Singing Jazz-The Singers and Their Styles: Bruce Crowther and Mike Pinfold; Miller-Freeman Books, Published 1998. (Paperback).
Review by Dave Nathan. Printed in Marge Hofacre's Jazz News.
Relatively few books have been written on jazz singing, a situation which mirrors the step-child status of this genre. However, Messrs. Crowther and Pinfold are no strangers here. Their earlier book "The Jazz Singers-From Ragtime to The New Wave," published in 1986, focused pretty much on the historical development of jazz. This newer volume addresses jazz singing from a somewhat different perspective, from that of the singers themselves. That approach makes this book interesting and sometimes disconcerting reading.
The good news is that we are blessed with many good jazz singers, mostly female, which doesn't come as surprise to anyone who follows this area of jazz. The bad news is that life is difficult for these performers in terms of getting recognition through record contracts, places to sing, getting management representation and the appreciation of their talent by the public. But there is more good news. Despite setbacks, difficulties and an uncertain future, new and talented singers continue arriving on the scene. Over the last few years, relative newcomers as Cassandra Wilson, Nnenna Freelon, Eden Atwood, Karrin Allyson, Claire Martin, Tina May, Kurt Elling, Dianne Reeves, Lisa Kelly, Rebecca Parris and others have enriched us with their offerings. Equally encouraging are those fine, veteran singers still plying their trade like Carol Sloane, Rosemary Clooney, Carla White, Anita O'Day, Lorez Alexander, Helen Merrill, Nina Simone, Mel Torme, Bob Dorough, Mark Murphy and yes, Peggy Lee to name a few. Many more of the new and not so new are in this book.
Singing Jazz has the mandatory historical material on influences which shaped jazz singing, blues, gospel and "popular" music as well duly recognizing the pioneers of jazz singing, Louis Armstrong, Billie Holiday, Ella Fitzgerald, Ethel Waters, Connie Boswell, Leo Watson, Fats Waller, Helen Humes, etc. Fortunately we are spared a long discourse on Cliff Edwards (Ukelele Ike) whom Will Friedwald seems so enamored with in his Jazz Singing.
But of far greater interest is the material on what jazz singing is (and a jazz singer), good techniques and how to develop then, economic and artistic survival (helps to have a day time job) and on the future of the genre.
These matters are addressed by the authors through interviews with many artists with the predictable result. There are no stock answers to most of these questions, although there are some generally accepted principles and standards. For example, on what is jazz singing most agree that it involves ability to improvise, good diction, ability to swing, an interesting, entertaining repertoire, flexibility to handle about any situation which comes up during the performance, recognition that your voice is an instrument (and train and study accordingly), and endurance. But I like Stacey Kent's straightforward explanation, "I am a singer. I sing jazz. I am a jazz singer." This with "I sing with musicians who play jazz" results in a very acceptable depiction of a jazz vocalist.
Many of the barriers faced by jazz singers - lack of venues, poor performing conditions, no record contracts, etc. - are faced by most jazz performers. But there are some further hurdles a jazz singer must overcome. First, they are often shunned by other jazz players. Remember Benny Goodman's oft-quoted phrase that singers are a "necessary evil." Jazz players often don't like to be on stage with vocalists because it's the vocalist which gets audience attention. It is only the sophisticated listener who appreciates what a Tommy Flanagan, Ellis Larkins, Jimmy Jones or a Jimmy Rowles adds to the performance, or a Stan Getz backing Abbey Lincoln, Diane Schuur or Dee Bell. The lyrical trumpet of Sweets Edison behind Ella Fitzgerald or Don Fagerquist with June Christy and Jeri Southern enhanced these singers' performances.
Jazz singers must surmount - and too often they can't - preconceived notions about jazz singing held by bookers, agents, A&R men and the public. This attitude can be so pervasive that some singers don't want to be perceived as jazz vocalists believing this limits their ability to make a living singing.
Finally, many of those interviewed by the authors decry the lack of suitable new material. You can only ride the standards so far. The audiences, and thus the performer, need new stuff.
So what's the future for jazz singing? Most of those interviewed are cautious and others even pessimistic. Some feel that the singer, to be successful, has to be more accommodating to the current pop tastes. On the other hand, others feel that the artistic future is very bright, but that commercial success will continue to be elusive. The authors are wishfully optimistic pointing out that despite all the hardships . . . "one thing is certain; young men and women will continue to enter the tough and demanding profession of a jazz singer. Recognized or not, encouraged or not, famous or not, rich or not, they will eagerly spend their days and nights doing something they love - singing jazz."
To round out the book, the authors provide condensed biographies of more than 200 singers, past and present, and some of their recordings and an excellent bibliography.
This fine book has much to offer those who especially favor jazz singing as well as jazz aficionados generally. It should also be very useful to young people who are considering or just beginning to pursue a career in jazz singing. It should be the definitive volume on the topic for years to come.
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