The Smallest Gestures

Total Page:16

File Type:pdf, Size:1020Kb

The Smallest Gestures THE SMALLEST GESTURES by Greg Molesky [email protected] 778.929.2739 INSERT TITLE CARD White on black, which reads: PART 1 LEO’S GARDEN FADE TO BLACK. FADE IN: EXT. LEO’S GARDEN - DAY A lovely fall morning. Crisp blue cloudless sky, light breeze swaying through the treetops, every tree a burst of glorious fall foliage. LEO (mid 80s) sits on a small wooden bench, gently tending the tomatoes in his suburban garden -- watering, pulling off dead leaves, using his fingers like a hoe, casually tilling the earth. He smiles, in his own personal heaven. CLOSE ON TOMATOES A mélange of colorful family heirlooms, various sizes and shapes, most ripe and ready for harvest. LEO picks the ready ones, carefully sets them into a small wicker basket, leaves the few remaining ones on the vine for further ripening. INT. LEO’S HOUSE Leo enters the kitchen, removes the tomatoes from the basket, carefully sets them down on the countertop. He starts his morning breakfast ritual -- two pieces of toast, small bowl of fruit, yogurt, cup of coffee -- then sits down at the living room table. His furniture, bric-a-brac, everything is elegant, newly dusted, in its proper place. He switches on his computer tablet, props the screen up, clicks to open the daily newspaper website. A pop-up ad quickly hijacks the article he’s reading. 2. AD MODEL GIRL (V.O.) Hi! How would you like to... LEO (dismissing window) No, I would not. A beat, then another bigger, louder ad quickly wipes across, fills the screen. AD MAN (V.O.) If you’re looking for a new truck, well today’s your lucky day! LEO (dismissing window) But not yours. He takes a sip of coffee, a bite of toast, gets a few lines of reading in, scrolls down the page. An even louder, more obnoxious ad appears -- a concert promotion for an underage girl in her underwear, gyrating onstage amidst a circus of half-naked dancers, gigantic video screens, mindless explosions. LEO Oh for Pete’s sake. He turns off the tablet with a great sigh, reaches over to the other side of the table, picks up a stationary pad, fine ink pen. He carefully sets up a fresh piece of paper, writes the date at the top of the page, begins: LEO “Dear Editor...” He takes a big sip of coffee, considers, continues. LEO “In this age of so-called high-tech gadgetry...” Suddenly, a DEAFENING BOOM! rocks the entire house, shakes his coffee cup, rattles the framed photographs on the fireplace mantelpiece, knocks one over completely. LEO What the?!... He rises, walks over to his front window. 3. LEO’S POV The house next door is being demolished by a gigantic Caterpillar excavator -- loud, beastly, belching thick black smoke. LEO sighs deeply, shakes his head in disgust, in dismay. MAIN CREDITS MONTAGE Over “AUTUMN LEAVES” by Stan Getz. Vintage photos of structurally intact, perfectly useful character homes circa 1940s, Interspersed with their modern day demolition, one after another wantonly destroyed, Followed by rapid time-lapse shots as they’re rebuilt and replaced with more modern, character-less designs. END MONTAGE FADE TO BLACK. INT. LEO’S HOUSE Leo’s granddaughter ANNA (early 30s) -- a dark-haired, dark-eyed beauty, and feisty fireball to boot -- enters, carrying a big bag of groceries. The sound of the demolition next door punctuates the scene throughout, a continual CRASHING and SMASHING of staccato bursts of metal-on-wood. ANNA (singsongy) Hell-o grandpa! Where are you? (louder) You know, your special coffee and chocolate are getting harder and harder to find anymore! She enters the kitchen, puts a large foil-covered glass tray in the fridge. ANNA Grandpa! Hell-o? Where are you? 4. INT. LEO’S BEDROOM Leo stands watching the demolition activity behind a half- drawn white lace curtain. LEO’S POV A CHINESE WOMAN (late 40s) exits her champagne colored Lexus SUV, stands on the sidewalk in front of the house, watches the demolition. Despite the luxury car and jewelry, her wardrobe leaves a lot to be desired -- a mish-mash of mismatched Mervyns sale rack mish-mashery. She regards the work for a long beat, snaps a few photos with her smartphone, then takes a selfie against the demolition backdrop, phone extended on a monopod. She turns suddenly, looks up toward Leo’s bedroom window, aware she’s being watched. LEO quickly moves away from the window, lets the curtain fall back into place. Anna is standing in the doorway. ANNA Grandpa! What the heck are you doing? Didn’t you hear me come in? LEO (startled) Huh? Anna! Oh, yeah, I mean no, I’m ready. I’m, I’m getting ready. How are you sweetie? He gives her a peck on the cheek as they embrace. ANNA Good, good. Let’s get going, I have to be back in the office by three. The LOUDEST BAM! so far, as a big part of the house next door collapses. ANNA (grimaces) Oof. I forgot that was today. Leo puts on a cashmere sweater, leather jacket. 5. LEO Don’t get me started. Why do they have to tear it down? There was nothing wrong with that house. ANNA Come on, I’m getting a friggin’ headache. Leo checks out his image in his full-length mirror, smooths down his whole dapper appearance from shoulders to knees. Anna adjusts his collar. ANNA Looking pretty darn good for eighty (cough-cough). LEO (teasing) That’s not what you’re wearing is it? She slaps at Leo playfully. Another loud BAM! They cover their ears, hasten their exit. LEO Let’s go before I have a heart attack. CUT TO: INT. ANNA’S CAR - DAY Anna drives, Leo in the passenger seat, holding several stamped envelopes. He looks out his window, at the passing construction, wearing a frown and a scowl. ANNA I’m thinking of a word... LEO Fakakta. ANNA Fa wha? LEO Fakakta. Means, too many condos. Roughly translated. ANNA Not even close. 6. LEO Hit me. ANNA Lasagna. As in, I made you a big lasagna. It’s in the fridge, bottom shelf. LEO You made lasagna? ANNA Well, technically, mom made it. But I wrapped it. Well, I helped wrap it. Well, actually, truth be told... LEO I keep forgetting you studied law for two years. ANNA Hey, I dropped out! LEO Can we stop at the post office please? Just the drive-through box is fine. ANNA No problem. What’s the gripes du jour? Leo gives her a hard glance, considers, then relents. LEO Fair enough. (shuffles through letters) Let’s see... well, for starters, there’s the movie theatre demolition... ANNA They’re tearing down The Hollywood? No! LEO No vote, no hearing, nothing. ANNA That’s where I had my first real second base kiss. LEO TMI. Then there’s gas leaf blowers... ANNA A grandpa classic! 7. LEO ... and, of course, housing and over- development. ANNA You still on that? LEO It’s important. Who are all these condos for anyway, huh? They’re half empty! Meanwhile, look at you, living in a shared house, tiny room, can barely afford your rent. Makes no sense. ANNA I like my housemates. We have a lot of fun together. Barbeques, beer parties... beer parties... LEO In my day, when people your age had a decent job, they could afford to buy a good starter house. A house wasn’t a... commodity. ANNA So what difference do letters to the editor make? Why don’t you just be more direct? LEO Direct like what? ANNA I don’t know, go to meetings at city hall or something. Stand up! Voice your opinion! LEO City hall. I’d sooner join the mafia. Less corrupt. ANNA I think you just like to see your names in print. That’s the real cause here. Leo smiles, busted. LEO Notice how I’m not arguing with you. ANNA And who are today’s writers? 8. Leo reads the return addresses, proudly. LEO Well first up, there’s the always hopeful Wilkins Micawber... followed by our good friend Harold Skimpole... and last, but not least, the illustrious Mister G. Oliver Fish. ANNA (genuinely amused) Oh my goodness grandpa gravy gracious! What am I going to do with you? Leo smiles, pats Anna’s knee lovingly. Leo stares out the window as they continue driving. The skyscraper building cranes and high-rise glass condos reflect off the windshield, onto his somber face. CUT TO: EXT. LOCAL HARDWARE STORE - DAY Leo and Anna walking in a quiet, older, tree-lined neighborhood. They arrive at the local mom-and-pop hardware store, but the front door is closed, locked. Anna reads the flyer in the front window: ANNA “Maryann passed away peacefully after a brief illness, with her family at her side. The family wishes to express their heartfelt thanks to everyone for all of your condolences, and for all of your friendship and kindness over the years.” LEO She was barely 65. ANNA That was quick. We were just here like three weeks ago. Leo regards the “FOR SALE” sign hanging in the bottom of the window, with a “SOLD” sticker over it. Next to that, an image of a condo tower “COMING SOON.” LEO (a grumble) Yeah. Too quick. 9. ANNA All things must pass, grandpa, all things must pass. This is small comfort for Leo. ANNA But I’ll always be here for you. I promise. Anna hugs Leo, wraps herself on his arm as they continue up the street.
Recommended publications
  • Guide to Ella Fitzgerald Papers
    Guide to Ella Fitzgerald Papers NMAH.AC.0584 Reuben Jackson and Wendy Shay 2015 Archives Center, National Museum of American History P.O. Box 37012 Suite 1100, MRC 601 Washington, D.C. 20013-7012 [email protected] http://americanhistory.si.edu/archives Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Arrangement..................................................................................................................... 3 Biographical / Historical.................................................................................................... 2 Scope and Contents........................................................................................................ 3 Names and Subjects ...................................................................................................... 4 Container Listing ............................................................................................................. 5 Series 1: Music Manuscripts and Sheet Music, 1919 - 1973................................... 5 Series 2: Photographs, 1939-1990........................................................................ 21 Series 3: Scripts, 1957-1981.................................................................................. 64 Series 4: Correspondence, 1960-1996.................................................................
    [Show full text]
  • IN WHATEVER WRECKAGE REMAINS by Maeve Kirk
    In whatever wreckage remains Item Type Thesis Authors Kirk, Maeve Download date 24/09/2021 15:50:49 Link to Item http://hdl.handle.net/11122/6617 IN WHATEVER WRECKAGE REMAINS By Maeve Kirk RECOMMENDED: Advisory Committee Chair Richard Carr, PhD Chair, Department of English --- ---^ APPROVED: ------ Todd Sherman, MFA IN WHATEVER WRECKAGE REMAINS A Thesis Presented to the Faculty of the University of Alaska Fairbanks in Partial Fulfilment of the Requirements for the degree of Masters of Fine Arts by Maeve Kirk, B.A. Fairbanks, Alaska May 2016 Abstract In Whatever Wreckage Remains is a collection of realistically styled short stories that examines both the danger and potential of change. These pieces are driven by the psychology of the men and woman roaming these pages, seeking to provide insight into the unique weight of their personal wreckage. From a woman craving motherhood who combs through forests searching for the unclaimed body of a runaway to a spitfire retiree’s struggle to accept her husband’s failing health, the individuals in these narratives are all navigating transitional spaces in their lives, often unwillingly. Along the way, they must balance the pressures of familial roles, romantic relationships, and personal histories while attempting to reshape their understanding of self. These stories explore the shifting landscape of identity, belonging, and the sometimes conflicting responsibilities we hold to others and to ourselves. v vi Dedication This manuscript is dedicated to my parents, who read me so many stories. vii viii
    [Show full text]
  • Instead Draws Upon a Much More Generic Sort of Free-Jazz Tenor
    1 Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. JON HENDRICKS NEA Jazz Master (1993) Interviewee: Jon Hendricks (September 16, 1921 - ) and, on August 18, his wife Judith Interviewer: James Zimmerman with recording engineer Ken Kimery Date: August 17-18, 1995 Repository: Archives Center, National Museum of American History, Smithsonian Institution Description: Transcript, 95 pp. Zimmerman: Today is August 17th. We’re in Washington, D.C., at the National Portrait Galley. Today we’re interviewing Mr. Jon Hendricks, composer, lyricist, playwright, singer: the poet laureate of jazz. Jon. Hendricks: Yes. Zimmerman: Would you give us your full name, the birth place, and share with us your familial history. Hendricks: My name is John – J-o-h-n – Carl Hendricks. I was born September 16th, 1921, in Newark, Ohio, the ninth child and the seventh son of Reverend and Mrs. Willie Hendricks. My father was a minister in the African Methodist Episcopal Church, the AME Church. Zimmerman: Who were your brothers and sisters? Hendricks: My brothers and sisters chronologically: Norman Stanley was the oldest. We call him Stanley. William Brooks, WB, was next. My sister, the oldest girl, Florence Hendricks – Florence Missouri Hendricks – whom we called Zuttie, for reasons I never For additional information contact the Archives Center at 202.633.3270 or [email protected] 2 really found out – was next. Then Charles Lancel Hendricks, who is surviving, came next. Stuart Devon Hendricks was next. Then my second sister, Vivian Christina Hendricks, was next. Then Edward Alan Hendricks came next.
    [Show full text]
  • Ella Fitzgerald Biography Mini-Unit
    Page 1 Ella Fitzgerald Biography Mini-Unit A Mini-Unit Study by Look! We’re Learning! ©2014 Look! We’re Learning! ©Look! We’re Learning! Page 2 This printable pack is an original creation from Look! We’re Learning! All rights are reserved. If you would like to share this pack with others, please do so by directing them to the post that features this pack. Please do not redistribute this printable pack via direct links or email. This pack makes use of several online images and includes the appropriate permissions. Special thanks to the following authors for their images: Lewin/Kaufman/Schwartz, Public Relations, Beverly Hills via Wikimedia Commons U.S. Library of Congress via Wikimedia Commons William P. Gottlieb Collection via Wikimedia Commons Hans Bernhard via Wikimedia Commons White House Photo Office via Wikimedia Commons ©Look! We’re Learning! Page 3 Ella Fitzgerald Biography Ella Fitzgerald was an American jazz singer who became famous during the 1930s and 1940s. She was born on April 25, 1917, in Newport News, Virginia to William and Temperance Fitzgerald. Shortly after Ella turned three, her mother and father separated and the family moved to Yonkers, New York. When Ella was six, her mother had another little girl named Frances. As a child, Ella loved to sing and, like many jazz and soul musicians, she gained most of her early musical experience at church. When Ella got older, she developed a love for dancing and frequented many of the famous Harlem jazz clubs of the 1920s, including the Savoy Ballroom and the Cotton Club.
    [Show full text]
  • Masteroppgave Ingrid Liland Blokkjustert
    Musical Analysis and Vocal Jazz Investigating Form in Ella Fitzgerald’s solo in “How High the Moon” (1960) Ingrid Husby Liland Master thesis in Musicology – Spring 2015 The Department of Musicology – University of Oslo © Ingrid Husby Liland 2015 Musical Analysis and Vocal Jazz Investigating Form in Ella Fitzgerald’s solo in “How High the Moon” (1960) Ingrid Husby Liland http://www.duo.uio.no/ Trykk: Reprosentralen, Universitetet i Oslo 2 Acknowledgements I extend sincere appreciation to my thesis adviser, Anne Danielsen, for her support and guidance and detailed feedback. I also extend gratitude to Asbjørn Eriksen, my secondary thesis adviser, for constructive feedback on my analysis. Thank you to Anne Hagen for proof reading my thesis and to Eivind Dale for helping me with the layout. Thank you to the Department of Musicology for five great years of education. I offer a special thanks to my mother, my aunt and my sister for necessary advice and support. Thanks to my colleagues for necessary reality checks during the past year. Finally, I need to mention the moral and practical support and the promise of a long, happy summer from, among others: Eivind, Kristin, Rachel and Trøyel. 3 4 Contents Acknowledgements...........................................................................................................3! Chapter515Introduction ....................................................................................................7! The5Structure5of5this5Thesis....................................................................................................9!
    [Show full text]
  • Celebrating Ella at 100 Lla Jane Fitzgerald Was Born on April 25, 1917 in Newport News, Her Last Concert at New York’S Carnegie Hall in 1991
    Volume 45 • Issue 7 July/August 2017 Journal of the New Jersey Jazz Society Dedicated to the performance, promotion and preservation of jazz. Ella Fitzgerald publicity portrait early 1950s. Photo: CTS Images. Celebrating Ella At 100 lla Jane Fitzgerald was born on April 25, 1917 in Newport News, her last concert at New York’s Carnegie Hall in 1991. She died EVirginia. Her mother, Tempi, worked as a domestic and she due to complications from diabetes in her Beverly Hills home never knew her father, William. She went on to become the on June 15, 1996. During this year’s centennial anniversary of her world’s most celebrated woman jazz singer. Her long and birth hundreds of tributes in her honor are taking place worldwide, illustrious musical career included 13 Grammys, numerous including a two-day “cELLAbration” at the Rutgers Institute of DownBeat Awards, the Kennedy Center Honors, the Presidential Jazz Studies in Newark on May 24–25. Jersey Jazz contributor Medal of Freedom, the National Medal of the Arts and many other Jim Gerard talked to several of the distinguished participants and honors — and more than 40 million albums sold. Ella performed his report on the IJS symposium and more begins on page 28. New JerseyJazzSociety in this issue: New Jersey JAzz socIety Prez Sez . 2 Bulletin Board . 2 NJJS Calendar . 3 Jazz Trivia . 4 Editor’s Pick/Deadlines/NJJS Info . 6 Prez sez Change of Address/Support NJJS/ Volunteer/Join NJJs . 49 By Mike Katz President, NJJS Crow’s Nest . 50 New/Renewed Members . 56 t our May Jazz Social at Shanghai Jazz, we presented with Dan Levinson’s Midsummer Night’s Jazz Party on storIes a band mad ae up of the winners of our 2017 New Monday, July 10 .
    [Show full text]
  • Ella Flagg Young: Portrait of a Leader Joan Karen Smith Iowa State University
    Iowa State University Capstones, Theses and Retrospective Theses and Dissertations Dissertations 1976 Ella Flagg Young: portrait of a leader Joan Karen Smith Iowa State University Follow this and additional works at: https://lib.dr.iastate.edu/rtd Part of the Other Education Commons, and the Other History Commons Recommended Citation Smith, Joan Karen, "Ella Flagg Young: portrait of a leader " (1976). Retrospective Theses and Dissertations. 5707. https://lib.dr.iastate.edu/rtd/5707 This Dissertation is brought to you for free and open access by the Iowa State University Capstones, Theses and Dissertations at Iowa State University Digital Repository. It has been accepted for inclusion in Retrospective Theses and Dissertations by an authorized administrator of Iowa State University Digital Repository. For more information, please contact [email protected]. INFORMATION TO USERS This material was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand markings or patterns which may appear on this reproduction. 1.The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round blnck mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image.
    [Show full text]
  • Santa Claus Got Stuck in the Chimney
    Santa Claus Got Stuck In The Chimney End-stopped Teodoro berating that typist syphon nourishingly and ingenerates devouringly. Undulate Salvatore deprives some redundancy after azoic Inigo schusses sparingly. Hamid remains adopted: she abuts her faders blares too invaluably? Describe his band conjure up the best artists are registered service marks of the man dressed in regards to! The chimney images directly to the widest possible experience was about to you content on your thoughts on. One morning drill was trying or look while my elf. Gemmy Santa Claus Ganster Gangsta Chain Parts only Vintage Gemmy 5 ft. Santa Got Stuck in its Chimney Kenn Nesbitt's Poetry4kids. It easy to and username will renew until one, stuck in the chimney santa claus got stuck up your feedback and profile that anyone came last year and find friends and so much on. Robinson himself and again sang the title song, which became her signature tune. Find santa stuck in high stock images in HD and millions of other royalty-free stock. You got time it was Santa Claus Santa and his big red toy bag came down from chimney plant was coming last camp of ancient night and he filled each. Baby was a master which resulted in a singer debbie harry, patch and absinthe blind bungee cords, patch uses cookies to home near his belly! When friends have a year. It was Christmas Eve when Santa got stuck up every chimney and this personalised book you found help Santa and save Christmas. Lena at the Sands, which earned her another Grammy nomination for Best Solo Vocal Performance, Female, and ordinary loss, this coach to Judy Garland, whose Judy at Carnegie Hall and won Album of opening Year.
    [Show full text]
  • TELL IT LIKE IT IS by Elzy Kolb March 2020 Issue Jazz Fans Should Be
    TELL IT LIKE IT IS By Elzy Kolb March 2020 issue Photo Credit: Eric Stephen Jacobs Jazz fans should be delighted to hear that vocalist Carol Sloane has an autobiography in the works. A 75-minute interview is too brief to provide more than just a tantalizing glimpse into her almost seven decades-long creative career and her encounters with the famous, the fabulous and the notorious. “I’ve been shuffling around this mortal coil for a long time,” notes the vivacious octogenarian, who made her pro singing debut at age 14 with a society dance band, gigs for which she earned $9 a night. The next decade involved a lot of dues paying, including an extended stint on the road with Larry Elgart’s orchestra, among other ensembles, punctuated by secretarial temping whenever singing opportunities slowed down. Jon Hendricks heard her perform as an opening act in Pittsburgh. He was impressed, and asked her to learn the Lambert, Hendricks and Ross book so she could sub for Annie Ross. “I did that a couple of times,” Carol recalls. “The first time was at Pep’s in Philadelphia. Duke Ellington’s ‘Cottontail’ was the first tune Jon called. I didn’t know all the words. That was my baptism of fire.” Another time, Carol was in the audience at the Village Vanguard during an LH&R performance, when Jon brought her up to sing a couple of tunes by herself. As she left the bandstand, Vanguard founder and owner Max Gordon offered her a two-week run opening for Oscar Peterson.
    [Show full text]
  • EITHER WAY - from Marilyn to Ella…
    ANNE DUCROS - EITHER WAY - from Marilyn to Ella… In 1955, year of the "Civil Rights Movement" led by Dr Martin Luther King in a very tense political climat, the Mocambo in Los Angeles is the place to be. Like all clubs at this time, no blacks and whites at the same place. Marilyn great fan of Ella decided otherwise. This is what Ella Fitzgerald said about it : “I owe Marilyn Monroe a real debt… 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 in a small jazz club again. She was an unusual woman - a little ahead of her times. And she didn’t know it.” With "EITHER WAY" and like a painter rendering his own reality, I give you a portrait in black and white and in my own way of these two American icons such as Ella and Marilyn. The “love letter” addressed to Ella Fitzgerald, with my previous album “Ella, my Dear...” was a version for full orchestra, magnificently arranged by Ivan Julien of Ella’s repertoire, my first and essential source of inspiration. Entirely re-orchestrated in jazz quartet idiom for EITHER WAY, the standards of Gershwin, Cole Porter, Johnny Mercer or Duke Ellington sound minimalist on this album in comparison to the previous one, with the exception of “But not for me” where I wanted a move, assisted by the mysterious, heartrending voice of Mamani, towards Africa.
    [Show full text]
  • Ella Fitzgerald 1944-1947
    Ella Fitzgerald: syllabic choice in scat singing and her timbral syllabic development between 1944 and 1947 By Justin Garrett Binek 2 It is common in jazz discourse to praise Ella Fitzgerald as the greatest vocal improviser in the music’s history – Ella in fact declared herself to be exactly that1 - and this is part of the commonly accepted vocal jazz historical narrative. Improvisational methods praise her ideas as “excellent models for students of vocal jazz”2 and “musically and verbally inventive, filled with the joy of her creativity… represent[ing] the essence and pinnacle of scat singing”3; critical commentaries praise her “perfect balance between a steam enginelike propulsion and an ethereal playfulness”4; and reference books mention Fitzgerald as an exemplar of scat singing in definitions of the term5, using phrases like “It is mostly closely associated by the general public with Ella Fitzgerald and her many imitators.”6 Ella’s influence on other singers is illuminated in Chip Deffaa’s profile from Jazz Veterans: A Portrait Gallery7, written shortly before her death in 1996: “No living singer is more respected by other singers.” Deffaa quotes – among others – Annie Ross (“Like Charlie Parker, Ella can think it and execute it.”8), Jon Hendricks (“Ella’s a one-in-a-lifetime.”9), Anita O’Day (“The first time I heard Ella, in 1937, I said, ‘That is the girl. 1 Friedwald, Jazz Singing: America’s Great Voices from Bessie Smith to Bebop and Beyond, 282. 2 Madura, Getting Started with Vocal Improvisation, 29. 3 Stoloff, Scat! Vocal Improvisation Techniques, 8.
    [Show full text]
  • Ella Fitzgerald from Wikipedia, the Free Encyclopedia
    Ella Fitzgerald From Wikipedia, the free encyclopedia Background information Birth name Ella Jane Fitzgerald Born April 25, 1917 Newport News, Virginia, United States Died June 15, 1996 (aged 79) Beverly Hills, California, United States Genres Swing, bebop, traditional pop, vocal jazz Occupation(s) Singer, actress Instruments Vocals Years active 1934–1993 Labels Capitol, Decca, Pablo, Reprise, Verve, Brunswick, HMV Website ellafitzgerald.com Ella Jane Fitzgerald (April 25, 1917 – June 15, 1996) was an American jazz singer often referred to as the First Lady of Song, Queen of Jazz, and Lady Ella. She was noted for her purity of tone, impeccable diction, phrasing and intonation, and a "horn-like" improvisational ability, particularly in her scat singing. After tumultuous teenage years, Fitzgerald found stability in musical success with performances on many stages in the Harlem area, including her rendition of the nursery rhyme "A-Tisket, A-Tasket" that helped boost her to fame. In 1942, Fitzgerald left the amateur performances behind, signed a deal with Decca Records, and started her solo career by redefining the art of scat singing. It was not until her manager, Norman Granz, built Verve Records based on her vocal abilities that she recorded some of her more widely noted works. Under this label, Fitzgerald focused more on singing than scatting, providing perhaps her most career-defining works in her interpretation of the Great American Songbook. While Fitzgerald appeared in movies and as guests on popular television shows in the second half of the twentieth century, her musical collaborations with Louis Armstrong, Duke Ellington, and Bill Kenny and the Ink Spots were some of her most notable acts outside of her solo career.
    [Show full text]