Canto In: Henry Pleasants

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Be1Canto in

speech. The noble manner of singing which


is used without tying a man's self to the ordi-
nary measure of time, making often the
value of the notes less by half, a n d some-
times more, according to the conceit of the
words. whence proceeds that excellent kind
of singing with a graceful neglect whereof I
have spoken before." And Claudio Monte-
verdi, defining the distinction between what
H e n r y Pleasants was called the prima prattica and the sec-
onda prattica, said of the first practice that
If I ivere a teacher trying to demonstrate "it considers the harmony not commanded
Baroque practices, conventions. and criteria but commanding, not the servant but the mis-
to my students, I would begin Lvith jazz-and tress of the words." The second practice (the
particularly LVith the popular singers. To modern practice at that time] considers
demonstrate what an appoggiatura is, for ex- "harmony not commanding but commanded
ample, I would use a recording bjz Frank Si- and makes the words the mistress of the h a r -
natra o r Sarah Vaughan. To teach the con- mony." In listening to popular singers, I have
cept of tempo rubato. I Lvould again choose been struck by the extent to which these ad-
Sinatra. And for the slur, glide, o r porta- monitions of the early Baroque period a r e
mento. there are numerous examples in the fulfilled by singers who probably knownoth-
singing of Sinatra, Vaughan, Ella Fitzgerald. ing about them-singers who use the s a m e
Ethel Ll'aters, a n d others. hlany devices ornaments without knowing their names a n d
these singers use were common in the sev- who actually use them more correctl!, than
enteenth and eighteenth centuries. most classical singers (that is, simply putting
T h e history of singing as we know i t dates these ornaments in because i t is understood
from about 1600, tvith the early operas of that that is the thing to d o ) .
such composers as Caccini, Peri. Cavalli. and In the seventeenth a n d eighteenth cen-
Monteverdi. Opera originated as a reaction turies, the singer was the boss. T h e whole
against what was thought to be the arti- world of music-the profession and per-
ficiality, the intellectuality. the complexity of formance-was centered on the singer. It is
polyphonic vocal music as it h a d developed unthinkable today for a classical singer to
in the two preceding centuries. The mem- tell a conductor h o w h e should be directing
bers of the Florentine Camerata toward the the orchestra, but in popular music that may
end of the sixteenth century wanted to de- be the case. A popular-music director, such
fine or rediscover what they felt was the as John Bunch for Tony Bennett o r Bill Mil-
practice of music and singing in Greek ler for Frank Sinatra, works for the singer,
drama. In this pan-Hellenistic reform, they a n d in rehearsal the singer does not hesitate
intended to exploit the music of the Italian to talk directly to the orchestra. That is pre-
language to get the singer back to something cisely what the situation was in the Baroque
that was closer to speech, or at least to a kind era.
of singing that one could think of as the lyr- T h e most i m po r tan t si m i 1 a r i t y , h o w ev er ,
ical extension of speech. between Baroque and contemporary popu-
Giulio Caccini. for example. Lvrote that "in lar music practice is the emphasis on lan-
this manner of singing I have used a certain guage. Ornaments such as the trill (usually i t
neglect which I deem to halve an element of is a slow trill when used by popular singers),
nobility, belie\.ing that with i t I have ap- the appoggiatura, the portamento, slur, a n d
proached that much nearer to ordinary glide a r e all devices used by the early com-
The author. a London-based music critic, began his ca-
posers of opera to emphasize the meaning
r e e r as a classical singer. H e is widely k n o n n for his and the music of words. O n e of the things
books T h e Great Singers. T h e Agony of Modern I l u s i c . that most commonly distinguishes the art of
Serious hlusic-And All That J a z z . a n d Death of a hfu- the popular singer from the art of the classi-
sic? cal singer today is his enunciation a n d atten-

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Jazz and Pop Singing
tion to the text. I don’t know of any other conveys by means of words. For if the words a r e
singer in whom all of these qualities a r e so not h e a r d so a s to b e understood, there will b e n o
marvelously comtiined as they are in Frank great difference between a h u m a n voice a n d a n
Sinatra. Listen, for example, to his recording oboe. In repeating the air, h e that does not vary i t
of “One For My Baby (And O n e More For for the better is n o great master. Let a student
therefore accustom himself to repeat them always
the Road),” a song by Harold Arlen a n d differently, for if I mistake not, one that abounds
Johnny Mercer. After the opening piano con- in invention, though a moderate singer, deserves
tinuo by Bill Miller, there a r e examples of much more esteem than a better who is barren.
appoggiatura throughout. Sinatra has many Whoever does not know h o w to steal time in sing-
varieties of appoggiatura because h e shapes ing knows not h o w to compose nor to accompany
them as i t seems appropriate to him from the himself and is destitute of the best taste a n d
text. knowledge. T h e stealing of time in the pathetic is
H e is also a master of tempo rubato. T h e a n honorable theft in one that sings better than
Italian word rubare means “to steal,” a n d others, provided h e make a restitution with inge-
thus tempo rubato, according to its original nuity. O h , h o w great a master is the heart.
meaning, meant to steal time. (Today, many
think of it incorrectly as a change of time.] In That was written in 1723 by Pier Francesco
“One For My Baby,” there is a point where Tosi in his Observations on the Florid Song. I
Sinatra sings “put another nickel in the ma- believe that Sinatra comes closer than any
chine”: what happens between “nickel” and classical singer I have ever h e a r d to fulfill-
“in the machine” is a spectacular example of ing Tosi’s requirements.
tempo rubato. Also characteristic is the way T h e classically oriented listener has a
h e milks the words on “make the music problem when h e compares the popular
eeeeeasy and sad” with a slur-a kind of singer with the classical singer because they
easy portamento. At the end there is a mar- sing an entirely different repertoire. In or-
velous coda: As the character in the song der to discern precisely what the differences
goes out the door, Sinatra sings “the long, the are, i t is perhaps necessary to select a mel-
very long, it’s very long,” a n d h e does not ody that everyone knows, and listen to i t
pronounce the final word, “road.” You can sung in both ways, according to each idioma-
practically see this poor wretch disappear tic characteristic. A satisfactory song for this
down that long, very long road. T h e arrange- purpose is George Gershwin’s “Summer-
ment for the song is by Nelson Riddle. It’s time,” which has been recorded by a num-
one of his most beautiful because there is so ber of vocalists in each tradition. If possible,
little of i t . The strings come in imperceptibly, listen to the recording of i t by Eleanor Ste-
a n d no single instrument is h e a r d until well ber, and then to the version by Mildred Bai-
along in the song when Sinatra sings “and ley, who was the first of the great white sing-
that’s h o w i t goes,” at which time an alto ers to master the Afro-American style.
saxophone comes in, It’s a discreet arrange- Mildred Bailey’s recording of “Summer-
ment to accompany a very fine vocal per- time” was made in 1948 during the days of
formance. bebop: the influence shows in her beautiful
After you listen to this recording, consider melodic deviations, which include flatted
the following thoughts from “Admonitions fifths.
to a Young Singer”: What singers like Mildred Bailey got from
the blacks was an oratorical approach to
Let him take care that the higher the notes, the song. T h e black man, coming to the States as
more necessary i t is to touch them with softness to a slave, accepted and adopted many of the
avoid screaming. Let him learn the m a n n e r to elements of Western music, but h e found the
glide with the vowels a n d to drag the voice gently
from the high to the lower notes. Let him take c a r e Western tradition melodically restrictive,
that the words a r e uttered in such a m a n n e r , with- and therefore h e bent melody to his own
out any affectation, that they b e distinctly under- purposes in order to make music that h e felt
stood and no one syllable lost, for i f they a r e not was more communicative and that evolved
distinguished, the singer deprives the h e a r e r of more naturally, more eloquently out of lan-
the greatest part of that delight which vocal music guage. T h e adoption of this technique by

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cussed h e r e , d a t e s from a b o u t 1 9 2 0 , Lvhen
recordings a n d then the r a d i o p r o d u c e d a
great man!. fine artists, the best of ivhom \\as
Ethel Il'aters. S h e ivas the first black artist to
b e highl!, successful on ivhat Lvas knoivn to
black p e r f o r m e r s a s "Lvhite time." S h e then
ivent o n to b e c o m e a n actress, a n d t h e f a m e
s h e a c h i e v e d in that field h a s r a t h e r oi.er-
shadoLved h e r c a r e e r as a singer. Ho\vei.er,
s h e Lvas o n e of the finest a n d most influential
of p e r f o r m e r s . [In fact, s h e still p e r f o r m s
todag. at t h e age of sei.enty-tivo.) Rlildred
Bailey \ \ a s m u c h influenced by Ethel Il'a-
ters, as Lvere L e e \Yiley a n d C o n n i e B o s ~ v e l l .
Lvhom I consider the t\vo other best Lvhite
singers of t h e 1930s. T h e r e \ \ a s c o n s i d e r a b l e
give a n d take betiveen the black a n d Lvhite
p e r f o r m e r s in those da1.s. \\'hen Ella Fitz-
g e r a l d s a n g h e r audition for Chick IVebb in
1936, the only songs s h e k n e w Lvere C o n n i e
B o s ~ v e l l songs. a n d of c o u r s e B o s ~ v e l lh a d
b e e n picking u p h e r art f r o m Ethel L'r'aters.
( A n d at o n e time, Ethel I v a t e r s g a v e coach-
ing lessons to S o p h i e T u c k e r . )
Frank Sinarra (The Bettmann A r c h i b e , Inc ) Ethel \\'aters \ \ a s a born actress-more so
p e r h a p s than an!. other f e m a l e irocalist. J u s t
listen to h e r f a m o u s recording of "Storm!,
I believe that Sinatra comes \\'eather" a n d !.ou ~ v i l lh e a r hoiv marirel-
closer than any classical ousl!~s h e projects the mood of a ivoman ivho
h a s lost h e r m a n . S h e used to sing i t on a set
singer I have ever heard to that s i m u l a t e d r a i n , a n d s h e i v a s t h e p o o r ,
fulfilling Tosi's req uir e ments. a b a n d o n e d , forlorn black girl cvho s e e m e d to
h a v e no h o p e left in t h e ~ v o r l dThis. particu-
lar recording is a ver!. good o n e for o b s e r v -
ivhite p e r f o r m e r s h a s a long histor!.. of ing h o w s h e sings on consonants. Alan!. of t h e
course. beginning ivith the minstrel s h o w in popular singers d o that, a n d classical singers
Lvhich ivhite m e n blacked their faces to imi- a s a r u l e do not. A possible explanation is
tate black m e n imitating ivhite m e n a n d not that classical singers deriire their technical
quite making i t . T h e d e g r e e b!. ivhich the!. st).le basicall!. from t h e Italian, a n d irer!. feLv
didn't q u i t e m a k e i t \ \ a s felt at t h e time to b e Italian ivords e n d in consonants. If !.ou listen
c h a r m i n g a n d amusing. T h e fact that black to Ethel 12'aters o r S i n a t r a o r h l a h a l i a Jack-
m e n themselves could find a place in the son. >.ou ~ v i l lnotice that p o p u l a r singers a r e
A m e r i c a n th e at e r on 1>, through the m ins t r e 1 not a f r a i d to u s e t h e n ' s . m ' s . a n d 1's. T h e
shoiv c o m p o u n d e d this n o n s e n s e : Since the!. recording of "Storm!. \\'eather" also in-
w e r e not black enough. the!. blacked their c l u d e s a ivonderful e x a m p l e of c a d e n z a .
o\vn faces to put on shoivs in ivhich they imi- Again, ive h a v e a seirenteenth-centurv d e -
tated lvhite m e n imitating black m e n imitat- \rice emplo!,ed a s i t Lvas originall!. m e a n t to
ing lvhite m e n . T h a t \\as not reall!. all that b e . to m a k e a p r o p e r improvised e n d i n g .
long ago. Samm!. Dairis tells a stor!, of his (This practice. along Lvith man!. o t h e r s in
first a p p e a r a n c e on the stage: H i s u n c l e , singing. Lvas c o r r u p t e d throughout t h e n i n e -
standing b!. him in the Lvings. s a i d , "Kow teenth c e n t u r y , a n d ivhat w e h e a r n o w a s ca-
t h e r e ' s o n e thing !'GU shouldn't forget. Don't d e n z a s in o p e r a t i c a r i a s a r e stereot!,ped.
touch your face." Samm!. Lvas in black f a c e truncated abominations often copied out of
a n d h a d Lvhite gloves o n . T h i s lvas c a r r i e d c a d e n z a books.) O n this recording. m a d e in
over into iraudeville a n d p r o d u c e d the most 1932, Ethel 12'aters is b a c k e d b j , a n o r c h e s t r a
f a m o u s of the black imitators, s u c h as A1 701- that includes Benny G o o d m a n . Jimm!. a n d
son a n d S o p h i e T u c k e r . (Lvhat is not g e n e r - T o m m y Dorse!., a n d J o e Venuti. Inter-
ally knolvn is that t h e r e ~ v a sa parallel black estingl!,. Lvhite musicians Lvere playing b e -
vaudeirille circuit r u n b>,the T O B A , the T h e - h i n d black singers in t h e 1 9 2 0 s , a n d vice v e r -
at e r 0 ivn e r s ' Booking As so ci at i o n , kn o Lvn s a , q u i t e s o m e time b e f o r e the!- m a d e public
a m o n g black artists on the circuit as "Tough a p p e a r a n c e s in m i x e d b a n d s . Long b e f o r e
on Black Artists.") pianist T e d d y \Vilson set a p r e c e d e n t b y join-
T h e history of popular singing a s ive knoiv ing Bennh- G o o d m a n ' s b a n d , t h e Lvhite musi-
i t , a n d in the context in lvhich i t is being dis- cians of t h e Chicago croivd Lvere playing in

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studios b e h i n d black singers a n d l e a r n i n g a b r e a t h a n d m a k e a neiv passage of his o w n
great d e a l from i t . a r o u n d a B-flat o r a B. a n d then h a v e a n i c e ,
In the art of the popular singer, t h e r e is a n - easy \.oice a t the top, Lvithout tr!,ing to push i t
other e l e m e n t that is often misunderstood by or blast i t out.
classically o r i e n t e d singers, Iroice t e a c h e r s , If you can locate a cop!., listen to the
a n d o p e r a buffs-the m i c r o p h o n e . hclost of recording of a song c a l l e d "Rocky Alountain
these p e o p l e think of the m i c r o p h o n e a s a M o o n , " m a d e by Crosby a n d Louis A r m -
\.ocal crutch a n d of the popular singer a s a strong. Il'e a r e accustomed to thinking of
vo c a 1 cr i p p 1 e-so m e bo d !, \vh o \vo ul d h e Armstrong primaril!. a s a t r u m p e t p l a y e r ,
helpless ivithout a mike. hcl!. ansiver to that is a n d of Louis the singer as a kind of graL.el-
that the m i c r o p h o n e d o e s not sing. d o e s not voiced joke. Actually. Armstrong Lvas a m a r -
b r e a t h e , does not m a k e a s o u n d until s o m e - velous singer Lvho h a d a great influence on
bod!- puts a s o u n d into i t . T h e use of the mi- all t h e singers ii;ho c a m e after h i m , includ-
c r o p h o n e dates from the 192Os,Lvhen p o p u - ing Crosby a n d S i n a t r a . O n that recording,
lar singers began to perform on the radio. (In Crosby sings t h e first sixteen m e a s u r e s ,
those earl!. da!.s of r a d i o , Billboard r e p o r t e d Armstrong c o m e s in on the bridge, a n d then
that there \vas a p r o b l e m at KBC's KeLvark Crosby finishes i t . You ivill h e a r , first of
studio: t h e studio Lvas ha\Ving p r o b l e m s of all, ho\v Crosby used the m i c r o p h o n e ( A r m -
discipline b e c a u s e they h a d a n instrument
t h e r e that ~ v a sso sensiti1.e i t ivould-in t h e
Ivords of the report-pick u p the s o u n d of a
poLvder puff being dra\vn across a fair lad!.'s
nose.]
Originall!., the m i c r o p h o n e did m e a n that
a \veak-Lioiced singer could get b!, Lvith its
u s e : the f a m o u s baritone L2'hispering Jack
Smith Lvas a n e x a m p l e . a n d t h e r e Lvere oth-
ers. T h e first singer to reall!. u n d e r s t a n d
Lvhat t h e m i c r o p h o n e m e a n t a n d to m a s t e r it
ivas Bing Crosb!,. I f b'ou play Bing Crosb!-
records chronologicall!., !'ou can h e a r h i m
Lvrestling \vith the problem of coming to
terms Li;ith this de\rice. I t m e a n t that a singer
could no longer get a n y payoff from high
notes. Ever!.one could s o u n d l o u d a n d e\rer!'-
o n e could s o u n d big, T h e singer Lvas r e -
q u i r e d to p h r a s e a n d to look f o r effects from
his phrasing r a t h e r than from his big \.oice.
S o m e of the singers ivho a r e p r e s e n t m a s t e r s
of i t s p e a k of the mike as a n i n s t r u m e n t o n Ethel LLarers ( P h o t o s , T h e B e t t m a n n A r c h i b e , I n c )
ivhich the!. plab.. I a m r a t h e r inclined to
think that i t actually picks u p e l e m e n t s in the
voice that the n a k e d e a r misses, a n d that t h e
most perceptive of these singers-Crosb!,
a n d S i n a t r a a m o n g them-have l e a r n e d to
h e a r Lvhat t h e m i k e picks u p a n d to control i t
in their o\vn \vocal a p p a r a t u s .
\l'hat Crosby discovered \vas that if h e
cvere not going to m a k e a big "top," then h e
could go into a h e a d \-oice, m a k e his passage
l o w e r in the s c a l e , a n d then link i t u p with
the rich m i d d l e a n d loLver L.oice that h e h a d .
Crosb!. is a bass-baritone, a n d in his voice
t h e passage w o u l d normally occur in t h e
a r e a of CZ-D-E?. [ T h e passage is that part of
the r a n g e Lvhere the voice goes o u t of its nat-
ural register into tones a third to a fifth
abo1.e. To do i t , !.ou ha1.e to d e p r e s s the la- M i l d r e d Baile) E l l a Fitzgerald
rlmx a n d pet a n e w adjustment to take the
1.oice higher than i t Lvould normall!, go in a n Mildred Bailey was much influenced by Ethel
u n t r a i n e d s t a t e . ] O n s o m e of Crosblv's early
recordings j'ou h e a r him belting out high E's
Waters, as were Lee Wiley and Connie Boswell,
a n d F's, a l a Jolson, a n d they s o u n d pretty the two other best white singers of the 1930s.
b a d . "\'hat h e d i d later Lvas to e a s e off the

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strong kneLv hoLv to use i t , too] : secondl!.. you s h e h a d ver!. little voice. S h e h a d only about
will h e a r Crosb!. using the Afro-American an octave. [Probably, even i f s h e h a d h a d
style \fer!. Lvell, a n d then Armstrong using i t more, s h e would not hai.e h a d a much differ-
better. The!. lag behind the beat, they antici- ent disposition to sing a tune.) Like Bessie
pate the beat, a n d they stretch i t out. Popular Smith before h e r , s h e Lvould take a n y given
singers, as a rule. do not count time. They melody a n d entirely r e s h a p e i t to h e r o w n
think in four- a n d eight-measure arches a n d requirements a n d to h e r own feeling about
a r e guided by the chord changes. The!, put the text a n d the character of the song itself.
the Ivords on the notes Lvhere they feel they Most of Billie Holiday's late recordings a r e
should go to b e appropriate to the text. This inferior to h e r earlier ones, but there is o n e
is probabl!. what Caccini Lvas talking about of "Come Rain o r Come Shine" that shows
as "graceful negligence." I t produces a much the extent of h e r art a n d h e r personality as
more oratorical, speaking kind of communi- well a s an!' other. (She is backed on i t by
cation than is possible Lvhen a singer is Benny Carter, playing the saxophone \fer>'
thinking in terms of "one-and. tLvo-and." much in the style of Lester Young.) In listen-
Currently, there is much interest among ing to this recording, !rou can h e a r h o w s h e
young people in Billie Holiday, because of changes the tune each time through a s s h e
the recent film based on h e r life story. Billie builds h e r own concept of the song. S h e
Holiday links u p the great art of a Frank Si- seems to make almost a music composition
natra Lvith the pioneer Lvork of a Bing out of the o n e word "shine." T h e recording is
Crosby. Sinatra h a s said that his two greatest also notable for a marvelous cadenza.
influences were Tommy Dorsey's trombone O n e of the things that classical singers find
and Billie Holiday's phrasing. Billie Holiday lacking in the popular singer is vocal virtuos-
is an extremely interesting singer because i t y . Popular artists never seem to sing r o u -
lades, staccato passages, and other devices
employed by the classical singer, but they do
work out their onm kind of brilliant, virtu-
osic performance in the style of singing
known as scat singing-s>.llabizing, o r sing-
ing on either nonsense o r real syllables.
Louis Arms tr o ng introduced the s t ~ ' e1, but
Ella Fitzgerald is the master of i t . A fine ex-
a m p l e is h e r recording of "How High the
Moon," m a d e in 1948. That is an important
date because it Lvas a time Lvhen bebop h a d
gone through its experimental stage a n d was
becoming fashionable. Ella apparently
wanted to show that i t was not onl!. Charlie
Parker o r Dizzy Gillespie Lvho could play
that type of thing, but that i t could b e
"played" Lvith a voice. IZ'hat s h e actually did
in this song Lvas to quote extensivel!? from
Charlie Parker's "Ornithology," which bvas a
set of improvisations on the chords of "How
High the Moon." S h e starts the song straight
but then begins to deviate a n d to build in a
remarkable fashion. I t is a brilliant bit of vo-
calism. Athough s h e is a contralto, s h e goes
u p to two F's. As some other singers do, s h e
Armstrong was a goes into falsetto when s h e goes through
marvelous singer the passage, a n d s h e h a s a controlled falsetto
up to B-flat o r high C. H e r actual range is ap-
who had a great proximately three octaves. (Sarah Vaughan's
influence on all is about the s a m e , p e r h a p s a little m o r e . ]
the singers who Another device of seLfenteenth-centur!.
came after him, singers Lvas Lvhat they called messa di voce,
the putting of the voice, in which the singer
including Crosby attacked the tone quietly, swelled i t , a n d
and Sinatra. then brought i t back again, usually with
some ornamentation involved. Popular sing-
ers do not do that, but they h a v e a technique
that produces much the s a m e effect. I t is
called the phrase carr3,over. I t is often used
at the end of the first sixteen m e a s u r e s of a

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song where the melody is sustained and the
voice is carried over into the bridge, the
phrase being released somewhere toward
the middle of the next four measures. Sarah
Vaughan, who has fantastic breath control,
does this beautifully, and a good example is
her recording of Vernon Duke’s “April in
Paris.” S h e applies this technique beginning
on the word “reprieve” and carries the
phrase over into the word “I.” On this re-
cording she sings one chorus through, and
then, before her voice returns, each mem-
ber of the backing group takes a chorus. The
last one to do so is trumpet player Clifford
Brown, who follows his solo with a stunning
example of improvisatory obbligato playing.
The recordings mentioned here are just a
few that illustrate the adoption of Baroque
vocal practices by popular and jazz singers. I
would encourage teachers to listen generally
to recordings by Waters, Bailey, Holiday, Si-
natra, Crosby, Fitzgerald, Vaughan, and Peg-
gy Lee to discern such interpretive vocal
techniques as the use of appoggiatura,
tempo rubato, slur, portamento, glide, ca-
denza, singing on consonants, phrase carry-
over, and virtuosic improvisation.
Some time ago, I was talking to a composer
about the art of the American popular sing-
er, and h e said, “The art of the popular
singer? Isn’t that a contradiction in terms?”
In listening to each of the singers who have
been discussed briefly here, you can hear
evidence of what I have always felt is one of
the most useful axioms of the music busi-
ness, or of any other art for that matter:
Great art is that which disguises art. zl
RESOURCES

Many of the recordings mentioned by Mr. Billie Holiday would take any
Pleasants in this article are now difficult to given melody and entirely reshape
locate, although some occasionally reappear it to her own requirements and to
on reissues, bargain labels, and European
imports. Readers a r e advised to consult cur- her own feeling about the text and
rent master catalog listings at their local the character of the song itself.
record stores. Teachers who wish to draw on
the author’s observations in their classrooms
can still find many examples of the tech- -. “The Golden Years, Vol. 2” (Colum-
niques h e discusses on other recordings by bia, C3L-40).
the same singers. A few selected recordings -, “Lady Day” (Columbia, CL-637).
by these artists a r e listed here. Sinatra, Frank. “Great Years” (Capitol,
STCO-1762).
Bailey, Mildred. “All of Me” (Monmouth- -. “Greatest Hits” [Reprise, S-1025).
Evergreen 6814). -, “In the Beginning, 1943-1951” (Co-
Crosby, Bing, with Louis Armstrong. “Bing lumbia, KG-31358).
and Satchmo” (MGM, GAS-137). Vaughan, Sarah. “Echoes of a n Era” (Rou-
Fitzgerald, Ella. “Ella” (Reprise, S-6354). lette 103).
-. “Ella Sings Gershwin” (Decca __, “Fabulous Sarah Vaughan” (Pick-
74451). wick, s-3035).
-. “Tribute to Cole Porter” (Verve Waters, Ethel. “Ethel Waters’ Greatest
64066). Years” (Columbia, KG-31571).
Holiday, Billie. “The Golden Years, Vol. 1” -, “Miss Ethel Waters” [Monmouth-
(Columbia, C3L-21). Evergreen 6812).

mej/may ’73 59
Downloaded from mej.sagepub.com at University of Manitoba Libraries on June 8, 2015

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