The whisper of America’s greatest song stylist Ella Fitzgerald’s name strikes a kinetic force — you want to move, dance, swing. Her distinct timbre was a fascinating jaunt of crazy improvised scats, perfect pitch, and joyful rhythms dancing in life’s galaxy, encompassing the sun, moon, stars, clouds, and Milky Way. After all, she is known as the ‘First Lady of Song.”
Throughout her illustrious career and after her transition on June 15, 1996, Fitzgerald’s life has been well-documented. However, her tumultuous adolescent years in Yonkers and Harlem left gaps with room for speculation.
The writer and playwright Diane Richards has integrated those speculative gaps into an imaginative, melodramatic novel, “Ella” (Amistad, 2024). Richards vividly constructs a castle of dreams where Ella could retreat as her life quickly spiraled down into the depths of Hades.
After her mother’s death, Ella and her younger sister Frannie were left with her stepfather, a big brute of a man who abused Ella, forcing her to run away, tearfully leaving her younger sister behind. She found refuge in Harlem at her aunt’s apartment, where she became entangled in street life as a numbers runner while pursuing her dream of becoming a famous dancer. Unfortunately, her school truancy earned her a free bus ride to upstate New York to a girls’ reformatory school where the white matrons eagerly treated Black girls to a harsh dose of racism.
Never giving up hope and always resourceful, she eventually escaped and returned to Harlem, only to fall into a pit of homelessness. However, Ella remained confident and, in the midst of despair, one night, she found herself patiently waiting in her soiled clothes on a long line for a chance to show off her talent at Amateur Night at the Apollo Theater. That historic night in 1934 introduced the magical voice of Ella Fitzgerald, whose improvised style shattered the sound of modern music and redefined the Great American Songbook.
“Ella” is a descriptive novel — a verbal film that directly transports readers to the streets of Harlem, as Ella ducks down dangerous alleyways, or sits locked in a closet by her stepfather. Ella comes to life as you see her dancing at the front of the Savoy Ballroom. You hear an older, successful Ella candidly facing those horrible demons of racism, psychological abuse, and the many concealed hurdles that appeared in her path. “Ella” is a story of a young lady, one of America’s most brilliant icons, who remained confident, and in the darkest moments, refused to give up her dream.
“Ella” represents a quiet salute to Black mothers and the Black women in her life, who offered her hope. Many times, it was the recurring words of her mother and aunt that kept her grounded.
“Ella” is improvisational, like her song “Rough Ridin,’” scattin’ high flyin.’ Listen to her sing the blues on “Ella Hums the Blues” — it’s not sad, baby; her voice is riffing like a horn finding its way home. In “Ella,” the words flow like romping rhythms; there’s always a way out, a sweet song at the end of the tunnel.
Richards, executive director of the Harlem Writer’s Guild, did in-depth research for this book. “This is historical fiction,” she said. She also said that Ella was her idol (at one point, Richards was also a singer).
Jimmy Scott’s vocal career was menaced by a stormy cloud of obscurity, but his unique, high-pitched voice secured a devoted core of cult fans throughout his career, which began to glow in his twilight years.
On July 19, Scott’s longtime saxophonist TK Blue with the Jazz Expressions will pay tribute to the iconic jazz vocalist at Brooklyn’s jazz oasis Sista’s Place. Blue will be joined by two fellow Scott alumni: bassist and his longtime musical director Hill Greene, and drummer Dwayne Cook Broadnax, along with pianist Alva Nelson, and featured vocalist Queen Esther.
“We wanted to celebrate Jimmy’s centennial — he is an unsung innovator of jazz vocals,” said Blue during a phone interview. “He taught me how to complement a singer by not overpowering but to enhance with continuity. He was a master of the slow tempo, similar to Shirley Horn.” Blue said Scott had an uncanny inventiveness of phrasing lyrics that gave the most traveled standard a new destination.
Scott, born on July 17, 1925 was one of America’s most revered vocalists, whose sound was so beautiful, it could stop a nightingale in mid-song. As a vocal treasure, he was never fully acknowledged for his undeniable contribution to the jazz canon. Hopefully, this is the first of many celebrations that will honor his 2025 centennial. Reservations are a must — call 718-398-1766.
The Jazz in July series, now in its 40th season, presented by 92NY (1395 Lexington Avenue), is overflowing with renowned artists performing now through July 26. Concerts are in person and online.
On July 19, homage to the tenor saxophone, a longtime favorite instrument whether being played in rock & roll or jazz, will be celebrated with Tenors of our Time, featuring Melissa Aldana, Chris Lewis, Walter Smith III, and Lew Tabackin, and an explosive rhythm section led by pianist and composer Aaron Diehl, with bassist Yashushi Nakamura and the exciting young drummer Kush Abadey.
“In my second year as Jazz in July’s artistic director, I want to keep the foundation of the series and the framework built over the decades, while introducing new ideas and artists,” said Diehl. “I want the festival to showcase the vast landscape of jazz — both the music’s roots and its continuing evolution.”
On July 22, the series presents Celebrating Geri Allen & Mary Lou Williams, two of America’s inventive jazz pianists and composers. Williams’s arranging capabilities left a mark on the big band era while influencing the likes of Thelonious Monk and Randy Weston. NEA Jazz Master drummer Teri Lyne Carrington, who collaborated with Allen on many occasions, will be joined by vocalist Vanisha Gould, who delivers her own intriguing jazz interpretations; saxophonist Nicole Glover; Diehl on piano; and bassist Nakamura.
The pianist and composer Marta Sanchez Quintet performs on July 23. Sanchez, not to be categorized, is steeped in her homeland rhythms, world music, and influences of American jazz. Her ongoing tours with the innovative saxophonist David Murray expanded her concept of free expression, opening the door to avant gardism. Her most recent album, “Perpetual Void,” released in 2024, is a trio project featuring the captivating drummer Savannah Harris and bassist Chris Tordini.
The July 26 closing will feature composer-bandleader Darcy James Argue’s 18-piece ensemble Secret Society. The ensemble joins Diehl for the world premiere of “A Banquet for the Birds,” Argue’s new suite for piano and jazz orchestra, written for Diehl and co-commissioned by 92NY and the NDR Bigband.
All concerts start at 7:30 p.m. For more information and for tickets, visit 92ny.org.