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In this Kennedy Center commission, two of today’s top vocalists explore how classical sounds intertwine with improvisational jazz in the music of Duke Ellington, blending European classical traditions with syncopated rhythms and African American work songs, blues, and spiritual music.

Jazz singing developed in the early twentieth century, largely pioneered by Louis Armstrong, who introduced improvisation and “scatting,” a singing style where nonsense syllables are used instead of words, and the voice is used much like a musical instrument. As record players became widespread among listeners, talented jazz singers gained popularity and became celebrities, including many female artists.

Louis Armstrong and Velma Middleton at the mic, RCA Victor studio session, 27 April 1946

Making a Song Your Own

Listen to the recordings of a particular jazz standard as performed by Ella Fitzgerald and Sarah Vaughan (such as “Embraceable You,” written by George Gershwin). How does each singer’s interpretation of the song differ? How are they similar?

Encouraged by her elementary school music teacher, Harolyn Blackwell began voice and piano lessons at age ten. Blackwell was trained in classical vocal performance and after graduating from college, the Washington, D.C. native began her Broadway career in Leonard Bernstein’s West Side Story. Her career soon changed directions when she was selected as a finalist for the Metropolitan Opera National Council Auditions and she began studying opera. Since then, Blackwell has appeared on concert stages around the world, performing with major national and international opera companies, including the Metropolitan Opera, Lyric Opera of Chicago, Teatro Colon de Buenes Aires, and Opera de Nice

Nnenna Freelon discovered her passion for music at age seven when she sang her first solo at church. Freelon was introduced to jazz music through her parents’ record collection, which included albums by Ella Fitzgerald and Sarah Vaughn. Freelon graduated from Simmons College in Boston with a degree in health care administration but it was not until much later in her life that she pursued a musical career. After raising three children and working in the health care industry, she decided to become a jazz singer and has since produced 11 albums which have earned her 5 Grammy Award® nominations. Freelon has performed and toured with such top jazz artists as Ray Charles, Ellis Marsalis, Aretha Franklin, Diana Krall, Clark Terry, Herbie Hancock, Terence Blanchard, and Ramsey Lewis.

Kennedy Center Education Digital Learning

Eric Friedman 
Director, Digital Learning

Kenny Neal 
Manager, Digital Education Resources

Tiffany A. Bryant 
Manager, Operations and Audience Engagement

JoDee Scissors 
Content Specialist, Digital Learning

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Generous support for educational programs at the Kennedy Center is provided by the U.S. Department of Education.

Gifts and grants to educational programs at the Kennedy Center are provided by The Paul M. Angell Family Foundation; Bank of America; Capital One; The Morris and Gwendolyn Cafritz Foundation; Carnegie Corporation of New York; The Ednah Root Foundation; Harman Family Foundation; William R. Kenan, Jr. Charitable Trust; the Kimsey Endowment; The Kiplinger Foundation; Laird Norton Family Foundation; Lois and Richard England Family Foundation; Dr. Gary Mather and Ms. Christina Co Mather; The Markow Totevy Foundation; Dr. Gerald and Paula McNichols Foundation; The Morningstar Foundation; Myra and Leura Younker Endowment Fund; The Irene Pollin Audience Development and Community Engagement Initiatives;

Prince Charitable Trusts; Dr. Deborah Rose and Dr. Jan A. J. Stolwijk; Rosemary Kennedy Education Fund; The Embassy of the United Arab Emirates; The Victory Foundation; The Volgenau Foundation; Volkswagen Group of America; Jackie Washington; GRoW @ Annenberg and Gregory Annenberg Weingarten and Family; Wells Fargo; and generous contributors to the Abe Fortas Memorial Fund and by a major gift to the fund from the late Carolyn E. Agger, widow of Abe Fortas. Additional support is provided by the National Committee for the Performing Arts..

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