25 Ella Fitzgerald Quotes on Singing, Perseverance, and the Joy of Music

Ella Jane Fitzgerald (1917–1996) was an American jazz singer often referred to as the "First Lady of Song" and the "Queen of Jazz." With a vocal range spanning three octaves, impeccable diction, and an unmatched ability to scat sing, she won 13 Grammy Awards and sold over 40 million albums. Few know that Fitzgerald was orphaned as a teenager and spent time homeless on the streets of Harlem, that she originally planned to be a dancer when she entered the Apollo Theater's amateur night in 1934 but switched to singing at the last moment out of stage fright, or that she struggled with severe stage fright throughout her entire career despite performing for presidents and royalty.

On November 21, 1934, the 17-year-old Fitzgerald took the stage at the Apollo Theater's Amateur Night, terrified and wearing men's boots because she had no proper shoes. She had planned to dance, but seeing the talented Edwards Sisters perform before her, she panicked and chose to sing instead. Her voice stunned the audience, and she won first prize. But it was her "Songbook" series in the late 1950s — meticulously recorded albums devoted to individual composers like Cole Porter, George Gershwin, and Duke Ellington — that elevated both her and the Great American Songbook to the highest level of artistic achievement. Ira Gershwin himself said, "I never knew how good our songs were until I heard Ella Fitzgerald sing them." Her humble philosophy, "Just don't give up trying to do what you really want to do," reflected the quiet determination of a woman who rose from homelessness to become the most celebrated jazz vocalist in history.

Ella Fitzgerald Quotes on the Joy of Music

Ella Fitzgerald quote: The only thing better than singing is more singing.

Ella Fitzgerald's pure, crystalline voice earned her the title "First Lady of Song" across a career that produced over two hundred albums and thirteen Grammy Awards. Born in Newport News, Virginia, in 1917, she was raised in Yonkers, New York, and endured a traumatic adolescence — after her mother's death in 1932 and abuse by her stepfather, she spent time in a reform school before becoming homeless on the streets of Harlem. Her life changed on November 21, 1934, when she won an amateur contest at the Apollo Theater, originally planning to dance but switching to singing at the last moment out of nervousness. Bandleader Chick Webb hired the shy seventeen-year-old, and her 1938 recording of "A-Tisket, A-Tasket" became a number-one hit that sold over a million copies. The joy in Fitzgerald's singing was hard-won — every luminous note carried the memory of a childhood spent in darkness.

"The only thing better than singing is more singing."

Quoted in Leonard Feather, The Encyclopedia of Jazz (1960)

"Music is the one thing that has been consistently there for me. It hasn't let me down."

Interview with Down Beat, 1972

"I sing like I feel."

BBC Television interview, 1971

"I stole everything I ever heard, but mostly I stole from the horns."

Quoted in Stuart Nicholson, Ella Fitzgerald: A Biography of the First Lady of Jazz (1993)

"Every time I sing, I find something new in a song. That's what keeps it alive."

Interview with Jazz Journal, 1965

"I just want to sing and make people happy."

Interview with Ms. magazine, 1972

"When the music starts, everything else just falls away."

Quoted in Nicholson, Ella Fitzgerald (1993)

Ella Fitzgerald Quotes on Perseverance and Overcoming Adversity

Ella Fitzgerald quote: Just don't give up trying to do what you really want to do. Where there is love

Fitzgerald's perseverance in the face of racial discrimination was as remarkable as her musical gifts. Despite being the most acclaimed vocalist in jazz, she was repeatedly denied access to hotels, restaurants, and performance venues because of her race throughout the 1940s and 1950s. Marilyn Monroe personally intervened in 1955 to get Fitzgerald booked at the Mocambo nightclub in Hollywood, reportedly calling the owner and promising to sit in the front row every night — the resulting engagement was a sensation and broke the club's color barrier. Fitzgerald's landmark Songbook series for Verve Records, produced by Norman Granz between 1956 and 1964, systematically documented the works of Cole Porter, Irving Berlin, Duke Ellington, George Gershwin, and other great American composers, preserving these standards in what many consider their definitive vocal interpretations. Her ability to transform rejection into artistic fuel demonstrated a resilience that matched her extraordinary talent.

"Just don't give up trying to do what you really want to do. Where there is love and inspiration, I don't think you can go wrong."

Quoted in Geoffrey Mark Fidelman, First Lady of Song: Ella Fitzgerald for the Record (1994)

"It isn't where you came from; it's where you're going that counts."

Quoted in Fidelman, First Lady of Song (1994)

"I knew from that moment that singing was the only thing I wanted to do. It was the only thing that made me feel like I belonged somewhere."

BBC Television interview, 1971

"I think I learned a lot from being on my own. You find out what you're really made of."

Interview with Jet magazine, 1961

"Some people said I couldn't do it. I just kept singing until they couldn't say that anymore."

Quoted in Fidelman, First Lady of Song (1994)

"You've got to learn the instrument, then you've got to practice, practice, practice. And then, when you get up on the bandstand, you forget all that and just wail."

Quoted in Nicholson, Ella Fitzgerald (1993)

"I've had my share of hard times, but I won't complain. Everybody has a story."

Quoted in Nicholson, Ella Fitzgerald (1993)

Ella Fitzgerald Quotes on Craft and the Art of Singing

Ella Fitzgerald quote: I always wanted my voice to be an instrument, to be able to do what the musician

Fitzgerald's scat singing technique was unrivaled — she could improvise vocal lines with the speed, precision, and inventiveness of a bebop horn player. Her legendary 1960 live recording in Berlin, where she forgot the lyrics to "Mack the Knife" and improvised an entirely new set of words on the spot, won the Grammy for Best Female Vocal Performance and became one of the most celebrated moments in jazz history. She studied the phrasing of horn players like Dizzy Gillespie and Charlie Parker, translating their instrumental innovations into vocal technique that expanded the possibilities of jazz singing. Her duets with Louis Armstrong, particularly their 1956 album "Ella and Louis" featuring the Oscar Peterson Trio, paired two of the greatest voices in American music in recordings of timeless warmth. Fitzgerald treated her voice as a precision instrument, maintaining strict vocal discipline throughout her career and rarely canceling performances despite grueling tour schedules.

"I always wanted my voice to be an instrument, to be able to do what the musicians around me were doing."

Interview with Down Beat, 1960

"You have to respect a song. The songwriter put his heart into it, and you have to honor that."

Quoted in Nicholson, Ella Fitzgerald (1993)

"I'm not a jazz singer. I'm not a pop singer. I'm just a singer. I sing everything."

Interview with Jazz Journal, 1965

"Scat singing is like talking in a language that everybody understands but nobody speaks."

Interview with Down Beat, 1972

"A good lyric is a good lyric, and a good melody is a good melody. Time doesn't change that."

Quoted in Fidelman, First Lady of Song (1994)

"The arrangers and the musicians are the ones who really make it work. I'm just the one who stands in front."

Quoted in Nicholson, Ella Fitzgerald (1993)

Ella Fitzgerald Quotes on Humility and Connecting with Audiences

Ella Fitzgerald quote: I get so nervous before a show. I've been doing this for years and years, and I

Despite her towering achievements, Fitzgerald was famously shy and suffered from stage fright throughout her entire career. She once confessed that she got nervous before every single performance, even after decades of standing ovations and critical acclaim. This vulnerability, far from being a weakness, gave her singing a human warmth that connected with audiences on a deeply personal level — listeners could hear both the supreme artist and the frightened girl from Yonkers in every phrase. Her later years were marked by health challenges, including diabetes that led to the amputation of both legs below the knee in 1993, but she continued performing into the early 1990s with undiminished artistry. When she died on June 15, 1996, at age seventy-nine, she had sold over forty million albums and left behind a recorded legacy that remains the gold standard for vocal jazz performance.

"I get so nervous before a show. I've been doing this for years and years, and I still feel like it's my first time."

BBC Television interview, 1971

"I always thought my voice was nothing special. I still think there are better singers out there."

Quoted in Nicholson, Ella Fitzgerald (1993)

"When the audience is happy, that's my reward. I don't need anything else."

Interview with Ms. magazine, 1972

"I was a shy girl who grew up to be a shy woman. Singing is the only time I ever felt brave."

Interview with Down Beat, 1972

"I'm supposed to be this great singer, but I still wonder sometimes if people really like what they hear."

Quoted in Fidelman, First Lady of Song (1994)

Key Achievements and Episodes

From Homeless Teenager to Amateur Night Winner at the Apollo

Ella Jane Fitzgerald grew up in Yonkers, New York, but after her mother died in a car accident in 1932 and her stepfather became abusive, the 15-year-old became homeless, living on the streets of Harlem and working as a lookout for a numbers-running operation. On November 21, 1934, at age 17, she entered an amateur contest at the Apollo Theater in Harlem, originally planning to dance. But when she saw the Edwards Sisters perform before her, she lost her nerve and decided to sing instead. Her rendition of "Judy" by Hoagy Carmichael won first place and caught the attention of bandleader Chick Webb, who hired her for his orchestra. Within three years, her recording of "A-Tisket, A-Tasket" in 1938 became a number-one hit.

The Songbook Albums That Preserved the Great American Songbook

Between 1956 and 1964, Ella Fitzgerald recorded a series of eight "Songbook" albums for Verve Records, each dedicated to the works of a single great American composer: Cole Porter, Rodgers and Hart, Duke Ellington, Irving Berlin, George and Ira Gershwin, Harold Arlen, Jerome Kern, and Johnny Mercer. The series comprised 251 songs across multiple volumes and is regarded as one of the greatest achievements in recorded music. Producer Norman Granz conceived the project specifically to elevate Fitzgerald's status from a mere "jazz singer" to an interpreter of the finest popular music. The Songbooks not only cemented Fitzgerald's legacy but also preserved these compositions for future generations.

Scat Singing and the Night She Forgot the Lyrics

Ella Fitzgerald's scat singing — improvising wordless vocal lines that mimicked the speed and complexity of instrumental solos — was among the most virtuosic in jazz history. According to legend, her scat singing originated partly out of necessity: during a 1938 performance, she forgot the lyrics to a song and began improvising syllables in their place, discovering a talent that would become her trademark. Her 1960 concert recording "Ella in Berlin: Mack the Knife," in which she famously forgot the words and improvised hilariously for several minutes, won the Grammy Award for Best Female Vocal Performance and is considered one of the greatest live recordings in jazz.

Frequently Asked Questions about Ella Fitzgerald Quotes

What did Ella Fitzgerald say about singing and perseverance?

Ella Fitzgerald's philosophy was rooted in joy, hard work, and supernatural musical intuition. Born in Newport News, Virginia, in 1917, she was orphaned and homeless as a teenager before winning a talent contest at the Apollo Theater in 1934 at seventeen. She prioritized purity of tone, perfect intonation, and rhythmic precision combined with improvisational genius. She suffered from stage fright throughout her career, describing nerves as a sign she still cared. She recorded over 200 albums and performed approximately 200 concerts per year into her seventies.

How did Ella Fitzgerald's Songbook albums change American music?

Her Songbook albums for Verve Records (1956-1964) are among the greatest recording achievements in American music. Each was devoted to a single composer — Cole Porter, the Gershwins, Duke Ellington, Irving Berlin — and her interpretations became the standard for all subsequent performances. The project elevated the Great American Songbook to national cultural treasure status. Before these recordings, many songs were considered ephemeral pop; Fitzgerald revealed their sophistication and emotional depth, ensuring their preservation as art.

What was Ella Fitzgerald's impact on jazz and vocal music?

Fitzgerald's impact earned her the title "First Lady of Song." Her technical abilities were unparalleled: a three-octave range, flawless pitch, and the ability to scat improvise with instrumental fluency. Her 1947 "How High the Moon" established scat singing as legitimate art. She won thirteen Grammy Awards and was the first African American woman to win a Grammy. Ira Gershwin said he never fully understood his brother's songs until he heard Fitzgerald sing them.

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