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Will Friedwald’s illuminating, opinionated essays—provocative, funny, and personal—on the lives and careers of more than three hundred singers anatomize the work of the most important jazz and popular performers of the twentieth century. From giants like Ella Fitzgerald, Louis Armstrong, Frank Sinatra, and Judy Garland to lesser-known artists like Jeri Southern and Joe Mooney, they have created a body of work that continues to please and inspire. Here is the most extensive biographical and critical survey of these singers ever written, as well as an essential guide to the Great American Songbook and those who shaped the way it has been sung.
The music crosses from jazz to pop and back again, from the songs of Irving Berlin and W. C. Handy through Stephen Sondheim and beyond, bringing together straightforward jazz and pop singers (Billie Holiday, Perry Como); hybrid artists who moved among genres and combined them (Peggy Lee, Mel Tormé); the leading men and women of Broadway and Hollywood (Ethel Merman, Al Jolson); yesterday’s vaudeville and radio stars (Sophie Tucker, Eddie Cantor); and today’s cabaret artists and hit-makers (Diana Krall, Michael Bublé). Friedwald has also written extended pieces on the most representative artists of five significant genres that lie outside the songbook: Bessie Smith (blues), Mahalia Jackson (gospel), Hank Williams (country and western), Elvis Presley (rock ’n’ roll), and Bob Dylan (folk-rock).
Friedwald reconsiders the personal stories and professional successes and failures of all these artists, their songs, and their performances, appraising both the singers and their music by balancing his opinions with those of fellow musicians, listeners, and critics.
This magisterial reference book—ten years in the making—will delight and inform anyone with a passion for the iconic music of America, which continues to resonate throughout our popular culture.
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Most helpful customer reviews
1 of 1 people found the following review helpful
5.0 out of 5 stars
Pop, jazz, & some R&B: Will Friedwald's musical America,
By
This review is from: A Biographical Guide to the Great Jazz and Pop Singers (Hardcover)
Will Friedwald's gift as a critic is his ability to make anyone reevaluate their opinions about popular singers, including his own. It'll come as a surprise to readers of his 1990 book Jazz Singing: America's Great Voices From Bessie Smith To Bebop And Beyond, in which he argued that rock & roll ushered in the Apocalypse for good music, that he now considers Elvis Presley to be one of the greatest of all popular singers, the first man to assimilate rhythm and blues, country, and mainstream pop into a seamless whole. Even in praising an artist, Friedwald's opinions are provocative, as when he avers that Dean Martin was a major influence on Elvis's singing; it sounds nutty, but careful listening will back it up.What makes a jazz or pop singer "great"? Tricky question. The 811 double-columned pages of this book provide a series of contentious, informed, and highly entertaining answers in the form of extended essays on its two hundred or so performers. (The BIOGRAPHICAL GUIDE, which Friedwald spent a decade writing, is modeled after David Thomson's BIOGRAPHICAL DICTIONARY OF FILM, but with much longer, and better written, entries.) For Friedwald, great pop music is centered on the American songbook, and its finest singers were active during the LP era, the heyday of the concept album (1955 - 1985). What this means for his book is that he doesn't write about too many singers born after 1950, though Diana Krall, Kurt Elling, Michael Feinstein, Audra McDonald, and Dee Dee Bridgewater are among the boomers too interesting NOT to warrant an essay apiece. Elsewhere, Friedwald is busy challenging our perceptions of the classic performers and throwing away critical gems on almost every page. For example: "I can only imagine that both Sinatra and Dylan had moments when they felt like Dr. Frankenstein: They had created a monster and couldn't control the damage it caused." "Streisand...is incapable of easing up -- whether on a note, on the beat, on the band, on the words, on anything. [She] nearly always sounds as if she's attacking you with a song." "What will it take to convince Aretha Franklin that she is, in fact, a great artist, and not a fly-by-night hit maker? Why does she consistently act as if she's in the same league with Mariah Carey and Whitney Houston?" And then there are the deeper insights: "One thing [Ray Charles] has in common with Tony Bennett is the way he revels in the rapture of the sound of strain -- like an alto saxist struggling for a high F. And one thing he has in common with Ornette Coleman and Albert Ayler, two bluesmen in a different kind of music, is that he challenges our notion of sound itself." Chances are, several of your favorite contemporary singers, like several of mine, are going to be missing from this book, but there's more than enough interesting material here to make it an essential purchase anyway. You'll be reading and re-reading it for months.
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Most Helpful Customer Reviews on Amazon.com (beta) Amazon.com:
4.3 out of 5 stars (18 customer reviews) 24 of 25 people found the following review helpful
5.0 out of 5 stars
Pop, jazz, & some R&B: Will Friedwald's musical America,
By Roochak - Published on Amazon.com
This review is from: A Biographical Guide to the Great Jazz and Pop Singers (Hardcover)
Will Friedwald's gift as a critic is his ability to make anyone reevaluate their opinions about popular singers, including his own. It'll come as a surprise to readers of his 1990 book Jazz Singing: America's Great Voices From Bessie Smith To Bebop And Beyond, in which he argued that rock & roll ushered in the Apocalypse for good music, that he now considers Elvis Presley to be one of the greatest of all popular singers, the first man to assimilate rhythm and blues, country, and mainstream pop into a seamless whole. Even in praising an artist, Friedwald's opinions are provocative, as when he avers that Dean Martin was a major influence on Elvis's singing; it sounds nutty, but careful listening will back it up.What makes a jazz or pop singer "great"? Tricky question. The 811 double-columned pages of this book provide a series of contentious, informed, and highly entertaining answers in the form of extended essays on its two hundred or so performers. (The BIOGRAPHICAL GUIDE, which Friedwald spent a decade writing, is modeled after David Thomson's BIOGRAPHICAL DICTIONARY OF FILM, but with much longer, and better written, entries.) For Friedwald, great pop music is centered on the American songbook, and its finest singers were active during the LP era, the heyday of the concept album (1955 - 1985). What this means for his book is that he doesn't write about too many singers born after 1950, though Diana Krall, Kurt Elling, Michael Feinstein, Audra McDonald, and Dee Dee Bridgewater are among the boomers too interesting NOT to warrant an essay apiece. Elsewhere, Friedwald is busy challenging our perceptions of the classic performers and throwing away critical gems on almost every page. For example: "I can only imagine that both Sinatra and Dylan had moments when they felt like Dr. Frankenstein: They had created a monster and couldn't control the damage it caused." "Streisand...is incapable of easing up -- whether on a note, on the beat, on the band, on the words, on anything. [She] nearly always sounds as if she's attacking you with a song." "What will it take to convince Aretha Franklin that she is, in fact, a great artist, and not a fly-by-night hit maker? Why does she consistently act as if she's in the same league with Mariah Carey and Whitney Houston?" And then there are the deeper insights: "One thing [Ray Charles] has in common with Tony Bennett is the way he revels in the rapture of the sound of strain -- like an alto saxist struggling for a high F. And one thing he has in common with Ornette Coleman and Albert Ayler, two bluesmen in a different kind of music, is that he challenges our notion of sound itself." Chances are, several of your favorite contemporary singers, like several of mine, are going to be missing from this book, but there's more than enough interesting material here to make it an essential purchase anyway. You'll be reading and re-reading it for months. 5 of 5 people found the following review helpful
5.0 out of 5 stars
Excellent Volume,
By David Keith "FurNTats" - Published on Amazon.com
Amazon Verified Purchase(What's this?)
This review is from: A Biographical Guide to the Great Jazz and Pop Singers (Hardcover)
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. 7 of 8 people found the following review helpful
5.0 out of 5 stars
GREAT FUN !,
By John Edmunds - Published on Amazon.com
This review is from: A Biographical Guide to the Great Jazz and Pop Singers (Hardcover)
What a pleasure to have Will Friedwald's book at my disposal. When I have 10-15 minutes to spare I choose a singer of my choice and read the cogent facts plus Will Friedwald's remarkable insights. I look forward to integrating the singers that I don't know with ones that I do, thereby broadening my universe of music.
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