Book Reviews

On the centenary of Peggy Lee’s birth, professor, musicologist, and international jazz recording artist Oney chronicles the protean musical talents and accomplishments of this gifted composer, lyricist, arranger, actor, and vocalist whose prodigious catalog of 50-plus albums encompassed jazz, blues, pop, and R&B. Oney details Lee’s six-decade-long improbable journey from a farm in rural North Dakota to enshrinement as a Grammy Lifetime Achievement Award winner. Avoiding salacious gossip or indiscreet stories, Oney states her purpose is to focus ‘exclusively on Lee’s musical footprint and artistic legacy.’ The arrangement is largely chronological, with distinct chapters devoted to Lee’s involvement with film, television, and Broadway. Oney’s musical exegesis is thorough and sure to satisfy music scholars. Those seeking the skinny on personal information, such as Lee’s four marriages and subsequent divorces, should look elsewhere, but those wanting to geek out on the subtleties of Lee’s jazz slides, phrasing, and vocal interpretive prowess will be richly rewarded.

Library Journal, Starred Review

Jazz composer Oney celebrates the centennial of musician Peggy Lee’s birth in a melodious tribute to the singer’s versatility as a singer and composer. Lee (1920–2002) grew up in North Dakota and during high school had guest spots singing on local radio stations until she was offered her own show. At age 17 she left for California, where she was discovered by and joined up with band leader Benny Goodman. She eventually left Goodman’s band to pursue a solo career, and signed a contract with Capitol Records, releasing her first album, Rendezvous with Peggy Lee, in 1947. Oney illustrates how Lee’s restless creativity and canny music and business sense helped her climb the ladder of success and expanded her audiences. In the 1950s Lee was offered another radio show, the Peggy Lee Show (also known as Club 88), a segment of which was to highlight contemporary composers such as Frank Loesser and Hoagy Carmichael. In the 1970s, Lee collaborated with such stars as Paul McCartney and Stevie Wonder, which introduced her to a new generation of listeners. As Oney points out, Lee’s ways with a song allowed her to move with ease from singing blues and jazz to popular contemporary songs. This is a delightful volume for fans of American pop standards.

Publishers Weekly

Oney pays tribute to the iconic singer by focusing “exclusively on Lee’s musical footprint and artistic legacy.” Previous books about Lee haven’t paid sufficient attention to her musicianship, Oney writes, and she capably fills the void with this thoughtful and perceptive look at Lee’s 60-year career. Lee recorded more than 50 albums and composed more than 250 songs, and Oney describes how many were created. Lee worked with a number of notables in American popular song, and among them were Benny Goodman, Bing Crosby, Mel Tormé, Vic Damone, Perry Como, Judy Garland, and Frank Sinatra. Lee was also an advocate for intellectual property rights and royalties for film composers, songwriters, and musical performers. In her early years as a big band singer to her recordings for Capitol, Decca, and other labels; her film contributions as performer, composer, and lyricist; her concerts and collaborations with other artists, new and established; her television performances; and more, Peggy Lee left her mark on American music. Oney’s fresh and comprehensive biography is the perfect way to celebrate the centennial of Lee’s birth.


This beautiful book achieves its aim with resounding success . . . Professor Oney seems uniquely qualified for her narrowly specified subject – an easily accessible and lucidly composed examination of Peggy Lee’s individual recordings over her career. . . . It is rare to find a work of such perfection as this book, and I can confirm that it is matched in that by the genius and natural talent of its subject.

Jazz Journal

4 Stars . . . Oney’s analysis of her subject’s unique singing style and eclectic musical output is revealing and piercingly insightful. She paints a fascinating portrait of a genius-level pop music pioneer . . . the book’s persuasive tone will justifiably prompt many readers to explore the vast shining sea that is Lee’s back catalogue.


This is a book that will appeal to those who are fans not only of Peggy Lee, but anyone interested in the area of American popular music. It is well written and researched, and provides a comprehensive view of the unique and continuingly appealing artistry of one of America’s most significant musical personalities.

Jersey Jazz

. . . this finely tuned appraisal of Peggy Lee’s prolific career is totally absorbing. . . . Oney reminds us that Lee was a true pioneer, deftly navigating her way through a male dominated industry and not afraid to champion royalty rights for fellow songwriters.

The Jazz Rag

Carefully researched and lovingly written, [Peggy Lee] digs into the backstories of Lee’s career, documenting challenges faced and triumphs claimed during six decades of performing.

New York City Jazz Record

It is impossible to come away from this book, especially if revisiting Lee’s music en route, without a heightened sense of the nuance, skill and control in Lee’s delivery . . . Oney’s relentless attention to the technicalities in Lee’s singing—the smears and slides, the perfect pitch, her rich tone and emotional gravitas, the soft, breathy delivery that was her calling card, and her improvisational ability to transform a song’s melody and rhythm, build a persuasive picture of a singular talent . . . Peggy Lee: A Century Of Song will doubtless delight Lee’s legions of fans, but its insights into Lee’s stagecraft should be of particular interest to any aspiring singers who are sincere about the art of song, regardless of genre.

All About Jazz

How wonderful to finally have a book that focuses on the profound musical legacy of Peggy Lee—especially one as lovingly researched and beautifully written as this one. Thank you, Tish!

Tierney Sutton, 9-time Grammy nominee

I listen to my grandmother’s recordings and compositions with a new appreciation and keener ear after reading Tish Oney’s beautifully written book. With all that has been written about Peggy Lee, never before has there been such a meticulously researched analysis of her music and artistic achievements. Oney’s extensive knowledge of jazz and her own successful singing career give her a unique skill set to delve into the vast catalog of Peggy Lee’s compositions, recordings and appearances. She draws out and explains the nuances and the technique that made Peggy Lee one of the most iconic performers of her time. A must-read for Peggy Lee fans and for those new to her music who want to know more!

Holly Foster Wells, Peggy Lee’s granddaughter, president, Peggy Lee Associates, LLC

Tish Oney has chronicled a detailed account of the life and artistic ventures of one of America’s most celebrated jazz vocalists. Those who thought they knew about Peggy Lee’s life are in for a treat given the many nuggets of information revealed in this wonderful biography. Congrats to Tish Oney for crafting such a well-researched book. Readers will have difficulty putting this book down.

Ronald C. McCurdy, artistic director, The Langston Hughes Project, professor, USC Thornton School of Music

Reviews of Jazz Singing: A Guide to Pedagogy and Performance

This volume is commendable for aspiring jazz singers because it contains pedagogic and performance tutelage that is based on voice science. Oney does not merely pay lip service to the topic. Instead, the inclusion of voice science is substantive and consistent throughout the volume. Oney encourages jazz singing that is both healthy and authentic. To achieve the former, she elucidates the principles of voice care and use; and to achieve the latter, she urges students to study with acclaimed vocal artists of the genre. She recommends that singers learn from the jazz masters, and refers the reader to specific artists. Moreover, singers of all genres will benefit from this volume. It not only offers an excellent overview of the physiology and function of the voice, but also serves as a compelling introduction to jazz singing and its most notable exponents. It is highly recommended.

The Journal of Singing

This is an invaluable teaching resource and should be a required text in any jazz vocal program. The rare combination of a trained scientist, accomplished musician, experienced pedagogue, and scholar makes Tish Oney uniquely qualified to offer an expert perspective on all aspects of vocal jazz performance and pedagogy. Highly recommended.
 Monika Herzig, jazz pianist, senior lecturer, Indiana University-Bloomington

This book is an essential tool for every singer’s toolbox and a perfect supplement for lessons. Tish Oney seamlessly moves between clinical and metaphorical language that only a truly devoted student, teacher, and performer of song can do. She clearly understands that every voice is as unique as every individual person.
Nathan Gunn, Grammy Award-winning singer, Swanlund Chair, University of Illinois, co-director, Lyric Theatre @ Illinois

Jazz Singing is a gold mine of information for teachers and singers alike, and it is a delightfully refreshing addition to the pedagogy of singing. This book promises to make anyone interested in learning more about jazz style, theory, and repertoire, more knowledgeable and confident in their teaching and performing.
Patrice Pastore, professor of voice, Ithaca College

Tish Oney’s book is thoroughly researched and applies her many years of experience as a competent performer and excellent educator. The analytical approach is useful to every teacher and performer. It is a must-read.
Joe Riposo, former director of jazz studies, Syracuse University

Tish Oney has written a rich resource for singers who perform in any style. It’s complete without being overly technical and appropriately views the entire body as one’s instrument—how it works, keeping it conditioned, reaching maximum results.
Paul Huybrechts, former vocal pedagogy lecturer, University of Southern California


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