born Ruth Jones in Tuscaloosa, Alabama in August 1924, Dinah Washington moved to Chicago’s South Side when she was three or four. Her mother played piano at St. Luke’s Baptist Church, passing along her keyboard prowess to her young offspring. Spirituals comprised much of her initial focus; she hooked up with gospel pioneer Sallie Martin in 1940, hitting the road for a time as her accompanist. Yet secular pursuits had long intrigued her. Before joining Martin, the young singer had copped first prize at a Regal Theater amateur contest.
Whether it was bandleader Lionel Hampton, booking agent Joe Glaser, or Garrick Stage Bar boss Joe Sherman who gave Ruth the memorable stage handle of Dinah Washington, there’s no disputing her steady rise to stardom. A featured billing the Garrick led Hampton to hire her to sing with his big band in 1943.
Jazz critic Leonard Feather caught her with the Hampton band that December at Harlem’s Apollo and convinced Keynote Records to sponsor her debut session, but recording opportunities proved scarce while she was in Hampton’s employ. Before year’s end, Washington bid Hampton adieu, recording three Los Angeles sessions for the Apollo label under her own name before signing with the then-fledgling Mercury. She cut her first date for Mercury in January 1946, and by the summer of ’48 her solo star was in rapid ascension.
At the same time, Washington was interacting with some serious jazz royalty. She recorded with trumpeters Clifford Brown and Clark Terry, drummer Max Roach, and saxophonists Lockjaw Davis and Cannonball Adderley in the mid-Fifties, utilized Quincy Jones’s budding talents as an arranger, and employed pianist Wynton Kelly, drummer Jimmy Cobb, and tenor saxophonist Eddie Chamblee in her combo for extended stretches. (Chamblee was also one of her many husbands.)
Finally, in 1959, Dinah Washington made the full-fledged leap to pop stardom, thanks to the lovely Belford Hendricks-arranged ballad "What a Diff’rence a Day Makes". Under a&r man Clyde Otis’s market-savvy direction, she mined more pop gold with the stately "Unforgettable" and "This Bitter Earth". It was Otis’s brainstorm to pair Washington with her deep-voiced label mate Brook Benton; their seemingly playful duet "Baby, You Got What It Takes" masked serious tension between the two, but the end result was a giant pop and r&b hit in 1960.
An unintentional but lethal combination of alcohol and pills forever stilled Dinah Washington’s magnificent voice in Detroit on December 14, 1963. She was only thirty-nine.

About Ella Fitzgerald

Dubbed "The First Lady of Song," Ella Fitzgerald was the most popular female jazz singer in the United States for more than half a century. In her lifetime, she won 13 Grammy awards and sold over 40 million albums.

Her voice was flexible, wide-ranging, accurate and ageless. She could sing sultry ballads, sweet jazz and imitate every instrument in an orchestra. She worked with all the jazz greats, from Duke Ellington, Count Basie and Nat King Cole, to Frank Sinatra, Dizzy Gillespie and Benny Goodman. (Or rather, some might say all the jazz greats had the pleasure of working with Ella.)
She performed at top venues all over the world, and packed them to the hilt. Her audiences were as diverse as her vocal range. They were rich and poor, made up of all races, all religions and all nationalities. In fact, many of them had just one binding factor in common - they all loved her.
Ella Jane Fitzgerald was born in Newport News, Va. on April 25, 1917. Her father, William, and mother, Temperance (Tempie), parted ways shortly after her birth. Together, Tempie and Ella went to Yonkers, N.Y, where they eventually moved in with Tempie's longtime boyfriend Joseph Da Silva.
In mid 1936, Ella made her first recording. "Love and Kisses" was released under the Decca label, with moderate success. By this time she was performing with Chick's band at the prestigious Harlem's Savoy Ballroom, often referred to as "The World's Most Famous Ballroom." Shortly afterward, Ella began singing a rendition of the song, "(If You Can't Sing It) You Have to Swing It." During this time, the era of big swing bands was shifting, and the focus was turning more toward bebop. Ella played with the new style, often using her voice to take on the role of another horn in the band. "You Have to Swing It" was one of the first times she began experimenting with scat singing, and her improvisation and vocalization thrilled fans. Throughout her career, Ella would master scat singing, turning it into a form of art. In 1938, at the age of 21, Ella recorded a playful version of the nursery rhyme, "A-Tisket, A-Tasket." The album sold 1 million copies, hit number one, and stayed on the pop charts for 17 weeks. Suddenly, Ella Fitzgerald was famous.
On June 16, 1939, Ella mourned the loss of her mentor Chick Webb. In his absence the band was renamed "Ella Fitzgerald and Her Famous Band," and she took on the overwhelming task of bandleader. From 1956-1964, she recorded covers of other musicians' albums, including those by Cole Porter, Duke Ellington, the Gershwins, Johnny Mercer, Irving Berlin, and Rodgers and Hart. The series was wildly popular, both with Ella's fans and the artists she covered. "I never knew how good our songs were until I heard Ella Fitzgerald sing them," Ira Gershwin once remarked.
On the touring circuit it was well-known that Ella's manager felt very strongly about civil rights and required equal treatment for his musicians, regardless of their color. Norman refused to accept any type of discrimination at hotels, restaurants or concert halls, even when they traveled to the Deep South. Once, while in Dallas touring for the Philharmonic, a police squad irritated by Norman's principles barged backstage to hassle the performers. They came into Ella's dressing room, where band members Dizzy Gillespie and Illinois Jacquet were shooting dice, and arrested everyone. "They took us down," Ella later recalled, "and then when we got there, they had the nerve to ask for an autograph." Norman wasn't the only one willing to stand up for Ella. She received support from numerous celebrity fans, including a zealous Marilyn Monroe. "I owe Marilyn Monroe a real debt," Ella later said. "It was because of her that I played the Mocambo, a very popular nightclub in the '50s. She personally called the owner of the Mocambo, and told him she wanted me booked immediately, and if he would do it, she would take a front table every night. She told him - and it was true, due to Marilyn's superstar status - that the press would go wild. The owner said yes, and Marilyn was there, front table, every night. The press went overboard. After that, I never had to play a small jazz club again. She was an unusual woman - a little ahead of her times. And she didn't know it."
Ella continued to work as hard as she had early on in her career, despite the ill effects on her health. She toured all over the world, sometimes performing two shows a day in cities hundreds of miles apart. In 1974, Ella spent a legendary two weeks performing in New York with Frank Sinatra and Count Basie. Still going strong five years later, she was inducted into the Down Beat magazine Hall of Fame, and received Kennedy Center Honors for her continuing contributions to the arts. Outside of the arts, Ella had a deep concern for child welfare. Though this aspect of her life was rarely publicized, she frequently made generous donations to organizations for disadvantaged youths, and the continuation of these contributions was part of the driving force that prevented her from slowing down. Additionally, when Frances died, Ella felt she had the additional responsibilities of taking care of her sister's family. In 1987, United States President Ronald Reagan awarded Ella the National Medal of Arts. It was one of her most prized moments. France followed suit several years later, presenting her with their Commander of Arts and Letters award, while Yale, Dartmouth and several other universities bestowed Ella with honorary doctorates.
In September of 1986, Ella underwent quintuple coronary bypass surgery. Doctors also replaced a valve in her heart and diagnosed her with diabetes, which they blamed for her failing eyesight. The press carried rumors that she would never be able to sing again, but Ella proved them wrong. Despite protests by family and friends, including Norman, Ella returned to the stage and pushed on with an exhaustive schedule. By the 1990s, Ella had recorded over 200 albums. In 1991, she gave her final concert at New York's renowned Carnegie Hall. It was the 26th time she performed there. As the effects from her diabetes worsened, 76-year-old Ella experienced severe circulatory problems and was forced to have both of her legs amputated below the knees. She never fully recovered from the surgery, and afterward, was rarely able to perform. During this time, Ella enjoyed sitting outside in her backyard, and spending time with Ray, Jr. and her granddaughter Alice.
"I just want to smell the air, listen to the birds and hear Alice laugh," she said.
On June 15, 1996, Ella Fitzgerald died in her Beverly Hills home. Hours later, signs of remembrance began to appear all over the world. A wreath of white flowers stood next to her star on the Hollywood Walk of Fame, and a marquee outside the Hollywood Bowl theater read, "Ella, we will miss you." After a private memorial service, traffic on the freeway was stopped to let her funeral procession pass through. She was laid to rest in the "Sanctuary of the Bells" section of the Sunset Mission Mausoleum at Inglewood Park Cemetery in Inglewood, Calif.
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There was a time, decades ago, when jazz singers occasionally had hits - not just nightclub showstoppers or deejay favorites, but chart-topping singles that spun in jukeboxes and even made the hit parade. For black artists such as Billie Holiday, Ella Fitzgerald, Sarah Vaughan, and Dinah Washington, those songs opened the door to a mainstream acceptance that might never have happened otherwise. Whatever they recorded, though, these singers' personalities leap off the discs. "I can sing... (lire la suite)