For Jazz lovers, absolutely nothing can compare to the joy of listening to a great vocalist who can transport you back in time while simultaneously delighting you “in the moment.” That’s the sensation that audiences and fans of Ella Fitzgerald are experiencing with Freda Payne’s “A Tribute to Ella Fitzgerald.”
Ms. Payne is one of the most beautiful and accomplished vocalists in the world. She started performing at an age when most girls would have been more comfortable giggling with girlfriends, and writing in their diaries. While some entertainment critics try and limit her vocal accomplishments to her chart topping hits “Band of Gold,” and “Bring the Boys Home,” the seeds of her talent began in Jazz when she was just 14 years old when working with “big bands”. She shared with me that her preparation and training began while learning and performing American standards and “songbook.” Imagine, if you will, the innate musical dexterity that she must have possessed at such a young age in order to hold her own with powerhouse musicians like Duke Ellington and Quincy Jones. Picture it. How phenomenal having such music masters as your teachers. Amazing! Of course, there were many more professional experiences that undoubtedly prepared her for the role that she would play as the executive producer and owner of the show. “A Tribute to Ella Fitzgerald,” showcases her commitment to the artistry of “Ella,” while leaving no doubt about her own superb talent. From August 6th through the 9th at the Iridium Jazz Club, http://www.iridiumjazzclub.com/ you can experience the performance that Freda Payne describes as her “work of love.”
In preparation for my interview with Ms. Payne, I visited her website. http://www.fredapayne.com. I was curious about the obvious physical differences between Ella and Freda, so I was anxious to delve into that aspect of the show. I took a brief detour to visit her photo gallery, but afterwards, I headed as they say, “to the video tape.” As soon as the video begins, the house lights are down low and the band is swinging in the background. Through the darkness you can hear the slick precision of scat encased in melody. As the lights come up, you realize that you have been carried away to another place and time. She walks onto the stage in a striking bejeweled red evening gown, dangling earrings and that classic “Ella” bouffant hairstyle. The delivery is spot on, down to her hand gestures and her quite unassuming manner. But one simply can’t pay homage to Ms. Fitzgerald without the vocal dynamics that made her an international Jazz star. This is where Freda Payne truly becomes “Ella.” For passionate fans of Ms. Fitzgerald, the transformation is complete, stunning and more than worth seeing. Freda Payne’s presentation and interpretation is a tour de force!
Freda met Ella briefly in the late 1960’s. In her own words, she was “shaken” because she felt a “spiritual connection” to the “First Lady of Song.” So I asked her if she had ever worked with the queen of scat, and when she first got the idea to produce the tribute. Though she never had the opportunity to work with Ella, Ms. Payne was friends with and knew people who had. The idea came to her in 1996 when the Los Angeles Times wrote their article regarding Ms. Fitzgerald’s death. Like so many Jazz artists and fans around the world, Ms. Payne revered Ella. Because she felt such a strong “spiritual connection” to the singer, she began the process of studying her work and gathering the research that she needed. She acquired a collection of material and video on Ms. Fitzgerald, watched documentaries, read articles and analyzed biographies. She had a vast catalog of music to choose from. Ella Fitzgerald was called “The First Lady of Song” for a reason. Some even consider her the “First Lady of Jazz.” During the process, Ms. Payne spoke with renowned Jazz vocalist Joe Williams http://music.barnesandnoble.com/search/product.asp?WRK=6890461. Mr. Williams, the distinguished and celebrated baritone was a very good friend of Ms. Fitzgerald. Ms. Payne said to him, “Joe, you worked with her. Tell me about her. Give me a tip.” Mr. Williams told her that in spirit, Ella was “really like a little girl.” The essence of Ms. Fitzgerald didn’t simply exist in the power of her voice. Ella’s innocence was as essential as her eloquence. You could hear it as she playfully teased the audience when she would “scat.” She made it look easy. Believe me, it is not. Ms. Payne successfully captures that innocence. And like Ella, she smoothly and decisively takes control of the music and makes the connection with the audience as she performs many of Ella’s greatest hits. From “A Tisket-A Tasket” to the Duke Ellington classic “It Don’t Mean a Thing,” Ms. Payne’s “off the charts” scatting and vocal gymnastics have been thrilling audiences since the tribute’s opening night. And where did the ability to transform herself into Ella Fitzgerald come from? The answer to that question was given to me during my interview with the multi- talented chanteuse.
Ms. Payne told me that she has always been a person of “different personalities and different personas.” She has shared those “personalities” with her fans over the years by performing on stage in musicals such as “Sophisticated Ladies,” and “Jelly’s Last Jam.” She’s made her mark in every aspect of the business including the big and small screens. She chooses projects that she can be excited about and that provide a high level of quality entertainment to the audience. I admire the fact that she has made the decision to not bend to the lowest common denominator. Her work with soul and jazz producer Preston Glass is a perfect example of how to keep it real while allowing yourself to grow. The CD “On the Inside,” http://www.rhapsody.com/freda-payne/on-the-inside speaks of love, not being caught up in the hype (whatever it is), and discovering that sexiness comes from within. My favorite song on the CD is the title track “On the Inside.” The lyrics are authentic, penetrating and honest. Her vocals are rich. Freda Payne easily traverses the imaginary lines of demarcation through R&B, and Jazz that tend to box artists in. Her music proves that artists are artists. Music is music. No “tags” are needed.
We talked about those lines and tags from the early days of her career when artists of color would be categorized as R&B singers no matter what their musical backgrounds were. She recalled talking with Bill Withers http://www.billwithersmusic.com/index1.cfm about being “tagged.” A good friend, the singer, songwriter and musician would often complain about being pigeon holed based upon ethnicity. He and Ms. Payne were just two of the many artists that had to fight the cultural stereotypes of the day. The opportunities afforded to their white contemporaries would often not be available to them, especially if they wanted to work in the top entertainment venues. If you were fortunate enough to be booked in those venues, your shows needed to be tailored to a wider audience. In 1961 when Ms. Payne opened at the famed Copacabana, she performed songs like “Stairway to Paradise,” and the Beatles tune, “Yesterday.” Her shows included Neil Diamond songs and other popular music from a variety of artists and composers. She told me however that “every opportunity she got” she would incorporate Jazz into her shows. Cabaret and middle of the road songs kept her performing. “Jazz was simply not lucrative,” she said. Unfortunately, Jazz still receives less airplay than the on-air time given to other genres. The technological progress that has allowed today’s artists to independently produce and distribute their work doesn’t erase some of the chapters of the past. A quick Google search of African American artists from that era will show that many who write about the history of music still label these artists as R&B performers, despite evidence to the contrary.
Today, Ms. Payne is celebrating the fruits of her musical journey. Clearly, she is enjoying herself, her work and her audiences. That is apparent in her music. Ms. Payne is bringing to life the remarkable songs and persona of “The First Lady of Song.” In doing so, audiences are learning why Freda Payne is by far, one of the premiere ladies of Jazz.
Part 2 of this article will highlight my night “in the house” on opening night at the Iridium and all of the happenings before, during and after the show! Stay tuned….
For tickets to “A Tribute to Ella Fitzgerald” at the Iridium:
http://www.iridiumjazzclub.com/talent.php?talent=98&month=8&year=2009&banner=37
More jazz from Freda Payne:
http://music.barnesandnoble.com/After-the-Lights-Go-Down-Low-and-Much-More/Freda-Payne/e/602498802748/
For more information on the life and music of Ella Fitzgerald:
http://www.ellafitzgerald.com/index.php?Itemid=28&id=12&option=com_content&task=view
For more of my articles as the NY Jazz Examiner:
http://www.examiner.com/x-15042-NY-Jazz-Music-Examiner~y2009m7d9-The-larry-ham-trioone-of-my-favorite-things
Comments
Nice article.
Rick (Swing and Big Band examiner)
dear Carole,
your article on me was lovely. Thanks for such detailed report.
best regards,
Freda
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