In celebration of Ella Fitzgerald’s birthday on April 25, we asked our hosts and staff to recommend their favorite cuts by the legendary vocalist.
“They Can’t Take That Away from Me” from Ella and Louis
When I was in my twenties and living in Oakland Calif., I would play the same album almost every morning as part of my morning routine, Ella and Louis. I loved all the tracks, but my favorites were: “They Can't Take That Away From Me” and “Isn't This A Lovely Day.” The music of Ella and Louis was a big part of the soundtrack of those Oakland years for me. It's no accident that my daughter is named Ella after her. – Ondine Landa Abramson, Chief Development Officer
“Too Darn Hot” from Ella Fitzgerald Sings the Cole Porter Song Book
In 2011 I was a contestant in "The Stars of New York Dance," a charitable judged dance competition for New York City leaders who are paired with a dance company. We each picked the music for which our dance would be choreographed. I chose "Too Darn Hot" because one of the many things I loved about Ella Fitzgerald was how she swung a band and had so much fun doing it. – Sheila Anderson, Host, Jazz Overnight, Salon Sessions and Sunday Night Music Mix
“This Time the Dream’s On Me” from Ella Fitzgerald Sings the Harold Arlen Song Book
This song is played at the end of Harvey Fierstein’s 1998 film Torch Song Trilogy based on his famous play. As a young, gay kid with few role models in media, this film inspired me to be the man I am today and led the way for redefining gay images in media. It’s a romantic song and supports Arnold’s dream (the main character) for marriage and a family. Watching this was a truly a magical moment in my life and for about a decade, I would be sure to watch the movie once a year. – Carmen Balentine, Individual Giving Associate
“(We’ll Take) Manhattan” from Ella Fitzgerald Sings the Rodgers and Hart Song Book
Ella's version is the only version of this song that's sung with the sarcastic, "sassy" style intended by Rodgers & Hart. I love this song in general as a New Yorker of three decades, and I relate to it on several levels. First, the frugal attitude that the lyrics are about and having fun on a dime. Second, and more to the point of this song, is that the humor and irony of the lyrics are funny. Someone ought to rewrite it for today’s Manhattan. I also appreciate the nod to just enjoying what you have, enjoying the city you live in to the fullest regardless of your circumstances, and how it can be all the more fun with a person you really enjoy being with. – Carolyn Bednarski, Programming & Production Coordinator/On-Air Host
“These Foolish Things” from Ella in Rome: The Birthday Concert
Ironically in celebrating the 106th anniversary of the great Ella Fitzgerald, one of my favorite songs to hear her sing is from a birthday concert. Ella recorded “These Foolish Things” with Louis Armstrong in 1957, and again the year after, on her 41st birthday. The live version, recorded at the Teatro Sistina in Rome, is my absolute favorite. Backed by pianist Lou Levy, bassist Max Bennett and drummer Gus Johnson, Ella and company get inside of this tune in a distinctly beautiful way. While with most other versions, the singer goes straight into the verse, Ella sings the rarely sung intro, which is one of the prettiest elements of the tune. She is measured in her pacing, painting the song with all kinds of gorgeous harmonic choices and incomparable phrasing. Her treatment exhibits why, by this time, she was poised to become one of the greatest — if not the greatest — interpreters of American popular song. - Angélika Beener, Host, Milestones Podcast
“How High the Moon” from Ella in Berlin
When Ella sings “How High the Moon” from her seminal 1960 date Ella in Berlin, it is hard not to be overcome with joy. Drawing us near with her playful, wildly imaginative, and fast and furious scatting, we are reminded of Ella’s genius. You can’t help love her even more when she shows off her sweet and humorous side quoting “Stormy Weather” and “Smoke Gets In Your Eyes” and improvising her own lyrics singing, “Though the words may be wrong to this song…I guess these people wonder what I am singing...I guess I better quit while I’m ahead.” For a moment, you remember this vocal marvel is a mere mortal—but only for a moment. What Ella gifts us so effortlessly is pure superhero stuff. – Monifa Brown, Host, Saturday Evening Jazz
“Mack the Knife” from The Lost Berlin Tapes
Thank you, Jazz Night In America, for doing the job for me, although I will add that Sonny Rollins's version of this song on Saxophone Colossus a few years earlier is equally sublime. – Jonathan Chimene, Chief Financial Officer
“Duke’s Place” from Ella at Duke’s Place
Duke Ellington’s “C-Jam Blues” didn’t become “Duke’s Place” until Ella Fitzgerald stepped up to the mic and built it. Whether it’s from her and Duke’s last studio recording or any of several live versions, when she’s singing “Duke’s Place,” I know that it’s the place I want to be. – Brian Delp, Host, Drive Time
“’Round Midnight” from Ella Returns to Berlin
The Ella in Berlin: Mack the Knife album is one the most renowned recordings in jazz, and justifiably so. But thanks to Michael Bourne’s Singers Unlimited program on WBGO, I was introduced to its lesser discussed “sequel” album, Ella Returns to Berlin, which is no less divine. Among the highlights is this performance of “‘Round Midnight,” a master class in bringing a composition to life, as Fitzgerald imbues every phrase, every note with both graceful power and emotional delicacy. – Corey Goldberg, Traffic Director/Media Producer/Engineer
"What a Friend We Have in Jesus from Brighten Her Corner It's no secret that there are a myriad of jazz and pop singers who trace their musical roots to the church—myself included. The church provided Ella Fitzgerald with her earliest experiences in music. Raised in Yonkers, N.Y., she and her family were active members at Bethany African Methodist Episcopal Church, where they attended worship services, bible study and Sunday school. in 1967, Ella recorded Brighten the Corner, her debut album for Capitol Records. On it she performs 14 hymns, which included "What a Friend We Have In Jesus" and featured the Ralph Carmichael Singers. – Lezlie Harrison, Host, Come Sunday
“Dream a Little Dream of Me” from Ella and Louis
Makes me long for a smoky boite with a bottle of bourbon and a shot glass. – Harlan Jacobson, Reporter/Columnist
“Dream a Little Dream of Me” from Ella and Louis
My mother loved this song that features Ella with Louis Armstrong. – Oscar James, Facility Manager
“Too Marvelous for Words” from Ella Fitzgerald Sings the Johnny Mercer Song Book
I recommend “Too Marvelous for Words” or just about anything Ella and Basie did together. I had the good fortune to see Basie at Carnegie Hall in 1981, just a year or two before he died. I was a young'un. I couldn't get any friends to go and so I went myself. I sat in the box where it was being recorded for public television. Basie's guest stars were Joe Williams and Sarah Vaughan, as well as Tony Bennett and George Benson. By the end of the night people were dancing in the aisles. – Janice Kirkel, Anchor/Reporter
“A-Tisket, A-Tasket” from Chick Webb and His Orchestra
My Dad was from New Orleans and we’d listen to his 78’s. That was my favorite song. He was a huge Ella, Count Basie, and Louis Armstrong fan. – Adrienne McWilliams, Chief of Underwriting and Business Support
“Someone to Watch Over Me” from Ella Fitzgerald Sings the George and Ira Gershwin Song Book
Fans of Ella seem to fall into two camps. Those that love her scatting and her use of her voice as a musical instrument. And those who love her sing ing ballads straight without a lot of embellishment. I count myself in the latter group, because I have always loved those Song Book albums she did in the ‘50s with Norman Granz for Verve. Of those albums, the Gershwin set, with Nelson Riddle’s beautiful orchestration and Bernard Buffett’s cover art, is my favorite. Her languid version of this song showed her incredible range as well as her ability to sell a lyric, and it set a standard for vocalists for the ensuing decades. – Lee Mergner, Editorial Content Producer
“Stone Cold Dead in the Market” from Ella Fitzgerald: The War Years (1941-1947)
Who else could sing a calypso tune like she did about domestic violence? – Jennifer Poteet, Donor Services
“It’s Nice Work If You Can Get It” from Songs in a Mellow Mood
I especially loved Ella Fitzgerald's piano duo recordings. She did several of them and I love hearing her without all the other instruments. Her beautiful voice and exquisite phrasing shine through. My favorite recordings are the two she did with pianist Ellis Larkins, who worked well with vocalists including Chris Conner, Joe Williams, Helen Humes and Eartha Kitt. Larkins did only two piano duet albums with Ella—Ella Sings Gershwin from 1950 and 1954's Songs in a Mellow Mood. The song I like best is “It's Nice Work if You Can Get It.” It's a perfect performance. – Pat Prescott, Host, Favorite Things
"It's Only a Paper Moon" with the Delta Rhythm Boys from Ella Fitzgerald: The War Years (1941-1947)
My father used to play this for me. Simple, swinging, no large orchestra to compete with her youthful, hopeful, natural vibrato. – Leo Sidran, Host, The Third Story podcast
“A-Tisket, A-Tasket” from Ride Em Cowboy film
My favorite Ella singing memory is when my 11-year-old cousin Leonard, on a family visit to our house, sprang out of his father's car, demanding to see an Abbott & Costello movie that was currently airing. Not a fan, I reluctantly turned on the TV as Leonard also demanded that I watch the movie with him. What Leonard was really after was young Ella's cameo appearance in the movie [Ride Em Cowboy], as she sang a happy, rousing rendition of "A-Tisket, A-Tasket." Because of that childhood memory, that's my favorite Ella song. – Phyllis Slaten, Executive Assistant to the CEO
"How Long Has This Been Going On?" from Ella and Oscar
In 1975, nearly 20 years after the release of arguably the finest duets record of all-time Ella and Louis, Ella teamed up once more with the pianist from that session—Oscar Peterson. The record features both Ella and Oscar in a comfortable rhythm, showing their musical maturity and rapport across the Great American Songbook. The standout track from the album is their dynamic take on Gershwin's "How Long Has This Been Going On?" which ramps up from the pace of a wistful ballad to that of a stride romp. It's late-career Ella and Oscar at their absolute finest. – Trevor Smith, Producer, Jazz Night in America
“Take the A Train” from Ella in Hollywood
Ella's live version of "Take the A Train" will have you trying to catch the "A" train from anywhere in the world. – Nicole Sweeney, Host, Lights Out
“Imagine My Frustration” from Ella at Duke’s Place
The big band elements make your foot tap and Ella’s vocals transport you to the party where she is awaiting an invitation to dance. – Roslyn Turner, Membership Director
“Angel Eyes” from Let No Man Write My Epitaph film
Five weeks before I was born, in April 1960, Ella recorded a group of songs that would become the soundtrack for Let No Man Write My Epitaph, a movie in which she starred with Shelly Winters, Ricardo Montalban, Burl Ives and James Darren. It was Ella’s only real dramatic performance on film and as great as she was—and she was—the music was/is infinitely better, and her reading of “Angel Eyes” from the soundtrack is my all-time favorite version of the song. Why? Whenever I hear it, I think of my mother, who introduced me to this beautifully intense movie when I was 7 years old. Some might say that even today the film, with its realistic portrayal of crime violence and drug addiction, is too heavy for a child of single digits but I was deeply moved and thoroughly enjoyed it then as much as I do now, because of the performances and also because it represents the strong bond between me and my mom who, more than anyone, is responsible for my lifelong love of movies and music. – Steve Williams, President and CEO