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Rating: 
Summary: Four and a half stars
Review: Friedwald has definitely got to be the currently most prolific writer on all matters related to the "Great American Songbook" and its performers. His name appears constantly on CD liner notes, his voice is regularly heard on NPR, and his face appears on television whenever an assessment of a recently expired pop star or jazz great is called for. It stands to reason that his opinions wield influence, so as a champion of the music that is the subject of his discourse, I can only hope that his pronouncements are for the better.In most instances, his judgements seem sound, and he usually expresses them with a directness and verve that make for engaging reading. Among the better moments in the book are his dismissal of a Michael Feinstein, a Johnny Mathis, or an Andy Williams as subjects worthy of discussion in a serious book about American popular music. The musicians he devotes chapters to are all deserving, and he provides no small amount of insight into the historical significance and unique talents of his subjects. Still, he can strain a bit too hard to make a case for a singer such as Bing Crosby, proclaiming him a better all-around musician than Sinatra and insisting that the man, if anything, got better with the passing of time. I get the sense that Friedwald knows quite a bit about music, but perhaps not quite enough. And it's not clear that he's ever had much experience performing music. If he had, he'd be more aware of the differences in vocal production, say, between a stand-up singer and a pianist-singer. Or of the kind of risk that is present not only in Sinatra's persona but in the approach to a lyric and its elocution that are part of his music. Bing may have a good ear and good time, but even on his noisy (thanks to Bregman's orchestration) Sinatra-style 1950's session, his time is leaden. He's thinking two-beat instead of 4/4 swing, and he plops his syllables right on top of each beat in order to be able to "think" the 2nd beat that characterizes his Dixieland approach. But if there's any genuine disappointment with the book, it's with what's been left out. Whether it's because he's too busy writing or completing his Crosby collection, Friedwald seems totally unaware of singers like Jack Jones, Shirley Horn, Nancy Lamott and, most notably of all, Etta Jones. One can only hope that a book such as this will lead readers to make their discovery.
Rating:
Summary: Brings You Back to the Music
Review: Friedwald has written a great book--precisely because it's opinionated, un-pretentious, filled with passionate likes and dislikes. Friedwald has apparently listened to every jazz-sung record in history, and his book makes you want to listen to all of it too--in my case, for the first time. For that I'd love to thank him personally. If you believe that understanding the conventions of an art form helps you appreciate it fully, "Jazz Singing" is an eduacation in what to listen for...in how to listen to jazz singing. I don't always agree with Friedwald and neither will you, but so what? A wonderful book about an art that seems unfortunately to be dying out--a book that helps, along with all the CD re-issues that thankfully come out, to keep it alive.
Rating:
Summary: Brings You Back to the Music
Review: Friedwald has written a great book--precisely because it's opinionated, un-pretentious, filled with passionate likes and dislikes. Friedwald has apparently listened to every jazz-sung record in history, and his book makes you want to listen to all of it too--in my case, for the first time. For that I'd love to thank him personally. If you believe that understanding the conventions of an art form helps you appreciate it fully, "Jazz Singing" is an eduacation in what to listen for...in how to listen to jazz singing. I don't always agree with Friedwald and neither will you, but so what? A wonderful book about an art that seems unfortunately to be dying out--a book that helps, along with all the CD re-issues that thankfully come out, to keep it alive.
Rating:
Summary: THE VOICES BOUNCE OFF THE PAGES!!!
Review: Friedwald is not an elegant writer, but he crams a lot of information into the book. This is a controversial subject. I would prefer to limit the lineage to Armstrong-Rushing-Cole-Torme, Holiday-Humes-Fitzgerald-Vaughan-O'Day (and followers), leaving the Crosby-Sinatra-Bennett-Brewer-Clooney group separate as 'jazz-influenced' singers. But it's his book. I think, as others have mentioned, that he really misses the boat by dismissing the Four Freshmen and Hi-Los so contemptuously, and I can't find a thing to admire about Betty Carter's squeaky little voice myself. But those are my opinions. Great discography. Just wince and read on.
Rating:
Summary: The BEST book written about jazz singing!
Review: I'm suprised by the largely negative comments about this book. Certainly Mr. Friedwald has his personal biases, and is not afraid to let them be known--but this never stood in the way of my enjoyment of this book. Overall, this book has the tone of a very hip friend letting you in on some of the things that make his favorite singers great. His chapter on Billie Holiday and Ella Fitzgerald is terrific, alerting the reader as to what is special about their (very different) styles. Likewise, the chapter on the vo-cool school (Mel Torme, Anita O'Day, June Christy, etc.) is similarly instructive. I don't find the prose overly "stream-of-conscious," or inordinately "hip" (hey, he is talking about jazz here!). I really can't comment on technical inaccuracies (mispelled Yiddish, etc.), or possible gaps in the narrative (any study like this is bound to emphasise certain tendencies over others), but Mr. Friedwald can bring his record collection to my house anytime!
Rating: 
Summary: Love and grumbling
Review: Jazz Singing covers 20th jazz singing from classic blues to post-bop singers. The book is notable for breadth, Friedwald's often sharp humor, and a knack for exploring underrated singers such as Kay Starr and Helen Humes. Though I don't always agree with him he is passionate and knowing. Jazz Singing is more of a commentary than a history of jazz singing and lacks the thoroughness and balance of a book written by a cultural historian as opposed to a fan/critic/liner note writer/compiler. The book is haunted by a defeatist nostalgia the author is too young for and obvious theses repeated ad nauseam. The author holds simplistic notions of how black and whites sing and never actually differentiates between adult and kiddie pop. Is this simply a matter of musical sophistication or assumptions about how love can be expressed? The assertion (one shared w/ Stanley Crouch and Donald Clarke) that adult pop is dead, is one that must be argued not simply asserted. It is also peculiar that Friedwald never devotes any attention to the fact that kiddie pop novelties, pre and post Mitch Miller largely define the careers of many singers he praises including Bing Crosby, Jo Stafford, Peggy Lee and Doris Day--(who,for example indulged w/ novelties during her Les Brown stint). Jazz Singing is also growing dated, a hazard of such a nostalgically minded, cynical book. Strangely even in the 1996 edition Jimmy Scott (who came back in the '90s) and Shirley Horn (who came back in the '80s) are absent, [except very brief comments] Blues/R&B-based singers w/ jazz-oriented careers (i.e. Ruth Brown, Etta James, early Ray Charles and Aretha Franklin) are overlooked. Finally, Dee Dee Bridgewater, Kevin Mahogany, Dianne Reeves, Patricia Barber, Diana Krall, Kurt Elling, etc. whose careers overlap the 1996 edition are barely mentioned [except a mention of Elling] This is a fun book but more useful as a consumer guide based on its discography and several choice passages. If you want a history of jazz singing you would do better to check out Gary Giddins' anthologies (where is his jazz singing book?!) and instrumental and vocal jazz histories by Giola and Shipton, respectively.
Rating: 
Summary: A potentially good book spoiled.
Review: This is a wide-ranging survey of American jazz singing in the 20th century. The author appears to have listened to every available recording of everybody and has a great deal to say.The book is marred by its lazy conversational style. The work appears to have been dictated rather than written, and it needed a much better editing job prior to publication. The organization of chapters is reasonable, being basically historical, but micro-organization within chapters seems non-existent. The result is a disorganized stream-of-consciousness style which is irritating in the extreme. The Yiddish is occasionally mis-spelt. The author's sloppy use of musical terminology is largely inaccurate, and his frequent use of unexplained jargon instead of accepted technical terms will put off a lot of readers including this one. The author is blind (or tone-deaf?) to the many important connections between American popular song and influences from other musical spheres such as Neapolitan song and Puccini, and the direct line which can be drawn from these through Jolson to Crosby and beyond. He also specifically denies the important connections between Italian classical singing practice, with its emphasis on the line and on focus, and that of Sinatra.
Rating:
Summary: The BEST book written about jazz singing!
Review: Tried hard as I may, but I never found another book as half as passionate about this subject.O.K. I understand that some people have problems with liking the same things as author (I as the first one, LOVE Cleo Laine and he despises her, so what?)but Mr.Friewlad obviously know the field he is writting about and for me its pure pleasure to read this book again and again.I found so many inspirations here, discovered so many names nowadays no one mention anymore and to put it simply, I think this is the best book written about jazz singing.Music being my hobby & passion, I have this book with me as Im travelling and I never get bored with it... I would love to meet Mr.Friewald one day and thank him for the hours of pleasures he gave me with this book and all this suggestions (and to discuss Cleo laine with him)!
Rating:
Summary: THE VOICES BOUNCE OFF THE PAGES!!!
Review: Will Friedwald has written the most definitive book on Jazz Singing to date (and I think you'd find it rather difficult to scope out another book solely on this subject). He dared to do what others wouldn't; he's written a book that can never have a final edition. Friedwald is smart enough to know that Jazz singing influenced Pop singing, and the influence was reciprocated (as is the case with Bing Crosby and Louis Armstrong). He's not afraid to write about singers or even entertainers that might have helped bring jazz singing to the mainstream simply by their adopting jazz-vocal characteristics (as is the case with Al Jolson and Eddie Cantor). Will Friedwald finally gives certain singers their due by showing them to be the trailblazers, pioneers, and inspirations that they were and will always be. He gives Mel Torme the credit he deserves with Cool Jazz Vocals, sighting his artistry, and scatting-the-chorus method. And he finally shows the world that Bing Crosby is the singular most influential American Pop Vocalist of the 20th Century (as his influence effected Jazz singing aswell). In addition, Freidwald gives exstensive, beautifully written passages on the great Vocalists Ella Fitzgerald, Billie Holiday, Billy Eckstine, and Sarah Vaughn. He also writes just as brilliantly about the great Jimmy Rushings, Ethel Waters, and Bessie Smith. All in all, Will Friedwald's "Jazz Singing" is a must for anyone studying American Music, and you MUST HAVE IT if you're a jazz fan!
Rating: 
Summary: A Jazz Affair
Review: Will Friedwald loves his subject and it shows. I learned a lot and agree with, perhaps, 95% of his judgments. But some of his dismissals sound perfunctory and I'm not even sure that he even reviewed the relevant material. Example: Jonny Mathis in the "Must Avoid" Department. Generally true, but certainly not the very first albumn (CK 64890) which has some excellent vocals and arrangements in the jazz idiom. "Easy to Love" and "Star Eyes" are splendid and his "It Might as Well be Spring" is one of the best, at least to my ear. But I almost forgive him since he praises the much-neglected Dakota Staton. Almost, but not quite. And, please, David Raksin deserves to have his name spelled straight. Anyone who could compose "Laura" and "The Bad and the Beautiful" deserves editorial accuracy.
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