Movies/TV
A Momentous Jazz Tribute
By Esther Iverem--SeeingBlack.com Editor and Film Critic
Jun 7, 2007, 02:25

“We Love Ella!—A Tribute to the First Lady of Song” (June 6, 9 p.m., PBS) is a rare and precious show that honors singer extraordinaire Ella Fitzgerald, jazz and the particular journey of jazz musicians. An amazing array of artists, including Stevie Wonder, Nancy Wilson, Liz Wright and George Duke, turn in moving performances that evoke the songs and varied singing styles of Fitzgerald, who sold more than 40 million albums and won 13 Grammy Awards before her death in 1996.

Natalie Cole serves as host for this episode of the “Great Performances” series and as music ambassador, just as her famous father once did. She sings a few songs and comes across with the most energy on “A Tisket, a Tasket.”

Similarly, Quincy Jones, who bridged the music and era of Fitzgerald with today’s hip hop on his groundbreaking Back on the Block album, appears as arguably the most qualified to convey the sweep and importance of Fitzgerald’s career. He says that, after World War II, Dizzy Gillespie’s band was THE band to play with and that Ella did just that. A video montage shows a young, girlish Ella performing with Gillespie, then later singing with Duke Ellington, and then, later still, with Count Basie. “Ella wasn’t a Black singer,” Jones tells the audience. “She wasn’t a girl singer. She was just THE singer. Everyone thought she was the best.”

Some care seems to have been taken to present diversity in the music community, and to particularly present female artists. Wynona Judd turns in a surprising jazzy rendition of “Ain’t Misbehavin.” Patti Austin bubbles over with “How High the Moon.” Lizz Wright shines in her delivery of “Lullaby a Birdland” and Nancy Wilson soars through “Someone to Watch Over Me.”

One of the most exciting and surprising performances is turned in by Stevie Wonder, who reminds us of the links between Ella’s scatting and his rhythm and blue improvisations. At the other end of Fitzgerald’s style, which included orchestral arrangements, is the premiere of an arrangement of “Cry Me a River” created for her in 1975 but never released. As the USC orchestra plays live, we seem to hear her voice superimposed digitally along with the music.

While there are a few rough musical moments in the show, overall it shines. A special treat is one of the few performances of straight-ahead jazz to make its way to a national broadcast this year. Veteran saxophonist James Moody joins an ensemble that also includes George Duke on piano and John Faddis on trumpet. Their chemistry and swing is infectious in this fine tribute to the first lady of song.



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