{"id":3979,"date":"2014-01-01T22:21:10","date_gmt":"2014-01-01T22:21:10","guid":{"rendered":"http:\/\/jazzusa.com\/ethel-ennis\/"},"modified":"2011-01-01T22:21:10","modified_gmt":"2011-01-01T22:21:10","slug":"ethel-ennis","status":"publish","type":"post","link":"https:\/\/jazzusa.com\/?p=3979","title":{"rendered":"Ethel Ennis"},"content":{"rendered":"<p><b><font face=\"Verdana, Helvetica\" size=\"4\" color=\"Blue\">    <\/p>\n<p align=\"left\">Ethel  Ennis<\/p>\n<p><\/font><font face=\"Verdana, Helvetica\" color=\"Blue\" size=\"3\" style=\"font-face:verdana; font-size:12pt\">If Women Ruled The World<\/font><\/b><font face=\"Verdana, Helvetica\" size=\"2\" style=\"font-face:verdana; font-size:10pt\">    <\/p>\n<p align=\"left\">Ethel Ennis, the phenomenal Baltimore singer, who in the early years of  international stardom rejected the frantic demands of the road and what she perceived to  be the increasing in sincerity and superficiality of show business, nonetheless, boasts an  all-star performance resume equal to that of most legendary jazz singers.<\/p>\n<p align=\"JUSTIFY\">She performed in Europe with an all-star Benny Goodman band, \u00a0  jammed with Louis Armstrong and Count Basie, sung on national television with Duke  Ellington, Wynton Marsalis, McCoy Tyner, Stephane Grappelli, Ray Brown, Billy Taylor, Milt  Jackson, Toots Thielmans, Joe Williams, Phil Woods and Gerry Mulligan. Eventually decided  to use her native city as a home base and become a self-proclaimed &#8220;semi-star,&#8221;  occurring in selective international festivals and performances.<\/p>\n<p align=\"JUSTIFY\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/jazzusa.com\/storypix\/ethelennis.jpg\" alt=\"ethelennis.jpg (3478 bytes)\" align=\"right\" width=\"130\" height=\"133\"\/>Since she began singing as a high school pianist in  a professional jazz group, Ethel has left little musical terrain uncharted. She has  appeared at major music festivals, concert and club venues and on national broadcasting  programs in every decade since the 1950s. She continues to perform with the Great American  Music Ensemble on National Public Radio, at festivals and in the Kennedy Center in  Washington, where she has been called arguably &#8220;the most accomplished jazz singer  performing today.&#8221;<\/p>\n<p align=\"JUSTIFY\">According to her biography, <i>Ethel Ennis, <\/i>the <i>Reluctant Jazz  Singer, by <\/i>Sallie Kravetz (Gateway Press), Ms. Ennis set a precedent singing the  National Anthem solo a cappella at Richard Nixon&#8217;s re-inauguration, an approach to the  anthem which has since been copied many times. She performed at the White House during  both his and Jimmy Carter&#8217;s administrations.<\/p>\n<p align=\"JUSTIFY\">As Baltimore&#8217;s official ambassador she introduced American jazz at an  international music festival in Xiamen, China, where she sang a jazz version of a native  folk song in Chinese.. Ethel has also appeared four times in Rotterdam, another sister  city and represented the United States in Norway during the commemoration of the first  American soldier killed in World War II. Her Turkish concerts in 1996 at the Ankara  International Music Festival and for the Turkish-American Association &#8220;deeply  impressed the audiences with the magic of jazz.&#8221; She returned to Turkey for repeat  performances in the Spring of 1997.<\/p>\n<p align=\"JUSTIFY\">Ethel&#8217;s first national recording was made in 1955 for Jubilee Records.  Since that time, she has recorded 10 albums for Capitol, Atlantic, RCA and BASE. In 1997,  she signed a contract with Savoy Jazz Records. <b>If Women Ruled The World<\/b> is her  first effort for Savoy. <\/p>\n<p>      <\/font><center>      <?php require($DOCUMENT_ROOT . \"_footer.htm\");   ??><\/center><\/body><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Ethel Ennis If Women Ruled The World Ethel Ennis, the<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[],"tags":[],"class_list":["post-3979","post","type-post","status-publish","format-standard","hentry"],"_links":{"self":[{"href":"https:\/\/jazzusa.com\/index.php?rest_route=\/wp\/v2\/posts\/3979","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/jazzusa.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/jazzusa.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/jazzusa.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/jazzusa.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=3979"}],"version-history":[{"count":0,"href":"https:\/\/jazzusa.com\/index.php?rest_route=\/wp\/v2\/posts\/3979\/revisions"}],"wp:attachment":[{"href":"https:\/\/jazzusa.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=3979"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/jazzusa.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=3979"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/jazzusa.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=3979"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}