Queen of Bebop

Queen of Bebop
افزودن به بوکمارک اشتراک گذاری 0 دیدگاه کاربران 3 (1)

The Musical Lives of Sarah Vaughan

مشارکت: عنوان و توضیح کوتاه هر کتاب را ترجمه کنید این ترجمه بعد از تایید با نام شما در سایت نمایش داده خواهد شد.
iran گزارش تخلف

فرمت کتاب

audiobook

تاریخ انتشار

2017

نویسنده

Allyson Johnson

ناشر

HarperAudio

شابک

9780062681805
  • اطلاعات
  • نقد و بررسی
  • دیدگاه کاربران
برای مطالعه توضیحات وارد حساب کاربری خود شوید

نقد و بررسی

AudioFile Magazine
In a youthful voice, narrator Allyson Johnson delivers this substantial biography of the great jazz vocalist Sarah Vaughan. As fans know, Vaughan's speaking voice was high pitched and childish sounding, which is how Johnson realistically presents the many Vaughan interviews. But this is also a scholarly piece of music history, and Johnson's overall peppy narration seems too lighthearted at times. Nevertheless, it's a worthwhile listen for any Vaughan fan or student of American jazz, offering insight into Vaughan's remarkable innate talent and astonishingly poor life choices. As Johnson recounts the early days of Vaughan's career and her central role in the development of bebop, listeners can envision how her na�ve passion for the purity of the music interfered with her ability to make sensible business decisions. N.M.C. � AudioFile 2017, Portland, Maine

Publisher's Weekly

Starred review from May 29, 2017
Drawing on exclusive interviews with Sarah Vaughan’s friends and former colleagues, jazz-historian Hayes (a former editor of Earshot Jazz magazine) has written a lively and moving portrait of the passionate and tenacious jazz singer. Hayes gracefully narrates Vaughan’s life, from her childhood-church-choir days in 1930s Newark, N.J., and her first major performance at age 18 at Amateur Night at the Apollo Theater in Harlem to her career of singing bebop with Billy Eckstine, Earl Hines, Dizzy Gillespie, and Charlie Parker. Hayes traces Vaughan’s growth as a successful pop artist—which she dictated on her own terms—as well as her failed marriages and her canny ability to make a range of musical styles her own. Vaughan dealt with shady business managers and unscrupulous producers who wanted to shape her in their image, but she held strong and continued to focus on her singing, which, as Hayes astutely explains, represented for her “autonomy, independence, and an opportunity for self-realization... it was her salvation.” Hayes’s blending of the cultural history of the 1950s, ’60s, and ’70s with his lucid critical insights into Vaughan’s recordings and her life makes this book a detailed look at a fearless singer who constantly moved into new musical territories and left a legacy for younger musicians.




دیدگاه کاربران

دیدگاه خود را بنویسید
|