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Searching... Hardwood Creek Library (Forest Lake) | 921 HOLIDAY | Searching... Unknown |
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Summary
Summary
* Kirkus Best Books of 2015 selection for Biography *
Published in celebration of Holiday's centenary, the first biography to focus on the singer's extraordinary musical talent
When Billie Holiday stepped into Columbia's studios in November 1933, it marked the beginning of what is arguably the most remarkable and influential career in twentieth-century popular music. Her voice weathered countless shifts in public taste, and new reincarnations of her continue to arrive, most recently in the form of singers like Amy Winehouse and Adele.
Most of the writing on Holiday has focused on the tragic details of her life--her prostitution at the age of fourteen, her heroin addiction and alcoholism, her series of abusive relationships--or tried to correct the many fabrications of her autobiography. But now, Billie Holiday stays close to the music, to her performance style, and to the self she created and put into print, on record and on stage.
Drawing on a vast amount of new material that has surfaced in the last decade, critically acclaimed jazz writer John Szwed considers how her life inflected her art, her influences, her uncanny voice and rhythmic genius, a number of her signature songs, and her legacy.
Author Notes
John Szwed is Professor of Music and Director of the Center for Jazz Studies at Columbia University. As a jazz musician, he played professionally for more than a decade. He is the author of sixteen books, including So What: The Life of Miles Davis, Space is the Place: The Lives and Times of Sun Ra, and Alan Lomax: The Man Who Recorded the World.
Reviews (4)
Publisher's Weekly Review
Unsatisfied with labeling Holiday "the greatest jazz singer of all time," veteran jazz biographer Szwed (Alan Lomax) attempts to deconstruct the entertainer and her vocal magic by puncturing her celebrated public image and her legendary performances. First, Szwed holds Holiday's 1956 provocative memoir, Lady Sings the Blues, to a harsh analytical light. He debunks claims that it trashed jazz and its artists and was written to support Holiday's drug habit, while disclosing the reality that the singer was broke and in tax trouble. He reveals some little-known facts, including that Holiday wanted children desperately and even tried to adopt a baby in Boston but was turned down because of her drug use. He also terms Lady Day's voice as "indelibly odd, and so easy to recognize but difficult to describe," and writes the performer had two different selves: rough, profane, caustic offstage, but witty, kind, and charming onstage. The book really takes off when Szwed gets into Holiday's peerless styling as an improviser and interpreter of torch songs and blues, including the classics "God Bless' the Child," "Don't Explain," and "My Man." Szwed provides an alternative to the gossip and scandal usually associated with Holiday with this highly entertaining, essential take on an truly American original. (Apr.) c Copyright PWxyz, LLC. All rights reserved.
Booklist Review
The jazz community already owes a debt to Szwed for his biographies of the enigmatic Miles Davis and Sun Ra. That debt is now compounded by this compelling interpretation of our greatest jazz singer. This is not a full biography; rather, it is in part a breakdown of the mythology surrounding Billie Holiday's life, some originating with Holiday's own memoir, Lady Sings the Blues (1956). The balance covers in abundant detail her songs their origin, her role in their composition, Szwed's knowing description of her vocal artistry. He has dug deeply into the archives, the published literature, the culture, and the singing and musicianship in a book that will be, so far as it goes, definitive. This is not to say that Holiday will not be written about again. Just as her music is being honored (most recently by Cassandra Wilson in a tribute album) in this, the centennial of Holiday's birth, her vast contribution will be meditated upon as long as we listen to music or explore the emotions Lady Day evoked as no other. To Szwed's credit, the book does not dwell on pathology; regrettably, however, it does not delve deeply enough into Holiday's personality, and the book's selectivity is underscored by its abrupt and inconclusive ending. Still, this is essential reading for jazz fans.--Levine, Mark Copyright 2015 Booklist
Kirkus Review
Esteemed music scholar Szwed (Alan Lomax: The Man Who Recorded the World, 2010, etc.) offers a portrait of Lady Day as artist and mythmaker rather than tragic victim. More than any other vocal artist of her era, Billie Holiday (1915-1959) continues to capture the attention of historians and critics. The grim details of her life are, by now, well-known: how she emerged from a background of poverty and prostitution and, for the remainder of her years, struggled with drug and alcohol addiction, abusive relationships, and racism. Szwed does not gloss over these facts, but neither does he dwell on them, instead centering his account on Holiday's enigmatic persona and its relationship to her art. He calls the book a "meditation" on Holiday rather than a strict biography and assumes that readers will have some familiarity with her life story. The first part of the book, "The Myth," is a fragmentary but detailed exploration of how Holiday's persona developed outside of her recordings, focusing on her controversial autobiography Lady Sings the Blues (especially what was edited out of the manuscript) along with her film and TV appearances. The second part, "The Musician," which takes up more than half the book, is an erudite blend of cultural history and musical insight that examines the historical context of Holiday's career, placing her in a lineage of female singers that reaches back to the 19th century. Szwed also takes a close look at Holiday's innovative vocal approach, reminding us that although she had no formal training, she possessed a remarkable gift for improvisation and interpretation, often reshaping melodies to the extent that she essentially rewrote them according to her own idiosyncratic visions. As with the best of Holiday's music, this elegant and perceptive study is restrained, nuanced, and masterfully carried out. Copyright Kirkus Reviews, used with permission.
Library Journal Review
Szwed, a seasoned music writer (So What; Space Is the Place), jazz musician, and former Columbia University music professor, attempts to complement the nearly 40 books already written about renowned jazz singer Billie Holiday (1915-59). In an intriguing first section, he provides background about the artist's cowritten autobiography, Lady Sings the Blues, and the deletions from it, especially demonstrating Holiday's close friendships with such celebrities as Tallulah Bankhead and Orson Welles. In a less satisfying second part, the author sometimes unconvincingly traces the musical influences and style of the singer. Szwed rebounds in the third segment, which selectively describes the background and context for some of the most famous songs that Holiday recorded. VERDICT Well written and containing only a few errors, this book offers the general reader a breezy and compelling, though not essential, perspective on the iconic jazz singer just in time for her centenary.-David P. Szatmary, emeritus, Univ. of Washington, Seattle © Copyright 2015. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
Table of Contents
| Introduction | p. 1 |
| The Myth | p. 9 |
| Chapter 1 The Book I: Lady Sings the Blues | p. 11 |
| Chapter 2 The Book II: The Rest of the Story | p. 27 |
| Chapter 3 The Image: Film, Television, and Photography | p. 55 |
| The Musician | p. 75 |
| Chapter 4 The Prehistory of a Singer | p. 77 |
| Chapter 5 The Singer I | p. 97 |
| Chapter 6 The Singer II | p. 115 |
| Chapter 7 The Songs I | p. 131 |
| Chapter 8 The Songs II | p. 171 |
| Acknowledgments | p. 199 |
| Notes | p. 203 |
| Index | p. 221 |
