Ella Fitzgerald
b. 25 April 1917, Newport News, Virginia, USA. Following the death of her father, Fitzgerald was taken to New York City by her mother. At school she sang with a glee club and showed early promise, but preferred dancing to singing. Even so, chronic shyness militated against her chances of succeeding as an entertainer. Nevertheless, she entered a talent contest as a dancer, but last minute nerves forced her to either just stand there or sing. She sang. Her unexpected success prompted her to try other talent contests and she began to win often enough to keep trying. Eventually, she reached the top end of the talent show circuit, singing at the Harlem Opera House where she was heard by several important people. In later years many claimed to have ‘discovered’ her, but among those most likely to have had a hand in trying to establish her as a professional singer with the Fletcher Henderson band were Benny Carter and Charles Linton. These early efforts were unsuccessful, however, and she continued her round of the talent shows. An appearance at Harlem's Apollo Theater, where she won, was the most important stepping stone in her life. She was heard by Linton, who sang with the Chick Webb band at the Savoy Ballroom. Webb took her on, at first paying her out of his own pocket, and for the fringe audience she quickly became the band's main attraction. She recorded extensively with Webb, with a small group led by Teddy Wilson, with the Ink Spots and others, and even recorded with Benny Goodman. Her hits with Webb included Sing Me A Swing Song, Oh, Yes, Take Another Guess, The Dipsy Doodle, If Dreams Come True, A-Tisket, A-Tasket, (a song on which she collaborated on the lyric), F.D.R. Jones and Undecided. After Webb's death in 1939 she became the nominal leader of the band, a position she retained until 1942. Fitzgerald then began her solo career, recording numerous popular songs, sometimes teaming up with other artists, and in the late '40s signing with Norman Granz. It was Granz's masterly and astute control of her career that helped to establish her as one of America's leading jazz singers. She was certainly the most popular jazz singer with non-jazz audiences, and through judicious choice of repertoire, became the foremost female interpreter of the Great American Popular Song Book. With Granz she worked on the ‘songbook’ series, placing on record definitive performances of the work of America's leading songwriters, and she also toured extensively as part of his Jazz At The Philharmonic package. 
Ella has a wide vocal range, but her voice retained a youthful, light vibrancy throughout the greater part of her career, bringing a fresh and appealing quality to most of her material especially ‘scat’ singing. However, it proved less suited to the blues, a genre which, for the most part, she wisely avoided. Indeed, in her early work the most apparent musical influence is Connee Boswell. As a jazz singer, Fitzgerald performed with elegantly swinging virtuosity and her work with accompanists such as Ray Brown, to whom she was married for a while (they have an adopted son, Ray Brown Jnr, a drummer), Joe Pass and Tommy Flanagan was always immaculately conceived. However, her recordings with Louis Armstrong reveal the marked difference between her conception and that of a singer for whom the material was always of secondary importance to the improvisation he could weave upon it. For all the enviably high quality of her jazz work, it is as a singer of superior popular songs that Fitzgerald's importance and influence is most profound. Her respect for her material, beautifully displayed in the ‘songbook’ series, helped her to establish and retain her place as the finest vocalist of her chosen area of music. Due largely to deteriorating health, by the mid-'80s Fitzgerald's career was at a virtual standstill, although a 1990 appearance in the UK was well-received by an ecstatic audience. Her most obvious counterpart among male singers is Frank Sinatra and, as the careers of both these artists draw to a close, questions inevitably arise about the fate of the great popular songs of the '30s and '40s. While there are numerous excellent interpreters still around in the early '90s, and many whose work has been strongly influenced by Fitzgerald, it is hard to see any single singer who can take her place emerging in the foreseeable future. This is not a view conceived out of blinkered nostalgia but rather an acute awareness that the conditions which helped to create America's First Lady of Song no longer exist. It seems highly unlikely, therefore, that we shall ever see or hear her like again. 
Further reading: Ella Fitzgerald—A Life Through Jazz, Jim Haskins. Ella Fitzgerald, Stuart Nicholson.