Though she recorded often during the early '60s, Ella Fitzgerald had mostly been seen in jazz settings, whether small group (Bill Doggett) or big band (Count Basie). Hello, Dolly!, recorded early in 1964, offered her a chance to record with an orchestra in the background and a list of popular crossover songs on the sheets. The first three were all big hits during early 1964, the opening title track a surprise chart-topper for her dear friend Louis Armstrong, the second, "People," a Broadway crossover hit for Barbra Streisand, and the third being the only title published by BMI on the entire LP, "Can't Buy Me Love" by the Beatles (coincidentally, the song that Armstrong knocked from the top). Just the beginning of Fitzgerald's flirtation with the new rock generation of the '60s, her Beatles cover is undeniably wonderful, an irresistible hard swinger with much room for improvisation, and none of the hesitation most jazz singers would display in the future when attempting to confront the coup de tete of cool performed by the British Invasion. Elsewhere the record is invigorated by Fitzgerald's feel for material and a series of underrated charts by Frank DeVol, such as the spare strings on Ella's mournful "My Man," the quiet Latin intrigue of "The Thrill Is Gone," and the lush strings of "Lullaby of the Leaves."Though she recorded often during the early '60s, Ella Fitzgerald had mostly been seen in jazz settings, whether small group (Bill Doggett) or big band (Count Basie). Hello, Dolly!, recorded early in 1964, offered her a chance to record with an orchestra in the background and a list of popular crossover songs on the sheets. The first three were all big hits during early 1964, the opening title track a surprise chart-topper for her dear friend Louis Armstrong, the second, "People," a Broadway crossover hit for Barbra Streisand, and the third being the only title published by BMI on the entire LP, "Can't Buy Me Love" by the Beatles (coincidentally, the song that Armstrong knocked from the top). Just the beginning of Fitzgerald's flirtation with the new rock generation of the '60s, her Beatles cover is undeniably wonderful, an irresistible hard swinger with much room for improvisation, and none of the hesitation most jazz singers would display in the future when attempting to confront the coup de tete of cool performed by the British Invasion. Elsewhere the record is invigorated by Fitzgerald's feel for material and a series of underrated charts by Frank DeVol, such as the spare strings on Ella's mournful "My Man," the quiet Latin intrigue of "The Thrill Is Gone," and the lush strings of "Lullaby of the Leaves."false2022-09-01 05:36:50Hello, Dolly!20052005-01-012005-01-0139Jazz11439821309725deb8b96-980b-4b45-b0fd-01706c7c29de54799c0e-eb45-4eea-996d-c4d71a63c4992efb3860-6c09-36fd-b2e7-22ab7206aa3e/media/data/media5/Music/Ella Fitzgerald/Hello, Dolly! (1964)/folder.jpgElla FitzgeraldAlbumArtistElla FitzgeraldArtistElla FitzgeraldElla FitzgeraldElla Jane Fitzgerald (April 25, 1917 – June 15, 1996) was an American jazz singer, sometimes referred to as the "First Lady of Song", "Queen of Jazz", and "Lady Ella". She was noted for her purity of tone, impeccable diction, phrasing, timing, intonation, and a "horn-like" improvisational ability, particularly in her scat singing.
After a tumultuous adolescence, Fitzgerald found stability in musical success with the Chick Webb Orchestra, performing across the country but most often associated with the Savoy Ballroom in Harlem. Her rendition of the nursery rhyme "A-Tisket, A-Tasket" helped boost both her and Webb to national fame. After taking over the band when Webb died, Fitzgerald left it behind in 1942 to start her solo career. Her manager was Moe Gale, co-founder of the Savoy, until she turned the rest of her career over to Norman Granz, who founded Verve Records to produce new records by Fitzgerald. With Verve she recorded some of her more widely noted works, particularly her interpretations of the Great American Songbook.
While Fitzgerald appeared in movies and as a guest on popular television shows in the second half of the twentieth century, her musical collaborations with Louis Armstrong, Duke Ellington, and The Ink Spots were some of her most notable acts outside of her solo career. These partnerships produced some of her best-known songs such as "Dream a Little Dream of Me", "Cheek to Cheek", "Into Each Life Some Rain Must Fall", and "It Don't Mean a Thing (If It Ain't Got That Swing)". In 1993, after a career of nearly 60 years, she gave her last public performance. Three years later, she died at the age of 79 after years of declining health. Her accolades included 14 Grammy Awards, the National Medal of Arts, the NAACP's inaugural President's Award, and the Presidential Medal of Freedom.