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(Vocal Piano). Arguably the best female jazz singer ever, no one could out-swing or out-scat "The First Lady of Song." This fine book features authentic transcriptions in the original keys of 25 Fitzgerald classics in voice with piano accompaniment format: A-tisket, A-tasket * But Not for Me * Easy to Love * Embraceable You * The Lady Is a Tramp * Misty * Oh, Lady Be Good! * Satin Doll * Stompin' at the Savoy * Take the "A" Train * and more. Includes a biography and discography. A must for every jazz singer's library!
(Vocal Piano). The All Music Guide calls Vaughan "one of the most wondrous voices of the 20th century." This collection gathers 25 of her classics arranged in her original keys so today's singers can try and match her performances. Songs include: Black Coffee * But Not for Me * Cherokee (Indian Love Song) * Darn That Dream * East of the Sun (And West of the Moon) * If You Could See Me Now * It Might As Well Be Spring * Lullaby of Birdland * The Man I Love * My Funny Valentine * The Nearness of You * A Night in Tunisia * Perdido * September Song * Tenderly * and more.
(Piano Vocal). This sheet music features an arrangement for piano and voice with guitar chord frames, with the melody presented in the right hand of the piano part, as well as in the vocal line.
(Piano/Vocal/Guitar Artist Songbook). 2015 marks the 100th anniversary of the birth of Frank Sinatra and celebrations and concerts are planned for the whole year. This songbook gathers piano/vocal/guitar arrangements of 100 of Ol' Blue Eye's finest in a fitting tribute to one of the greatest entertainers of all time! Songs include: All the Way * Come Fly with Me * I Get a Kick Out of You * I've Got the World on a String * I've Got You Under My Skin * The Lady Is a Tramp * My Way * Night and Day * One for My Baby (And One More for the Road) * Strangers in the Night * Summer Wind * (Love Is) The Tender Trap * Witchcraft * Young at Heart * and more.
Stuart Nicholson's biography of Ella Fitzgerald is considered a classic in jazz literature. Drawing on original documents, interviews, and new information, Nicholson draws a complete picture of Fitzgerald's professional and personal life. Fitzgerald rose from being a pop singer with chart-novelty hits in the late '30s to become a bandleader and then one of the greatest interpreters of American popular song. Along with Billie Holiday, she virtually defined the female voice in jazz, and countless others followed in her wake and acknowledged her enormous influence. Also includes two 8-page inse.
Contains a glossary of terms and lists of performers trained using Seth Riggs' vocal therapy and technique. Includes glossary (p. 91-94) and index.
The new standard in jazz fake books since 1988. Endorsed by McCoy Tyner, Ron Carter, Dave Liebman, and many more. Evenly divided between standards, jazz classics and pop-fusion hits, this is the all-purpose book for jazz gigs, weddings, jam sessions, etc. Like all Sher Music fake books, it features composer-approved transcriptions, easy-to-read calligraphy, and many extras (sample bass lines, chord voicings, drum appendix, etc.) not found in conventional fake books.
The study of listening—aurality—and its relation to writing is the subject of this eclectic edited volume. Theorizing Sound Writing explores the relationship between sound, theory, language, and inscription. This volume contains an impressive lineup of scholars from anthropology, ethnomusicology, musicology, performance, and sound studies. The contributors write about sound in their ongoing work, while also making an intervention into the ethics of academic knowledge, one in which listening is the first step not only in translating sound into words but also in compassionate scholarship.
An extensive biographical and critical survey of more than 300 jazz and popular singers is comprised of provocative, opinionated essays that incorporate the views of peers, fans and critics while assessing key movements and genres.
The author of the magisterial A Biographical Guide to the Great Jazz and Pop Singers now approaches the great singers and their greatest work in an innovative and revelatory way: through considering their finest albums, which is the format in which this music was most resonantly organized and presented to its public from the 1940s until the very recent decline of the CD. It is through their albums that Ella Fitzgerald, Frank Sinatra, Peggy Lee, Sarah Vaughan, Nat King Cole, Judy Garland, and the rest of the glorious honor roll of jazz and pop singers have been most tellingly and lastingly appreciated, and the history of the album itself, as Will Friedwald sketches it, can now be seen as a crucial part of musical history. We come to understand that, at their finest, albums have not been mere collections of individual songs strung together arbitrarily but organic phenomena in their own right. A Sinatra album, a Fitzgerald album, was planned and structured to show these artists at their best, at a specific moment in their artistic careers. Yet the albums Friedwald has chosen to anatomize go about their work in a variety of ways. There are studio and solo albums: Lee’s Black Coffee, June Christy’s Something Cool, Cassandra Wilson’s Belly of the Sun. There are brilliant collaborations: famous ones—Tony Bennett and Bill Evans, Louis Armstrong and Oscar Peterson—and wonderful surprises like Doris Day and Robert Goulet singing Annie Get Your Gun. There are theme albums—Dinah Washington singing Fats Waller, Maxine Sullivan singing Andy Razaf, Margaret Whiting singing Jerome Kern, Barb Jungr singing Bob Dylan, and the sublime Jo Stafford singing American and Scottish folk songs. There are also stunning concert albums like Ella in Berlin, Sarah in Japan, Lena at the Waldorf, and, of course, Judy at Carnegie Hall. All the greats are on hand, from Kay Starr and Carmen McRae to Jimmy Scott and Della Reese (Della Della Cha Cha Cha). And, from out of left field, the astounding God Bless Tiny Tim. Each of the fifty-seven albums discussed here captures the artist at a high point, if not at the expected moment, of her or his career. The individual cuts are evaluated, the sequencing explicated, the songs and songwriters heralded; anecdotes abound of how songs were born and how artists and producers collaborated. And in appraising each album, Friedwald balances his own opinions with those of musicians, listeners, and critics. A monumental achievement, The Great Jazz and Pop Vocal Albums is an essential book for lovers of American jazz and popular music.