Ricochet is the best place on the internet to discuss the issues of the day, either through commenting on posts or writing your own for our active and dynamic community in a fully moderated environment. In addition, the Ricochet Audio Network offers over 50 original podcasts with new episodes released every day.
My post yesterday was to say something worthwhile about Ella on her centenary. I tried to show her moderating effect on Cole Porter’s music. Let me summarize my remarks without repetition: Ella has power, but she has sweetness as well, and no one ever got a heart attack from her music. Her phrasing and diction have the wonderful power of removing from Porter’s wit his least attractive characteristic, his fickleness. Her command of the music allows the wit to shine but removes most of the sting. Her mood is not as ironic as his; instead, there is something better even than his self-deprecatory humor about his fickle love — she can console even as she pleases. This is a rare achievement and there is little more that I can do than signal it.
I will return to my theme, and give it a name. Ella Americanized Porter. I have joked here before that my contemplated book on Porter has a title already — Love We’d Prefer Immoral — and I will write about Cole Porter again. But Ella is the exception to that attitude. I want to talk to you again about her moderating effect as a singer, but in a surprising way: Not by a soft lyrical attitude, as before — but by jazz. I’ll talk to you about a number with much more swing to it, “It’s All Right with Me.”