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The legendary singer reflects on his career, the recurring themes in his life, and the inspiration that shapes his music and his art, in a musical memoir enhanced by reproductions of his own artwork and a CD containing some of the author's favorite songs.
“For my money, Tony Bennett is the best singer in the business, the best exponent of a song. He excites me when I watch him. . . . He moves me. He’s the singer who gets across what the composer has in mind, and probably a little more.” — Frank Sinatra “As breezy and meaningful as one of his trademark songs as readers learn about the man by the company he kept and the heroes he worships. Bennett’s ethereal still lifes and landscape paintings adorn this simple yet profound and gracious homage.”— Booklist Tony Bennett was one of our most vibrant musicians ever to grace the stage. In his previous book, Life Is a Gift, Tony reflected on the lessons he learned over the years. In Just Getting Started, he pays homage to the remarkable people who inspired those lessons. In his warm and inviting voice, Tony talks about who and what have enriched his own life, including Charlie Chaplin, Judy Garland, Dr. Martin Luther King, Jr., Cole Porter, Amy Winehouse, Fred Astaire, Lady Gaga, members of his family, significant places, and more. Just Getting Started chronicles the relationship Tony enjoyed with each one of these legends, entertainers, humanitarians, and loved ones, and reveals how the lessons and values they imparted have invaluably shaped his life. As enchanting and unforgettable as his music, Just Getting Started is a beautiful compilation of reflections every Bennett fan will treasure, and a perfect introduction for those just getting to know this remarkable star and humanitarian.
The legendary singer and recording artist shares his life story including his many triumphs and tragedies.
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.
Pop Hits Singles and Albums is four big books in one covering the wonderful era of big bands, classic crooners, classy female vocalists and smooth vocal groups. The first section is an artist-by-artist anthology of classic pop songs with complete chart data and now shows every record's B-side. Following is a year-by-year ranking of all the hits which includes each song's songwriter(s). For the first time ever are the Top 10 charts for every week from 1940-54. And finally, the complete story of the early pop albums chart is told artist-by-artist - showing all chart data and every track from every album!
This beautiful definitive book--a follow-up to Tony Bennett: In the Studio (2007), which focused on Tony's artwork--explores the themes, influences, and inspirations that inform his music and creative life. Along with more than 140 images, including photographs, personal memorabilia, album covers, and notes, this stunning volume includes essays from celebrated friends and colleagues.
In this lavishly illustrated biography from the LIFE Unseen series, LIFE partners with Sony Music Entertainment to give readers an intimate look into the life of legendary performer Tony Bennett. Through rare and never-before-seen photography from the depths of Sony's archives and contributions from the icon himself, this book is an essential collectible for the musician's fans old and new alike. LIFE Unseen Tony Bennett takes readers through every stage of Tony Bennett's journey, from newly-returned WWII veteran to American idol and Civil Rights advocate. With a foreword by acclaimed film director Martin Scorsese and an introduction by LIFE's managing editor, Robert Sullivan, readers will experience the surprising story of an incredible artist and monumental figure in the history of entertainment, who, in his ninth decade, is enjoying his best years and his best self.
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.