Ella Fitzgerald
Ella abraca Jobim

In 1981, Norman Granz, Ella Fitzgerald's producer and founder of the record label Pablo in 1973, as well as the man, in my opinion, who more than anyone promoted jazz worldwide, writes a note for the album "Ella abraca Jobim" where he expresses his personal love for this album which he considers to be "Fitzgerald's best, the most exciting and explosive." Unfortunately, the album did not have a strong impact. Ella Fitzgerald is still remembered today for her great interpretations of the Cole Porter songbook or especially of George and Ira Gershwin, but not for this perhaps lesser interpretation of Antonio Carlos Jobim's songbook. Maybe it's because in the '80s, music was changing. These were the years when Tom Waits completely changed direction, beginning to experiment with new stylistic forms (I recall the beautiful "Rain Dogs" of 1985). These were the years when Nina Simone's talent was recognized, when a new wave of pop (The Cars, Blondie, Ultravox, Culture Club, Tears for Fears, The Smiths, INXS, and more) made its way. These were the years when disco music consolidated, so-called "nights" closed, and jazz took another direction, becoming smooth-jazz, becoming funk, reaching the pinnacle of evolution with "fusion" (which some argue was created, perhaps unintentionally, by Miles Davis).

Without further digression, our Norman Granz, leveraging the ever-talented Lady Ella, produces "Ella abraca Jobim" with the presence of a great percussionist, Paulinho da Costa, and excellent musicians. The album comes out and presents a peculiarity: "Ella abraca Jobim" is not a strictly jazz album. Nor is it a bossa nova album. It is an album that could be defined as pop with jazz, bossa, funk nuances.
Thus, times have changed even for the great Norman Granz, a historical jazz producer (in the classical sense), who, with this album, mixes the samba school of Rio and Bahia with the American sounds of soul and funk. "Ella abraca Jobim", subjectively, is not entirely convincing. There are classics superbly interpreted like "Garota de Ipanema", where the musicians truly demonstrate their value, taking advantage of the prestigious voice of Ella Fitzgerald who, almost towards the end, engages in an enthralling scat. The reinterpretations of "Favela", "Wave", "Desafinado" are beautiful, and particularly evocative is the version of "Dindi" with Toots Thielemans on harmonica, pervasive, poignant, the true delight of the album. However, in my view, there are also many not entirely successful episodes like "Dreamer", "Agua de beber" which lacks a strong interpretation, "He's a carioca" which becomes funk for the occasion and is subject to an unfortunate reinterpretation, "One note samba" which becomes a beautiful version for piano bar and nightclub, adorned with a charming "Ella-esque" scat.

Ultimately, "Ella abraca Jobim" is a peculiar album, but it is certainly not the best of Granz's production. And it is an album where Ella, certainly, does not use her full vocal range. It is not a necessary album, but it is a product of the musical changes of the '80s and, for this reason alone, deserves a thoughtful listen.