After a tumultuous adolescence, Fitzgerald found stability in. Ella Fitzgerald defies the often-held misconceptions that singers aren’t as virtuosic as their instrumentalist counterparts. She was noted for her purity of tone, impeccable diction, phrasing, timing, intonation, and a 'horn-like' improvisational ability, particularly in her scat singing. Austin is better off putting her own stamp on the songs that she does very well. Ella Jane Fitzgerald (Ap June 15, 1996) was an American jazz singer, sometimes referred to as the 'First Lady of Song', 'Queen of Jazz', and 'Lady Ella'.
Paganini)" and "How High the Moon." That obviates the problem of having to compete with Fitzgerald on her greatest improvisational triumphs, but it's a technical achievement of an odd sort. Includes news, discography, photo collection, and Mp3 sound files. On two occasions, Austin does copy Fitzgerald, re-creating the scat sections of "You'll Have to Swing It (Mr. Ella Fitzgerald dalait mr vods korban ismerte. That's fine for the most part, though the version of "Miss Otis Regrets," which treats it as a gospel performance in the manner of Mahalia Jackson, without the slightest touch of humor, is a misstep. Austin does not, for the most part, attempt to sing in Fitzgerald's style, giving listeners her own interpretations that, in Williams' neo-swing arrangements, nevertheless hark back to the 1950s. Many of the songs, of course, are just ones Fitzgerald happened to sing but that have broader associations as well, such as George & Ira Gershwin's "Our Love Is Here to Stay" and "The Man I Love," though others, such as "A Tisket a Tasket," inevitably evoke Fitzgerald. Austin traveled to Köln, Germany, to record a program of songs associated with Fitzgerald with the WDR Big Band conducted by Patrick Williams. Altogether the dataset consists of 9065 tracks, recordings of 6255 distinct tunes performed by 898 bands. It consists of five parts: classic jazz, swing time, big bands, bebop and modern jazz, each comprised of 100 compact disks. For Ella easily could be the sequel to that collection. The collection is enormous and is probably among the largest ever commercially released compilations. Although she has worked in R&B-oriented adult pop much of the time, she is clearly in the tradition of Fitzgerald, and in 1988 she even recorded an album of standards that she tellingly titled The Real Me. Patti Austin is well qualified to record an album in the style of Ella Fitzgerald, having spent her career shadowing the paths taken by Fitzgerald and her contemporaries.
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