Overview
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.
Synopsis
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.
The Barnes & Noble Review
Will Friedwald is one opinionated fellow. His 811-page Biographical Guide to the Great Jazz and Pop Singers, ten years in the making, celebrates both the famous and obscure pop singers of the past century, and every last one of its essays is filled with passion, high praise, and occasionally, vitriol. The end result is a highly personal guide likely to entertain, educate, and occasionally infuriate -- exactly the attributes one wants in a pop culture encyclopedia.
Editorials
Publishers Weekly
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)Library Journal
Friedwald (Stardust Melodies: A Biography of Twelve of America's Most Popular Songs) presents a thorough, detailed reference work devoted to a diverse collection of vocalists. All of the usual suspects, such as Ella Fitzgerald, Frank Sinatra, Mel Tormé, Judy Garland, Bing Crosby, and Billie Holiday, are included. This 832-page single volume, though, also finds room for more recent figures like Harry Connick Jr. and Natalie Cole as well as folk and pop singers better known for other contributions to the entertainment industry, e.g., Jack Cassidy, Aretha Franklin, Woody Herman, and Noël Coward. Friedwald covers well over 200 singers and includes biographical detail and information about their importance and legacy.Verdict Friedwald freely shares his opinions—he is dismissive of some recordings and praises others effusively. Although several of the articles might rankle die-hard fans of some of the performers, Friedwald is generally spot-on if a bit hyperbolic in his assessments. Fans of jazz and pop music of the 20th century (precious little rock here, though) will find this a feast. Essential for all public libraries.—James E. Perone, Univ. of Mount Union, Alliance, OHDennis Drabelle
In this mammoth volume, jazz critic Will Friedwald does for jazz and pop vocalists what David Thomson has done so brilliantly for the movies in his New Biographical Dictionary of Film…The author also acts as a consumer guide, steering the reader toward particular songs or albums.—The Washington Post
Jason Berry
Friedwald is an elegant stylist whose passion for the music shimmers through the pages…[he] has written a book about love, the songs and singers…who captured him in their world of enchantment.—The New York Times
The Barnes & Noble Review
Will Friedwald is one opinionated fellow. His 811-page Biographical Guide to the Great Jazz and Pop Singers, ten years in the making, celebrates both the famous and obscure pop singers of the past century, and every last one of its essays is filled with passion, high praise, and occasionally, vitriol. The end result is a highly personal guide likely to entertain, educate, and occasionally infuriate -- exactly the attributes one wants in a pop culture encyclopedia.
Covering everyone from the obscure (Nellie Lutcher, anyone?) to the revered (Tony Bennett), Friedwald includes assessments ranging from Al Jolson to Michael Bublé, but his focus remains squarely fixed on the post-World War II, pre-rock era, with his highest praise justifiably reserved for the brilliant work of Frank Sinatra and Ella Fitzgerald.
He is particularly eloquent on Ella, nailing exactly why her recordings never date: "Fitzgerald was always emotionally true to whatever she was singing. She could make you walk on air with a happy song and want to walk on razor blades on a downer."
His research is prodigious and the breadth of his knowledge is matched only by the depth of his passion. For all the doorstopper heft of the book, he is capable of the pithy phrase that sums up an entire career: Jo Stafford's style, for example, is pegged as "reserved optimism with a touch of melancholy," an assessment that precisely captures the sensibility behind such epic hits as "You Belong to Me."
It's an idiosyncratic guide, to be sure. Friedwald devotes just as much space to Audra McDonald's meager four-CD discography as he does to the fifty-year legacy of Johnny Mathis. Fortunately, the passion of his beliefs only occasionally gets the better of him, as when an eight-page screed against Barbra Streisand runs so over the top that one can only wonder what the heck La Streisand ever did to him.
Friedwald refers to jazz historian Dan Morgenstern as "that encyclopedia who walks like a man." In paying tribute to the unquestioned giants of twentieth-century pop music, walking encyclopedia Friedwald has done his idols proud.
--Tom Santopietro