While some critics complained that her style and voice lacked the depth of some her more bluesy counterparts, her success and the respect she garnered from the biggest names in the music industry showed that Fitzgerald was in a class all her own. Mel Torme described her as "the High Priestess of Song" and Pearl Bailey called her "the greatest singer of them all," according to Fitzgerald's official website. And Bing Crosby once said, "Man, woman or child, Ella is the greatest of them all."
Since her passing, Fitzgerald has been honored and remembered in so many ways. The United States Postal Service honored the late singer with an Ella Fitzgerald commemorative stamp celebrating the 90th anniversary of her birth. That same year, the tribute album We All Ella featured such artists as Gladys Knight, Etta James and Queen Latifah performing some of Fitzgerald's classic songs.
On the touring circuit it was well-known that Ella's manager felt very strongly about civil rights and required equal treatment for his musicians, regardless of their color. Norman refused to accept any type of discrimination at hotels, restaurants or concert halls, even when they traveled to the Deep South.
Once, while in Dallas touring for the Philharmonic, a police squad irritated by Norman's principles barged backstage to hassle the performers. They came into Ella's dressing room, where band members Dizzy Gillespie and Illinois Jacquet were shooting dice, and arrested everyone.
"They took us down," Ella later recalled, "and then when we got there, they had the nerve to ask for an autograph."
Norman wasn't the only one willing to stand up for Ella. She received support from numerous celebrity fans, including a zealous Marilyn Monroe.
"I owe Marilyn Monroe a real debt," Ella later said. "It was because of her that I played the Mocambo, a very popular nightclub in the '50s. She personally called the owner of the Mocambo, and told him she wanted me booked immediately, and if he would do it, she would take a front table every night. She told him - and it was true, due to Marilyn's superstar status - that the press would go wild. The owner said yes, and Marilyn was there, front table, every night. The press went overboard. After that, I never had to play a small jazz club again. She was an unusual woman - a little ahead of her times. And she didn't know it."
Fitzgerald, Ella, 1917-96, American jazz singer, b. Newport News, Va. Probably the most celebrated jazz vocalist of her generation, Fitzgerald was reared in Yonkers, N.Y., moving after her mother's death (1932) to Harlem, where two years later she won an amateur contest at the Apollo Theater. Thereafter she performed with Chick Webb's band. After he died in 1939 she managed the band herself until 1942, when she began to make solo appearances in supper clubs and theaters. Principally a jazz and blues singer of remarkably sweet and effortless style, Fitzgerald was noted for her sophisticated interpretation of songs by George Gershwin and Cole Porter and for her scat singing, an extremely inventive form of vocal jazz improvisation.
Fitzgerald, whose superb voice, wide repertoire, and accessible singing style appealed to both jazz and pop audiences, scored her first recording hit with "A-Tisket A-Tasket" (1938) and went on to become a perennially popular artist with such performances as the million-selling "I'm Making Believe" (1944, with the Ink Spots), the historic scat "Flying Home" (1945), the be-bop "Lady Be Good" (1947), and many hundreds more. She also wrote a number of songs and made numerous concert tours of the United States, Europe, and Asia. She appeared in several films, including Pete Kelly's Blues (1955) and St. Louis Blues (1958). Despite ill health, Fitzgerald continued performing into the early 1990s.
From the album 'The Cole Porter Songbook', Vol. 1 (Original Release 1956; rerelease 1990)