Be1Canto in
speech. The noble manner of singing which
H e n r y Pleasants
If I ivere a teacher trying to demonstrate
Baroque practices, conventions. and criteria
to my students, I would begin Lvith jazz-and
particularly LVith the popular singers. To
demonstrate what an appoggiatura is, for ex-
ample, I would use a recording bjz Frank Si-
natra o r Sarah Vaughan. To teach the con-
cept of tempo rubato. I Lvould again choose
Sinatra. And for the slur, glide, o r porta-
mento. there are numerous examples in the
singing of Sinatra, Vaughan, Ella Fitzgerald.
Ethel Ll'aters, a n d others. hlany devices
these singers use were common in the sev-
enteenth and eighteenth centuries.
T h e history of singing as we know i t dates
from about 1600, tvith the early operas of
such composers as Caccini, Peri. Cavalli. and
Monteverdi. Opera originated as a reaction
against what was thought to be the arti-
ficiality, the intellectuality. the complexity of
polyphonic vocal music as it h a d developed
in the two preceding centuries. The mem-
bers of the Florentine Camerata toward the
end of the sixteenth century wanted to de-
fine or rediscover what they felt was the
practice of music and singing in Greek
drama. In this pan-Hellenistic reform, they
intended to exploit the music of the Italian
language to get the singer back to something
that was closer to speech, or at least to a kind
of singing that one could think of as the lyr-
ical extension of speech.
Giulio Caccini. for example. Lvrote that "in
this manner of singing I have used a certain
neglect which I deem to halve an element of
nobility, belie\.ing that with i t I have ap-
proached that much nearer to ordinary
The author. a London-based music critic, began his ca-
r e e r as a classical singer. H e is widely k n o n n for his
books T h e Great Singers. T h e Agony of Modern I l u s i c .
Serious hlusic-And All That J a z z . a n d Death of a hfu-
sic?
54 mej/may '73
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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
was called the prima prattica and the sec-
onda prattica, said of the first practice that
"it considers the harmony not commanded
but commanding, not the servant but the mis-
tress of the words." The second practice (the
modern practice at that time] considers
"harmony not commanding but commanded
and makes the words the mistress of the h a r -
mony." In listening to popular singers, I have
been struck by the extent to which these ad-
monitions of the early Baroque period a r e
fulfilled by singers who probably knownoth-
ing about them-singers who use the s a m e
ornaments without knowing their names a n d
who actually use them more correctl!, than
most classical singers (that is, simply putting
these ornaments in because i t is understood
that that is the thing to d o ) .
In the seventeenth a n d eighteenth cen-
turies, the singer was the boss. T h e whole
world of music-the profession and per-
formance-was centered on the singer. It is
unthinkable today for a classical singer to
tell a conductor h o w h e should be directing
the orchestra, but in popular music that may
be the case. A popular-music director, such
as John Bunch for Tony Bennett o r Bill Mil-
ler for Frank Sinatra, works for the singer,
a n d in rehearsal the singer does not hesitate
to talk directly to the orchestra. That is pre-
cisely what the situation was in the Baroque
era.
T h e most i m po r tan t si m i 1 a r i t y , h o w ev er ,
between Baroque and contemporary popu-
lar music practice is the emphasis on lan-
guage. Ornaments such as the trill (usually i t
is a slow trill when used by popular singers),
the appoggiatura, the portamento, slur, a n d
glide a r e all devices used by the early com-
posers of opera to emphasize the meaning
and the music of words. O n e of the things
that most commonly distinguishes the art of
the popular singer from the art of the classi-
cal singer today is his enunciation a n d atten-
Jazz and Pop Singing
tion to the text. I don’t know of any other
singer in whom all of these qualities a r e so
marvelously comtiined as they are in Frank
Sinatra. Listen, for example, to his recording
of “One For My Baby (And O n e More For
the Road),” a song by Harold Arlen a n d
Johnny Mercer. After the opening piano con-
tinuo by Bill Miller, there a r e examples of
appoggiatura throughout. Sinatra has many
varieties of appoggiatura because h e shapes
them as i t seems appropriate to him from the
text.
H e is also a master of tempo rubato. T h e
Italian word rubare means “to steal,” a n d
thus tempo rubato, according to its original
meaning, meant to steal time. (Today, many
think of it incorrectly as a change of time.] In
“One For My Baby,” there is a point where
Sinatra sings “put another nickel in the ma-
chine”: what happens between “nickel” and
“in the machine” is a spectacular example of
tempo rubato. Also characteristic is the way
h e milks the words on “make the music
eeeeeasy and sad” with a slur-a kind of
easy portamento. At the end there is a mar-
velous coda: As the character in the song
goes out the door, Sinatra sings “the long, the
very long, it’s very long,” a n d h e does not
pronounce the final word, “road.” You can
practically see this poor wretch disappear
down that long, very long road. T h e arrange-
ment for the song is by Nelson Riddle. It’s
one of his most beautiful because there is so
little of i t . The strings come in imperceptibly,
a n d no single instrument is h e a r d until well
along in the song when Sinatra sings “and
that’s h o w i t goes,” at which time an alto
saxophone comes in, It’s a discreet arrange-
ment to accompany a very fine vocal per-
formance.
After you listen to this recording, consider
the following thoughts from “Admonitions
to a Young Singer”:
Let him take care that the higher the notes, the
more necessary i t is to touch them with softness to
avoid screaming. Let him learn the m a n n e r to
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
that the words a r e uttered in such a m a n n e r , with-
out any affectation, that they b e distinctly under-
stood and no one syllable lost, for i f they a r e not
distinguished, the singer deprives the h e a r e r of
the greatest part of that delight which vocal music
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conveys by means of words. For if the words a r e
not h e a r d so a s to b e understood, there will b e n o
great difference between a h u m a n voice a n d a n
oboe. In repeating the air, h e that does not vary i t
for the better is n o great master. Let a student
therefore accustom himself to repeat them always
differently, for if I mistake not, one that abounds
in invention, though a moderate singer, deserves
much more esteem than a better who is barren.
Whoever does not know h o w to steal time in sing-
ing knows not h o w to compose nor to accompany
himself and is destitute of the best taste a n d
knowledge. T h e stealing of time in the pathetic is
a n honorable theft in one that sings better than
others, provided h e make a restitution with inge-
nuity. O h , h o w great a master is the heart.
That was written in 1723 by Pier Francesco
Tosi in his Observations on the Florid Song. I
believe that Sinatra comes closer than any
classical singer I have ever h e a r d to fulfill-
ing Tosi’s requirements.
T h e classically oriented listener has a
problem when h e compares the popular
singer with the classical singer because they
sing an entirely different repertoire. In or-
der to discern precisely what the differences
are, i t is perhaps necessary to select a mel-
ody that everyone knows, and listen to i t
sung in both ways, according to each idioma-
tic characteristic. A satisfactory song for this
purpose is George Gershwin’s “Summer-
time,” which has been recorded by a num-
ber of vocalists in each tradition. If possible,
listen to the recording of i t by Eleanor Ste-
ber, and then to the version by Mildred Bai-
ley, who was the first of the great white sing-
ers to master the Afro-American style.
Mildred Bailey’s recording of “Summer-
time” was made in 1948 during the days of
bebop: the influence shows in her beautiful
melodic deviations, which include flatted
fifths.
What singers like Mildred Bailey got from
the blacks was an oratorical approach to
song. T h e black man, coming to the States as
a slave, accepted and adopted many of the
elements of Western music, but h e found the
Western tradition melodically restrictive,
and therefore h e bent melody to his own
purposes in order to make music that h e felt
was more communicative and that evolved
more naturally, more eloquently out of lan-
guage. T h e adoption of this technique by
rnej/rnay ‘73 55

Frank Sinarra (The Bettmann A r c h i b e , Inc )
I believe that Sinatra comes
closer than any classical
singer I have ever heard to
fulfilling Tosi's req uir e ments.
ivhite p e r f o r m e r s h a s a long histor!.. of
course. beginning ivith the minstrel s h o w in
Lvhich ivhite m e n blacked their faces to imi-
tate black m e n imitating ivhite m e n a n d not
quite making i t . T h e d e g r e e b!. ivhich the!.
didn't q u i t e m a k e i t \ \ a s felt at t h e time to b e
c h a r m i n g a n d amusing. T h e fact that black
m e n themselves could find a place in the
A m e r i c a n th e at e r on 1>, through the m ins t r e 1
shoiv c o m p o u n d e d this n o n s e n s e : Since the!.
w e r e not black enough. the!. blacked their
o\vn faces to put on shoivs in ivhich they imi-
tated lvhite m e n imitating black m e n imitat-
ing lvhite m e n . T h a t \\as not reall!. all that
long ago. Samm!. Dairis tells a stor!, of his
first a p p e a r a n c e on the stage: H i s u n c l e ,
standing b!. him in the Lvings. s a i d , "Kow
t h e r e ' s o n e thing !'GU shouldn't forget. Don't
touch your face." Samm!. Lvas in black f a c e
a n d h a d Lvhite gloves o n . T h i s lvas c a r r i e d
over into iraudeville a n d p r o d u c e d the most
f a m o u s of the black imitators, s u c h as A1 701-
son a n d S o p h i e T u c k e r . (Lvhat is not g e n e r -
ally knolvn is that t h e r e ~ v a sa parallel black
vaudeirille circuit r u n b>,the T O B A , the T h e -
at e r 0 ivn e r s ' Booking As so ci at i o n , kn o Lvn
a m o n g black artists on the circuit as "Tough
on Black Artists.")
T h e history of popular singing a s ive knoiv
i t , a n d in the context in lvhich i t is being dis-
56 mej/may '73
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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 . )
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!,
\\'eather" a n d !.ou ~ v i l lh e a r hoiv marirel-
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
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 ,
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 -
ing h o w s h e sings on consonants. Alan!. of t h e
popular singers d o that, a n d classical singers
a s a r u l e do not. A possible explanation is
that classical singers deriire their technical
st).le basicall!. from t h e Italian, a n d irer!. feLv
Italian ivords e n d in consonants. If !.ou listen
to Ethel 12'aters o r S i n a t r a o r h l a h a l i a Jack-
son. >.ou ~ v i l lnotice that p o p u l a r singers a r e
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
recording of "Storm!. \\'eather" also in-
c l u d e s a ivonderful e x a m p l e of c a d e n z a .
Again, ive h a v e a seirenteenth-centurv d e -
\rice emplo!,ed a s i t Lvas originall!. m e a n t to
b e . to m a k e a p r o p e r improvised e n d i n g .
(This practice. along Lvith man!. o t h e r s in
singing. Lvas c o r r u p t e d throughout t h e n i n e -
teenth c e n t u r y , a n d ivhat w e h e a r n o w a s ca-
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.
truncated abominations often copied out of
c a d e n z a books.) O n this recording. m a d e in
1932, Ethel 12'aters is b a c k e d b j , a n o r c h e s t r a
that includes Benny G o o d m a n . Jimm!. a n d
T o m m y Dorse!., a n d J o e Venuti. Inter-
estingl!,. Lvhite musicians Lvere playing b e -
h i n d black singers in t h e 1 9 2 0 s , a n d vice v e r -
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 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
pianist T e d d y \Vilson set a p r e c e d e n t b y join-
ing Bennh- G o o d m a n ' s b a n d , t h e Lvhite musi-
cians of t h e Chicago croivd Lvere playing in
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

mej/may '73 57
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 strong kneLv hoLv to use i t , too] : secondl!.. you
will h e a r Crosb!. using the Afro-American
style \fer!. Lvell, a n d then Armstrong using i t
better. The!. lag behind the beat, they antici-
pate the beat, a n d they stretch i t out. Popular
singers, as a rule. do not count time. They
think in four- a n d eight-measure arches a n d
a r e guided by the chord changes. The!, put
the Ivords on the notes Lvhere they feel they
should go to b e appropriate to the text. This
is probabl!. what Caccini Lvas talking about
as "graceful negligence." I t produces a much
more oratorical, speaking kind of communi-
cation than is possible Lvhen a singer is
thinking in terms of "one-and. tLvo-and."
Currently, there is much interest among
young people in Billie Holiday, because of
the recent film based on h e r life story. Billie
Holiday links u p the great art of a Frank Si-
natra Lvith the pioneer Lvork of a Bing
Crosby. Sinatra h a s said that his two greatest
influences were Tommy Dorsey's trombone
and Billie Holiday's phrasing. Billie Holiday
is an extremely interesting singer because
Armstrong was a
marvelous singer
who had a great
influence on all
the singers who
came after him,
including Crosby
and Sinatra.
58 rnej/rnay '73
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s h e h a d ver!. little voice. S h e h a d only about
an octave. [Probably, even i f s h e h a d h a d
more, s h e would not hai.e h a d a much differ-
ent disposition to sing a tune.) Like Bessie
Smith before h e r , s h e Lvould take a n y given
melody a n d entirely r e s h a p e i t to h e r o w n
requirements a n d to h e r own feeling about
the text a n d the character of the song itself.
Most of Billie Holiday's late recordings a r e
inferior to h e r earlier ones, but there is o n e
of "Come Rain o r Come Shine" that shows
the extent of h e r art a n d h e r personality as
well a s an!' other. (She is backed on i t by
Benny Carter, playing the saxophone \fer>'
much in the style of Lester Young.) In listen-
ing to this recording, !rou can h e a r h o w s h e
changes the tune each time through a s s h e
builds h e r own concept of the song. S h e
seems to make almost a music composition
out of the o n e word "shine." T h e recording is
also notable for a marvelous cadenza.
O n e of the things that classical singers find
lacking in the popular singer is vocal virtuos-
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
goes into falsetto when s h e goes through
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-
proximately three octaves. (Sarah Vaughan's
is about the s a m e , p e r h a p s a little m o r e . ]
Another device of seLfenteenth-centur!.
singers Lvas Lvhat they called messa di voce,
the putting of the voice, in which the singer
attacked the tone quietly, swelled i t , a n d
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
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
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