Free PDF A Biographical Guide to the Great Jazz and Pop Singers, by Will Friedwald
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A Biographical Guide to the Great Jazz and Pop Singers, by Will Friedwald
Free PDF A Biographical Guide to the Great Jazz and Pop Singers, by Will Friedwald
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From Publishers Weekly
Starred Review. In this passionately opinionated encyclopedia of the old-school virtuosos of the American songbook, music writer Friedwald (Sinatra!) celebrates 200-odd performers of jazz and pop standards, from the mid-20th-century titans--Louis Armstrong, Bing Crosby, Ella Fitzgerald, Frank Sinatra--to latter-day acolytes like Diana Krall and Harry Connick Jr., with a raft of unjustly obscure singers in between. (Forget the Andrews Sisters--get a load of the Boswell Sisters!) Friedwald is all about the music; he primly shies away from his subjects' scandal-prone personal lives, but accords each a substantial career retrospective, selected discography and wonderfully pithy interpretive essay. His tastes are wide-ranging and idiosyncratic: he plumbs the artistry of Jimmy Durante's and Shirley Temple's novelty voices, decries the bombastic narcissism of "sacred monster" Barbra Streisand--"I remain completely unconvinced that she's a person who needs people"--and considers perky Doris Day's pop gems "the most erotic vocalizing you'll ever hear." However unconventional, his judgments are usually spot-on, as in his compelling reassessment of Elvis as the last great Crosbyesque crooner. Friedwald's exuberant medley is that rarest of things: music criticism that actually makes you sit up and listen. (Nov. 2) (c) Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
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“Top Five Books of the Year 2010: Friedwald chronicles the Great American Songbook, its creators, and its interpreters—a body of work that stands at the apogee of this nation’s civilization. Quirky, opinionated, shaped by exquisite taste and judgment, this feat of musical and cultural criticism offers an exuberant glimpse into the American character.”—Benjamin Schwarz, The Atlantic“A perfect holiday gift . . . An authoritative, comprehensive and oft-amusing guidebook that leads readers through the lives and recordings of hundreds of singers, from Louis Armstrong to Hank Williams.”—The Wall Street Journal “Incisive and useful . . . In this mammoth volume, jazz critic Will Friedwald does for jazz and pop vocalists what David Thomson has done so brilliantly in his New Biographical Dictionary of Film. . . . The author also acts as a consumer guide, steering the reader toward particular songs or albums. . . . Vastly entertaining.”—Dennis Drabelle, The Washington Post “In this passionately opinionated encyclopedia of the old-school virtuosos of the American songbook, music writer Friedwald celebrates 200-odd performers of jazz and pop standards, from the mid-20th-century titans to latter-day acolytes, with a raft of unjustly obscure singers in between. . . . [Friedwald] accords each a substantial career retrospective, selected discography and wonderfully pithy interpretive essay. His tastes are wide-ranging and idiosyncratic . . . However unconventional, his judgments are usually spot-on . . . Friedwald’s exuberant medley is that rarest of things: music criticism that actually makes you sit up and listen.”—Publishers Weekly (starred review) “A fun reference book to dive into, get lost in—and use to add more songs and singers to your collection. . . . When it comes to the Great American Songbook, Will Friedwald is the keeper of the flame. He’s written some of the best books on popular song of the past quarter-century, from his engaging Jazz Singing to . . . his Sinatra! The Song is You [which] is one of the best studies of a singer’s craft ever written. With A Biographical Guide to the Great Jazz and Pop Singers, Friedwald gave himself a daunting task: put together essays on every singer he can who made a career singing those great songs. ‘Every’ is a lot, but Friedwald doesn’t miss too many, from the early 20th century to the cabaret singers of the post-swing revival. The essays—more than 200 in all, including pieces on multiple artists—are part biography, part career overview, focusing on the singers’ highs and lows while tossing in bits of fun trivia.”—Chris Foran, Milwaukee Journal Sentinel “I think Will Friedwald’s Biographical Guide to the Great Jazz and Pop Singers will be of real interest to anyone who cares about the music.”—Hugh Hefner, editor-in-chief of Playboy “If there were such a volume as the Great American Songbook, this book should be right next to it on your shelf. It is truly the definitive work on those who sing and swing those songs.”—Alan Bergman, Grammy and Academy Award–winning songwriter“Will Friedwald has created an instant classic reference tome with his Biographical Guide to the Great Jazz and Pop Singers, the wealth of information and the breadth of knowledge being quite staggering. It is written without academic posturing but with wit and warmth and accessibility, covering in fascinating detail the careers of everyone from Jolson and Sinatra, of course, to Lee Wiley, Noel Coward and Marlene Dietrich; from Armstrong to Doris Day, and everyone in between. It will surely be considered an essential text.”—Peter Bogdanovich“This extensive work is essential and comprehensive. In opinionated, sometimes witty essays, Friedwald sorts out the lives and careers of more than three hundred singers, some of the greatest vocalists of the twentieth century including such giants as Ella Fitzgerald, Bing Crosby, Frank Sinatra, and Bessie Smith. There are also dozens of unexpected inclusions. For example, Martha Raye merits almost seven pages and her entry helps dusts off her historical reputation as not just a zany character but rather an incredibly gifted and complex artist. . . . Friedwald spent ten years researching this magisterial reference book and it is certain to delight and inform anyone with a passion for the iconic music of America.”—Larry Cox, Tucson Citizen Stardust Melodies“The closest thing we have to a standard text on American pop from the first half of the twentieth century . . . Friedwald is a deeply attentive and emotionally attuned listener. His descriptions of performances are so precise and detailed that Stardust Melodies could serve as a primer for how to listen to prerock music.”—The New York Times Book Review “Excellent . . . [With] good humor and lively anecdotes, Friedwald brings an open mind to the kaleidoscope of musical stylings that these songs have been treated (or subjected) to.”—The Wall Street Journal “Friedwald’s writing, both erudite and funny, complements the standards he so clearly loves, like a melody set to the perfect lyric.”—Entertainment Weekly, “A” “Informative and witty . . . So full of good stuff that I kept being distracted and forgetting what I was looking for.”—Chicago Tribune Sinatra! The Song Is You“The most important book published about Frank Sinatra to date.”—The New York Times Book Review “Indispensable . . . A man with unexcelled knowledge of American popular song, Friedwald looks intensively at [Sinatra’s] career . . . Sinatra! hits a welcome high note . . . Excellent.”—Cleveland Plain Dealer “Blithe, respectful, snappy, and smart, Friedwald catches the creative fire of the singer . . . This is the best book ever written about Sinatra’s deepest secret: his craft.”—Time
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Product details
Hardcover: 832 pages
Publisher: Pantheon; 1St Edition edition (November 2, 2010)
Language: English
ISBN-10: 0375421491
ISBN-13: 978-0375421495
Product Dimensions:
7 x 1.8 x 9.5 inches
Shipping Weight: 2.8 pounds (View shipping rates and policies)
Average Customer Review:
4.2 out of 5 stars
29 customer reviews
Amazon Best Sellers Rank:
#259,671 in Books (See Top 100 in Books)
You might not agree with the author's favorite picks, but his knowledge on the subject of jazz/pop singers is monumental. Don't think there's a better qualified individual to write such a book. I grew up in the 70s, was a fan of punk, and later on alternative music. This wonderful book sure is helping me explore the jazz and pop singers from before my time. It's about all I care to listen to anymore! Julie London, Frank Sinatra, Dinah Washington, Sarah Vaughn, Dean Martin, etc. They're all here. This book's a keeper. I'll be getting much use out of this book for years to come. It belongs in every music library!I read a couple hundred books every year. If not more than that. This book is my favorite from 2010. It's a masterpiece.
I stumbled on this at Border's in 2011 and have since ordered copies from Amazon for friends. I cannot imagine what a talent it took to piece this together over the ten years of research the author put into it! In here you will find details on the personal lives and careers of dozens of singers whose names were household words in my youth (and still are today, in most instances). This is not just a biographical rehashing of these individuals; no, this author is not afraid to give in-depth, lengthy analyses of each singer's style of putting over a song, tying and relating it to that of his/her contemporaries. There is a lot of history here, too, as the times in which these people lived and performed serve as a background to their music. If I were stranded on a desert island and could have two books with me, I would choose this book second only to the Bible!
I am enjoying this book a lot. It is very informative, and a pleasure to read. The entire transaction was a good one--price, speed of delivery, and excellent condition of the book.
This book is patterned after David Thomson's Biographical Dictionary of Film. The font and page layout is a dead ringer for the Thomson book. This proves to be a perfect model for Friedwald, a jazz journalist, and author of numerous liner notes for cds. He excels at the short essay. Whereas his 1990 book covering much the same ground, Jazz Singing, suffered from serious organization problems, here we are given focussed entries on jazz and pop singers from Jolson and Gene Austin to Peter Cincotti and Ann Callaway. In general, Friedwald's opinions have mellowed somewhat, and are presented in a more balanced, less autocratic manner. He still champions (and for heaven's sake, why not?) Louis Armstrong, Bing Crosby, Frank Sinatra, Mel Torme, Doris Day, Nat King Cole, Rosemary Clooney, and Tony Bennett, but without the abrasive denigration of rival singers and differently minded pundits that marked his earlier work. He has also found room in his heart for artists such as Buddy Greco and Barbara Lea, mentioned only in passing in Jazz Singing, and even Bob Dylan, the subject of a loving entry toward the end of the book. As Friedwald notes, he is probably among the few people around who have been listening to Mel Torme for forty years and Bob Dylan for a mere five.Though light on the biography, like Thomson before him, the entries contain usefully detailed accounts of the performing and recording careers of well over 200 singers. The book is chock full of invitations to listening pleasure. Friedwald is bound to create music collectors, or reinspire established collectors. His luscious descriptions of rare items from the catalogues of Tony Bennett, Lee Wiley, and Doris Day, to name but a few, will kick off some interesting and probably costly treasure hunts. Even if Friedwald only convinces you to get a couple of readily available cds, he will have improved your ear--and one good thing leads to another.A Biographical Guide to the Great Jazz and Pop Singers opens up the history of American popular music in a concise and yet engaging fashion. If you only have time for one book on the subject, this is the indispensable one. Not cheap, but worth every penny. It is to be hoped that the book, again like Thomson's, will be periodically updated. I am already wondering what Friedwald thinks of the new Doris Day release, My Heart.
I didn't realize I owned this book until discovering it was ready for download to my Kindle, five weeks after my errant finger had accidentally one-clicked it. Regardless, I owe my vagrant digit a debt of gratitude because this is an important, valuable overview and collection of mini-biographies though--like all reference books, anthologies, books relying heavily upon indexing--the Kindle format does not suit it well, especially for readers desiring a readily available, quick and easy resource, within arm's reach. My advice (which applies to all books likely to see repeated use as reference works): spend an extra buck or two for the hard-copy version.The book might be seen as, in part, an updated version of Friedwald's "Jazz Singing," from the early '90s. It shows the same felicitous style, careful research, and comprehensive, formidable, withering knowledge of the artists and their works. It's this thoroughness that makes it easy to recommend a book that might relegate one of your first-tier singers to the third-tier. Such is the case of Etta Jones, though Friedwald's evaluation of her entire career--from 1944 to 2001--is so complete and informative, you're the richer for the experience despite the preliminary disagreement. He even praises some recordings from the last third of Etta's career that I would have dismissed as expendable (making a reader wonder all the more why she doesn't merit a higher position). In any case, I would only hope the reader is willing to be informed without forming premature, cursory judgements about the author's final "rating" of the vocalist in his selective pantheon of all-time greats. Nevertheless, after reading Friedwald's "rating" of Etta Jones (not James), I'd recommend the reader compare the recording of "In My Solitude" by Billie Holiday (Friedwald's foremost diva) with the contemporaneous one by Etta. Or compare Sinatra's semi-operatic performance of "If You Are But a Dream" from his '40s Columbia period (an impressive recording by "The Voice") with the soulful version by Etta Jones and tenor saxophonist Gene Ammons from an early '60s session on Prestige.A couple of glaring omissions (unless I missed them): Nancy LaMott, perhaps the brightest new voice to emerge in the '90s, and Roberta Gambarini, without doubt the most striking jazz singer and complete musician (she embodies in her speech and singing the entire jazz tradition, including all of the seminal instrumentalists as well as vocalists) to appear in the present millennium (in fact, it's hard not to take seriously Hank Jones' assessment of her as the best since Ella, especially in view of his role as Ella's accompanist during the early years of Jazz at the Philharmonic). Also, it would be nice to see more attention given to the ineffable beauty of Shirley Horn's album with Johnny Mandel, "Here's to Life." Not only was it one of the highest ranked albums by singers in a recent Down Beat poll, but it's a singular aesthetic achievement demanding comparison with some of the very best ballad collaborations (called "concept albums," or "unified, organic tone poems") between Nelson Riddle and Ole Blue. Works such as the foregoing make some of the pronouncements of the media following the trial of Michael Jackson's physician ("'Thriller'" is the the greatest, most artistic album ever made," etc.) sound downright silly if not insulting.One emphasis that is lacking: the engineering of the sessions. Vocalists are not only especially vulnerable to changes in their vocal apparatus brought about by time but by trends in recording technology. Sometimes a vocalist's or pianist's switch from one label to another, or from one recording engineer to another (compare the Roy DuNann piano at Contemporary with the RVG piano at Blue Note) or from one era to another (witness the introduction of heavy echo and numerous other "effects" in the 1970s), can produce an entirely different-sounding artist!Nevertheless, a book easily recommended on the basis of its own merits and its filling of a void. These are artists who deserve serious help beyond what the marketplace, the few remaining recording companies, and a fickle public can provide.
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