Anita O'Day
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, Anita (Originally Anita Belle Colton.) 1919-2006.American jazz singer. Noted for her scat singing, she rose to fame during the Big Band era of the 1940s.
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Anita O’Day
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| Born Anita Belle Colton December 18, 1919, in Chicago, IL. Began singing as a teenager as a replacement for ill singer in burlesque show, 1930s; worked as a dance-a-thon contestant, 1930s; changed name to O’Day while working as a singing waitress and dice-girl, 1938; sang in Off-Beat club, Chicago, IL, late 1930s; began singing with Max Miller combo at Chicago’s Three Deuces, 1939; joined Gene Krupa’s band, 1941; had first hit, “Let Me Off Uptown,” with Krupa band, 1941; left Krupa band to get married, 1943; sang briefly with Woody Herman’s band, 1943; joined Stan Kenton’s band, 1944; rejoined Krupa band, 1945; began recording as soloist with Signature label, 1947; sang with various small bands and studio orchestras, 1950s; began long association with Verve label, 1952; started working regularly with drummer John Poole, 1954; received rave reviews for performance in Newport Jazz Festival, 1958; appeared in The Gene Krupa Story, 1959; made first tour of Japan, early 1960s; almost died from heroin overdose, 1967; made comeback at Berlin Jazz Festival, 1971; toured England and Europe, 1970-71; formed own record company, Anita O’Day Records (later renamed Emily Records), 1972; performed at Monterey Jazz Festival, 1974; sang at Carnegie Hall and various super clubs in New York, NY, 1974; had special performance at Carnegie Hall to commemorate her 50 years as a singer, 1985; continued to perform and record, 1990s. Film appearances include The Glenn Miller Story, 1959; Zig-Zag, 1971; The Outfit, 1974. Addresses: Record company—Verve Records, 825 8th Ave., 26th fl., New York, NY 10019. |
Jazz vocalist
Called "one of the finest singers to emerge from the swing era" by Scott Yanow in the All Music Guide to Jazz, Anita O’Day has been hailed as one of the most distinctive voices in the history of jazz. She advanced from a Billie Holiday-type style to her own inventive technique that made her equally adept at interpreting songs as written and improvising with a flair matched by few. O’Day was also the chief inspiration of many famed singers who came to prominence in the 1940s, including June Christy, Chris Connor, and Helen Merrill. She has had one of the longest active careers among jazz singers, now spanning over 60 years. Her tenure in front of the microphone is all the more incredible considering that she was addicted to heroin during many of her peak years.
New York Times writer Stephen Holden reported that during a 1995 performance at Rainbow and Stars in New York City, O’Day remarked: "I’m not a singer; I’m a song stylist." Although her singing approach was inspired by Mildred Bailey, Billie Holiday, Ella Fitzgerald, and Martha Raye, O’Day eventually developed her own style that others found difficult to imitate. Some of her most inventive traits as a singer were "a manner of skipping in front of and behind the beat, and the extensive use of melisma [a group of notes or tones sung on one syllable]," according to Leonard Feather and Ira Gitler in The Encyclopedia of Jazz in the Seventies. O’Day also cut a distinctive profile on stage in her early career by appearing in a band jacket and short skirt rather than the more formal dress that was virtually demanded of female singers of her time, causing her to be regarded as an early feminist.
Anita Belle Colton came upon her career as a singer somewhat accidentally. She joined a burlesque show as a teenager, and then was asked to replace a singer who had laryngitis. During the Depression she endured an exhausting tenure as a contestant in dance marathons, at which time she assumed the stage name of O’Day. When she was 19 she scratched out a living by becoming a singing waitress and dice-girl, finally landing some jobs as a singer with local Chicago groups. One of her key venues as a performer was the Off-Beat, a night spot frequented by musicians such as the drummer and band leader Gene Krupa.
A singing job with the Max Miller combo at the Three Deuces club in Chicago gave O’Day the exposure she needed, and two years later she replaced Irene Daye as a singer for Krupa’s band. Critical to her success at this time was the addition to the band of trumpeter and vocalist Roy Eldridge, who shared a strong chemistry with O’Day on stage. The two were featured as singers on the recording of "Let Me Off Uptown," which was one
of the first interracial vocal duets on record. This single, which was a major hit, and O’Day’s rendition of "That’s What You Think" helped make the young singer a hot new star in the early 1940s. In 1941 her new fame was confirmed by Down Beat magazine naming her "New Star of the Year," and the following year the magazine cited her as one of the top five big band singers.
After getting married in 1943, O’Day left the Krupa band and moved to California to explore other options as a performer. She joined up with Woody Herman’s band for a short period, then quit because she was unable to cope with the band’s exhausting schedule of consecutive one-night stands. At that point her manager advised her to sing with Stan Kenton’s band, which she did in 1944. More accolades came her way in the mid 1940s, among them designations of best big-band singer by Down Beat and "outstanding new star" by Esquire. Although her fame grew with Kenton thanks to her renditions of songs such as "And Her Tears Flowed Like Wine," O’Day was not pleased with Kenton’s highly controlled approach. As Len Lyons and Don Perlo noted in Jazz Portraits: The Lives and Music of the Jazz Masters, "O’Day was uncomfortable with the rigid structure of the music and highbrow attitude of the group."
Her eagerness for a more freewheeling atmosphere brought O’Day back to Krupa’s band in 1945, which by then had the services of the bebop-style pianist Dodo Marmaros and clarinetist Buddy DeFranco. After leaving Krupa in 1946, O’Day explored her potential as a solo artist. Her first solo work was recorded on the Signature label in 1947, and on her own she began to demonstrate her exceptional versatility. In his review of Anita O’Day 1949–1950 on Tono, Yanow wrote that the singer "handles the wide variety of songs (ranging from bop and dated novelties to calypso and Tennessee Waltz’) with humor and swing, mostly uplifting the occasionally indifferent material."
Blossomed with Verve Label
Starting in 1950, O’Day sang with a number of small bands, and worked as a session singer in the studio. Her career received a major boost after she signed on with the new Verve jazz label produced by Norman Granz. She hit her peak in 1955 with Anita, about which Yanow stated: "O’Day is heard near the peak of her powers on such songs as ‘You’re the Top,’ ‘Honeysuckle Rose,’ an emotional rendition of ‘A Nightingale Sang in Berkeley Square,’ and ‘As Long as I Live.’" Many of her Verve recordings in the mid 1950s featured Monty Budwig on bass, Tal Farlow or Barney Kessel on guitar, and Jimmy Rowles on piano. Since O’Day’s rhythmic style was so responsive to percussion, it was no surprise when she hooked up with drummer John Poole as her regular accompanist in 1954 for a professional relationship that lasted 32 years.
As her fame spread during the 1950s, O’Day was in demand for festivals and concerts that featured the greatest jazz stars of her day—including Louis Armstrong, Dinah Washington, George Shearing, and Thelonious Monk. Many fans and critics have attested that the high point of her career was her performance at the Newport Jazz Festival in 1958, which was called "sensational" by Barry Kernfeld in The New Grove Dictionary of Jazz. Her versions of "Sweet Georgia Brown" and "Tea for Two" at the Festival brought down the house, and were also preserved in a filmed account of the event.
Strong Soul, Weak Heart
Although still active on the jazz circuit in the 1960s, O’Day began to suffer heart problems as a result of her long-term heroin addiction. She finally stopped using the drug in 1967 after a near fatal overdose. Her career got back on track with a strong performance at the Berlin Jazz Festival in 1970, and she ventured into the business end of her music in 1972 when she formed her own record company, Anita O’Day Records (later known as Emily Records). Many O’Day albums were turned out on her label in the 1970s, and she continued to perform in major festivals and jazz clubs as she approached 60. In 1974 she began appearing frequently at Ye Little Club in Beverly Hills, California, as well as clubs such as Reno Sweeney’s in New York City. Meanwhile, her new releases were often received favorably. In his review of Anita O’Day Live, a recording of a 1975 performance released for the first time in 1993, Scott Yanow said that "the singer is heard in excellent form."
In 1985 O’Day celebrated her half-century as a singer with a performance in Carnegie Hall. "She still excels at up-tempo rhythms," remarked Len Lyons and Don Perlo in The Jazz Masters in 1987, confirming that O’Day had aged well. But by the 1990s, her public appearances had become somewhat erratic. Discussing an O’Day performance at Rainbow and Stars in New York City when she was 75 years old, John Holdung wrote in Back Stage, "The voice, while still pure jazz, is now a dim memory possibly best left for recording rather than for public performances in a pricey room." In his review of 1994’s Rules of the Road, Chris Albertson wrote that the singer "would have been better served leaving us to wonder how she might have sounded today."
It is likely that Anita O’Day’s extensive lineup of highly regarded albums and performances will always stand tall among the pantheon of great jazz performers. Brian Priestly concluded in Jazz: The Rough Guide that "the many singers who emulated her work, ballads especially, such as June Christy, Chris Connor, and Helen Merrill, came nowhere near to swinging as delightfully as O’Day."
Selected discography
Anita O’Day 1949-1950, Tono.
Anita, Verve, 1955.
Anita O’Day Sings the Winners, Verve, 1958.
All the Sad Young Men, Verve, 1961.
Anita O’Day Live, Star Line, 1976.
Live at the City, Emily, 1979.
A Song for You, Emily, 1984.
Rules of the Road, Pablo, 1994.
Selected writings
High Times, Hard Times (with George Eells), Corgi, 1983.
Sources
Books
Carr, Ian, Digby Fairweather, and Brian Priestley, Jazz: The Rough Guide, The Rough Guides, 1995, pp. 479–480.
Case, Brian, and Stann Britt, revised and updated by Chrissie Murray, The Harmony Illustrated Encyclopedia of Jazz, Third Edition, Harmony Books, pp. 140–141.
Cook, Richard, and Brian Morton, The Penguin Guide to Jazz on CD, LP, and Cassette, Penguin Books, 1992, pp. 819–820.
Erlewine, Michael, Vladimir Bogdanov, Chris Woodsta, and Scott Yanow, All Music Guide to Jazz, Second Edition, Miller Freeman Books, 1996, pp. 559–561.
Feather, Leonard, and Ira Gitler, The Encyclopedia of Jazz in the Seventies, Horizon Press, 1976, p. 258.
Kernfeld, Barry, editor, The New Grove Dictionary of Jazz, Volume Two, Macmillan, 1988, pp. 264–265.
Lyons, Len, and Don Perlo, Jazz Portraits: The Lives and Music of the Jazz Masters, William Morrow, 1989, pp. 399–400.
O’Day, Anita and George Eells, High Times, Hard Times, Corgi, 1983.
Periodicals
Back Stage, July 14, 1995, p. 11.
New York Times, June 30, 1995, p. C20.
Stereo Review, May 1994, p. 90.
Additional information for this profile was obtained from the Jazz Profiles website of the National Public Radio on the Internet.
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Anita O'Day
- Genres: Vocal Music
Biography
Few female singers matched the hard-swinging and equally hard-living Anita O'Day for sheer exuberance and talent in all areas of jazz vocals. Though three or four outshone her in pure quality of voice, her splendid improvising, wide dynamic tone, and innate sense of rhythm made her the most enjoyable singer of the age. O'Day's first appearances in a big band shattered the traditional image of a demure female vocalist by swinging just as hard as the other musicians on the bandstand, best heard on her vocal trading with Roy Eldridge on the Gene Krupa recording "Let Me Off Uptown." After making her solo debut in the mid-'40s, she incorporated bop modernism into her vocals and recorded over a dozen of the best vocal LPs of the era for Verve during the 1950s and '60s. Though hampered during her peak period by heavy drinking and later, drug addiction, she made a comeback and continued singing into the new millennium.Born Anita Belle Colton in Chicago, she was raised largely by her mother, and entered her first marathon-dance contest while barely a teenager. She spent time on the road and occasionally back at home, later moving from dancing to singing at the contests. After bad experiences amid brief tenures with Benny Goodman and even Raymond Scott, O'Day earned a place in Gene Krupa's band in 1941. Several weeks later, Krupa also hired trumpeter Roy Eldridge, and the trio combined to become an effective force, displayed on hits like "Let Me Off Uptown," "Boogie Blues," and "Just a Little Bit South of North Carolina." She spent a brief period away from Krupa with Woody Herman, but returned to the band, only to have it break up by 1943. After moving to Stan Kenton, she starred on Kenton's first big hit, 1944's "And Her Tears Flowed Like Wine." Another stint with Krupa presaged her solo debut in 1946, and with drummer John Poole as her accompanist, she recorded a moderate hit one year later with the novelty "Hi Ho Trailus Boot Whip."
Her career really ignited after her first album, 1955's Anita (also known as This Is Anita). Much more successful in the jazz world than she was in its pop equivalent, she performed at jazz festivals and jazz-oriented concerts, appearing with figures including Louis Armstrong, Thelonious Monk, and George Shearing. Her performance at 1958's Newport Jazz Festival made her fame worldwide after being released on a film titled Jazz on a Summer's Day.
O'Day's series of almost 20 Verve LPs during the '50s and '60s proved her to be one of the most distinctive, trend-setting, and successful vocal artists of the time, arguably surpassed only by Frank Sinatra and Ella Fitzgerald. She worked with a variety of arrangers and in many different settings, including a hard-swinging Billy May collaboration (Anita O'Day Swings Cole Porter with Billy May), an excellent, intimate set with the Oscar Peterson Quartet (Anita Sings the Most), several with the mainstream Buddy Bregman Orchestra (Pick Yourself Up, Anita), one with the cool-toned Jimmy Giuffre (Cool Heat), and a Latin date with Cal Tjader (Time for Two) as well as a collaborative LP with the Blue Note instrumental trio the 3 Sounds. Even by the early '60s, however, her ebullient voice had begun sounding tired. The cumulative effects of heroin addiction, its resulting lifestyle, and a non-stop concert schedule forced her into a physical collapse by 1967.
After taking several years to kick alcohol and drug addictions, she made a comeback at the 1970 Berlin Jazz Festival and returned in the early '70s with a flood of live and studio albums, many recorded in Japan and some released on her own label, Emily Records. Her autobiography, 1983's High Times, Hard Times was typically honest and direct regarding her colorful past. Though her voice gradually deteriorated, O'Day recorded throughout the 1970s and '80s, remaining an exciting, forceful vocalist on record as well as in concert. She slowed down considerably during the '90s, and appeared only occasionally. She re-emerged in 2006 with a new album (Indestructible!), recorded during the previous two years, but passed away in November of that year due to the effects of pneumonia and advanced Alzheimer's disease. ~ John Bush, Rovi
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Anita O'Day
For the documentary film, see Anita O'Day: The Life of a Jazz Singer.
| Anita O'Day | |
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| Background information | |
| Birth name | Anita Belle Colton |
| Also known as | "The Jezebel of Jazz" |
| Born | October 18, 1919 Chicago, Illinois, United States |
| Died | November 23, 2006 (aged 87) Los Angeles, California, United States |
| Genres | Vocal jazz |
| Occupations | Singer |
| Years active | 1934 – 2006 |
| Labels | Verve, Kayo Stereophonic |
Anita O'Day (October 18, 1919 – November 23, 2006) was an American jazz singer.
Born Anita Belle Colton, O'Day was admired for her sense of rhythm and dynamics, and her early big band appearances shattered the traditional image of the "girl singer". Refusing to pander to any female stereotype, O'Day presented herself as a "hip" jazz musician, wearing a band jacket and skirt as opposed to an evening gown. She changed her surname from Colton to O'Day, pig Latin for "dough," slang for money.[1]
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Contents
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Style
O'Day, along with Mel Tormé, is often grouped with the West Coast cool school of jazz. Like Tormé, O'Day had some training in jazz drums (courtesy of her first husband Don Carter); her longest musical collaboration was with jazz drummer John Poole. While maintaining a central core of hard swing, O'Day's skills in improvisation of rhythm and melody put her squarely among the pioneers of bebop.
She cited Martha Raye as the primary influence on her vocal style, although she also expressed admiration for Mildred Bailey, Ella Fitzgerald, and Billie Holiday.
O'Day always maintained that the accidental excision of her uvula during a childhood tonsillectomy left her incapable of vibrato, and unable to maintain long phrases. That botched operation, she claimed, forced her to develop a more percussive style based on short notes and rhythmic drive. However, when she was in good voice she could stretch long notes with strong crescendos and a telescoping vibrato, e.g. her live version of "Sweet Georgia Brown" at the 1958 Newport Jazz Festival, captured in Bert Stern's film Jazz on a Summer's Day.[2]
O'Day's backbeat-based singing style was strongly influential on many other female singers of the late swing and bebop eras, including June Christy, Chris Connor and Doris Day.
O'Day's long-term problems with heroin addiction and alcoholism and her often erratic behavior related to those problems earned her the nickname "The Jezebel of Jazz"[citation needed].
Early career
Born into a broken home in Chicago, O'Day took the first chance to leave home when, at age 14, she became a contestant in the popular Walk-a-thons as a dancer. She toured with the Walk-a-thons circuits for two years, occasionally being called upon to sing. In 1934, she began touring the Midwest as a marathon dance contestant and singing "The Lady in Red" for tips.
In 1936, she left the endurance contests, determined to become a professional singer. She started out as a chorus girl in such Uptown venues as the Celebrity Club and the Vanity Fair, then found work as a singer and waitress at the Ball of Fire, the Vialago, and the Planet Mars. At the Vialago, O'Day met the drummer Don Carter, who introduced her to music theory and whom she married in 1937. Her first big break came in 1938 when Down Beat editor Carl Cons hired her to work at his new club at 222 North State Street, the Off-Beat, which quickly became a popular hangout for musicians. Also performing at the Off-Beat was the Max Miller Quartet, which backed O'Day for the first 10 days of her stay there.
While performing at the Off Beat, she met Gene Krupa, who promised to call her if Irene Daye, his current vocalist, left his band. In 1939 she was hired as vocalist for Miller's Quartet, which had a stay at the Three Deuces club in Chicago.
Work with Krupa, Herman, and Kenton
The call from Krupa came in early 1941. Of the 34 sides she recorded with Krupa, it was "Let Me Off Uptown", a novelty duet with Roy Eldridge, that became her first big hit. That year, Down Beat named O'Day "New Star of the Year". In 1942, she appeared with the Krupa band in two "soundies" (short musical films originally made for jukeboxes), singing "Thanks for the Boogie Ride" and "Let Me Off Uptown". The same year Down Beat magazine readers voted her into the top five big band singers. O'Day came in fourth, with Helen O'Connell first, Helen Forrest second, Billie Holiday third, and Dinah Shore fifth. O'Day married again in 1942, this time to golf pro and jazz fan Carl Hoff.
When Krupa's band broke up after he was arrested for possession of marijuana in 1943, O'Day joined Woody Herman for a month-long gig at the Hollywood Palladium, followed by two weeks at the Orpheum. Unwilling to tour with another big band, she left Herman after the Orpheum engagement and finished out the year as a solo artist. Despite her initial misgivings about the compatibility of their musical styles, she joined Stan Kenton's band in April 1944. During her 11 months with Kenton, O'Day recorded 21 sides, both transcription and commercial, and appeared in a Universal Pictures short Artistry in Rhythm (1944). "And Her Tears Flowed Like Wine" became a huge seller and put Kenton's band on the map. She also appeared in one soundie with Kenton, performing "I'm Going Mad for a Pad" and "Tabby the Cat". O'Day later said, "My time with Stanley helped nurture and cultivate my innate sense of chord structure." In 1945 she rejoined Krupa's band and stayed almost a year. The reunion, unfortunately, yielded only 10 sides. After leaving Krupa late in 1946, O'Day once again became a solo artist.
Post-war work
During the late 1940s, she recorded two dozen sides, mostly for small labels. The quality of these singles varies: O'Day was trying to achieve popular success without sacrificing her identity as a jazz singer. Among the more notable recordings from this period are "Hi Ho Trailus Boot Whip", "Key Largo", "How High the Moon", and "Malaguena". O'Day's drug problems began to surface late in 1947, when she and her husband Carl Hoff were arrested for possession of marijuana and sentenced to 90 days in jail. Her career was back on the upswing in September 1948, when she sang with Count Basie at the Royal Roost in New York City, resulting in five airchecks. What secured O'Day's place in the jazz pantheon, however, are the 17 albums she recorded for Norman Granz's Norgran and Verve labels between 1952 and 1962.
Her first album, Anita O'Day Sings Jazz (reissued as The Lady Is a Tramp), was recorded in 1952 for the newly established Norgran Records (it was also the label's first LP). The album was a critical success and further boosted her popularity. In October 1952 O'Day was again arrested for possession of marijuana, but found not guilty. The following March, she was arrested for possession of heroin. The case dragged on for most of 1953; O'Day was finally sentenced to six months in jail. Not long after her release from jail on February 25, 1954, she began work on her second album, Songs by Anita O'Day (reissued as An Evening with Anita O'Day). She recorded steadily throughout the 1950s, accompanied by small combos and big bands. In person, O'Day was generally backed by a trio which included John Poole, the drummer with whom she would work for the next 40 years.
As a live performer O'Day also began performing in festivals and concerts with such musicians as Louis Armstrong, Oscar Peterson, Dinah Washington, George Shearing, Cal Tjader, and Thelonious Monk. She appeared in the documentary Jazz on a Summer's Day, filmed at the 1958 Newport Jazz Festival which increased her popularity. She admitted later that she was probably high on heroin during the concert.[3] She also said that it was the best day of her life in that hers was the star performance of the festival and she made the cover of national magazines for it.
The following year O'Day made a cameo appearance in The Gene Krupa Story, singing "Memories of You". Late in 1959, she toured Europe with Benny Goodman to great personal acclaim. O'Day later wrote in her 1981 autobiography that when Goodman's attempts to upstage her failed to diminish the audience's enthusiasm, he cut all but two of her numbers from the show.
O'Day went back to touring as a solo artist and appeared on such TV specials as the Timex All-Star Jazz Show and The Swingin' Years hosted by Ronald Reagan. She recorded infrequently after the expiration of her Verve contract in 1962 and her career seemed over when she nearly died of a heroin overdose in 1968. After kicking the habit, she made a comeback at the 1970 Berlin Jazz Festival. She also appeared in the films Zigzag a.k.a. False Witness with George Kennedy (1970) and The Outfit (1974) with Robert Duvall. She resumed making live and studio albums under the new management of Alan Eichler, many recorded in Japan, and several were released on her own label, Emily Records.
Memoir and later life
O'Day spoke candidly about her drug addiction in her 1981 memoir High Times, Hard Times, which led to a string of TV appearances on 60 Minutes, The Tonight Show Starring Johnny Carson, The Today Show with Bryant Gumbel, The Dick Cavett Show, Over Easy with Hugh Downs, The Tomorrow Show with Tom Snyder, and several others. She also toured Europe, performed a 50th Anniversary Concert at Carnegie Hall and headlined New York's JVC Jazz Festival.
In 2005, her version of the standard "Sing, Sing, Sing" was remixed by RSL and was included in the compilation album Verve Remixed 3. The following year, she released Indestructible!, her first album in 13 years.
One of her best-known late-career audio performances is "Is You Is Or Is You Ain't My Baby", which opens the film Shortbus (2006) by John Cameron Mitchell.
A feature-length documentary, Anita O'Day: The Life of a Jazz Singer, directed by Robbie Cavolina and Ian McCrudden, premiered at the Tribeca Film Festival on April 30, 2007.[3][4]
In November 2006, Robbie Cavolina (her last manager) entered her into a West Hollywood, California convalescent hospital, while she recovered from pneumonia. Two days before her death, she had demanded to be released from the hospital. On Thanksgiving Day, November 23, 2006, at age 87, O'Day died in her sleep. The official cause of death was cardiac arrest.
Discography
Main article: Anita O'Day discography
Filmography
- The Gene Krupa Story (1959)
- Zigzag (1970)
- The Outfit (1973)
- Shortbus (2006)
Documentary
- Jazz on a Summer's Day (1960)
- Anita O'Day: The Life of a Jazz Singer (2006)
- Anita O'Day - Live at Ronnie Scott's (2006)
- Live In Tokyo '63 (2007)
- Jazz Icons (2009)
References
- ^ Anita O'Day; George Eells (1981). High times, hard times. Putnam. p. 34. ISBN 978-0-399-12505-8.
- ^ http://www.youtube.com/watch?v=Y1V3n1u0JI8&mode=related&search=
- ^ a b Als, Hilton, Critic's Notebook: Voice of Choice, New Yorker, August 11–18, 2008, found at Notebook: Voice of Choice from the New Yorker official website. Accessed August 7, 2008.
- ^ See preview, at Youtube preview
External links
 |
Wikimedia Commons has media related to: Anita O'Day |
- Bio at Jazz Profiles
- Anita O'Day at the Internet Movie Database
- "Anita O'Day". Find a Grave. http://www.findagrave.com/cgi-bin/fg.cgi?page=gr&GRid=16755387. Retrieved September 14, 2010.
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American Heritage Dictionary
The American Heritage® Dictionary of the English Language, Fourth Edition Copyright © 2007, 2000 by Houghton Mifflin Company. Updated in 2007. Published by Houghton Mifflin Company. All rights reserved.
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Gale Musician Profiles
Contemporary Musicians © 1989-2010 The Gale Group, Inc. All rights reserved. Read more
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Mentioned in
Anita O'Day: Live at Ronnie Scotts
(198z Music Film)
Jazz Legends, Part 3
(Music Film)
Jazz Vocal Special
(Music Film)
The Lady Is a Tramp
(1952 Album by Anita O'Day)
Singin' and Swingin'
(Album by Anita O'Day)
» More