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Morning Glory: A Biography of Mary Lou Williams
Mary Lou Williams -- pianist, arranger, composer, and probably the most influential woman in the history of jazz -- receives the attention she has long deserved in the definitive biography by a leading scholar of women in jazz.
The illegitimate child of an impoverished and indifferent mother, Williams began performing publicly at the age of seven when she became known admiringly in her native Pittsburgh as "the little piano girl of East Liberty," playing one day for the Mellons at bridge teas and the next in gambling dens where the hat was passed for change. She grew up with the jazz of the early part of the century, championed by the likes of Earl Hines and Fats Waller, yet unlike so many other musicians of her time, she was open to new forms in jazz -- she was an early champion of bop, and a mentor and colleague to its central figures, such as Thelonius Monk and Bud Powell -- and in broader musical styles as well (after her conversion to Catholicism, she wrote masses and other sacred music).
Most of the other famous women in jazz -- Billie Holiday, Ella Fitzgerald -- have been singers. Williams was instead a phenomenal pianist who performed solo, with small groups and big bands, in vaudeville and clubs, and on numerous records. But she is equally well known today as a composer and arranger of remarkable versatility and power, having worked with, among others, Duke Ellington and Benny Goodman. Her compositions have been recorded by artisits as varied as Marian McPartland, Dizzy Gillespie, Nat "King" Cole, Sarah Vaughan, Ella Fitzgerald, and herself -- and, more recently, by cutting-edge players Geri Allen and Dave Douglas.
But Williams was more than "just a musician"; her interests were catholic in both senses, and she struggled to combine her love of music with her love of God. She was a tireless humanitarian, and made ongoing attempts to help dozens of down-and-out musicians; in the 1950s, her apartment was, at times, virtually a rehab. Though she was often in emotional despair, she found comfort for her many disappointments and hurts not only in her music but in her spirituality.
Linda Dahl, granted unprecedented access to the large Williams archive, has given us the whole of Williams's very full life, from her often harrowing days on the road to her tumultuous marriages and love affairs, from the ups and downs of her unique fifty-year career to the remarkable spirituality that came to inform both her daily life and her music. This is a striking protrait of one of our least understood and most important musicians.
The illegitimate child of an impoverished and indifferent mother, Williams began performing publicly at the age of seven when she became known admiringly in her native Pittsburgh as "the little piano girl of East Liberty," playing one day for the Mellons at bridge teas and the next in gambling dens where the hat was passed for change. She grew up with the jazz of the early part of the century, championed by the likes of Earl Hines and Fats Waller, yet unlike so many other musicians of her time, she was open to new forms in jazz -- she was an early champion of bop, and a mentor and colleague to its central figures, such as Thelonius Monk and Bud Powell -- and in broader musical styles as well (after her conversion to Catholicism, she wrote masses and other sacred music).
Most of the other famous women in jazz -- Billie Holiday, Ella Fitzgerald -- have been singers. Williams was instead a phenomenal pianist who performed solo, with small groups and big bands, in vaudeville and clubs, and on numerous records. But she is equally well known today as a composer and arranger of remarkable versatility and power, having worked with, among others, Duke Ellington and Benny Goodman. Her compositions have been recorded by artisits as varied as Marian McPartland, Dizzy Gillespie, Nat "King" Cole, Sarah Vaughan, Ella Fitzgerald, and herself -- and, more recently, by cutting-edge players Geri Allen and Dave Douglas.
But Williams was more than "just a musician"; her interests were catholic in both senses, and she struggled to combine her love of music with her love of God. She was a tireless humanitarian, and made ongoing attempts to help dozens of down-and-out musicians; in the 1950s, her apartment was, at times, virtually a rehab. Though she was often in emotional despair, she found comfort for her many disappointments and hurts not only in her music but in her spirituality.
Linda Dahl, granted unprecedented access to the large Williams archive, has given us the whole of Williams's very full life, from her often harrowing days on the road to her tumultuous marriages and love affairs, from the ups and downs of her unique fifty-year career to the remarkable spirituality that came to inform both her daily life and her music. This is a striking protrait of one of our least understood and most important musicians.
480 pages, Hardcover
First published January 1, 2000
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Displaying 1 - 6 of 6 reviews
December 1, 2013
This is a magnificent biography of a towering, yet still underrated figure in jazz. Mary Lou Williams lived and played through much of the history of jazz, and created music of the highest quality throughout her career. Dahl's book is worthy of its subject; it's well-researched, readable, and gives a real sense of Ms. Williams' personality, and of the circumstances of her life.
The real surprise, to me, was that Williams' life was so difficult and unhappy. Her wonderful, assured music was created against a backdrop of poverty, abusive and/or difficult relationships, and loneliness. Dahl's book chronicles it all. If you aren't put off by the length (well over 400 pages), I highly recommend this one to readers who admire Mary Lou Williams' music or who enjoy good biographical writing.
The real surprise, to me, was that Williams' life was so difficult and unhappy. Her wonderful, assured music was created against a backdrop of poverty, abusive and/or difficult relationships, and loneliness. Dahl's book chronicles it all. If you aren't put off by the length (well over 400 pages), I highly recommend this one to readers who admire Mary Lou Williams' music or who enjoy good biographical writing.
May 21, 2017
A very well deep and detailed book that makes you connect with probably the greatest jazzwoman
of Jazz History.
I really liked the deep documentation work, the availability of personal letters, the deep insight into such a wonderful personality.
It was a great journey accompanied by the earphones with Spotify and the mentioned work by Ms. Williams. Great experience.
of Jazz History.
I really liked the deep documentation work, the availability of personal letters, the deep insight into such a wonderful personality.
It was a great journey accompanied by the earphones with Spotify and the mentioned work by Ms. Williams. Great experience.
February 27, 2024
Full detail. She knew everyone in the jazz age. Ripped off from royalties. I met her at Duke when I took her jazz class. She didn’t teach, her manager did. But she played at class beginning. Awesome!
April 26, 2011
Jazz pioneer Mary Lou Williams is a fascinating subject for a biography. I'd never heard of her, and neither had my husband, who knows a lot more about the genre than I. But her story grows somewhat tedious here -- maybe because of the inclusion of detail that doesn't advance understanding. Writing about music is tricky, if the words don't help the reader hear. I was able to find videos and music to supply the soundtrack I wanted. Better words would have accomplished the same thing. I'm disappointed in the treatment of Williams' religious conversion. There's nothing about the mysterious appeal of liturgy, but a lot about the kookier elements of Williams' faith. Linda Dahl's biography is worthwhile, probably more so for jazz fans. But, biography fans will find something here to like, too.
December 27, 2016
We have a street named after her in Kansas City, but still, such a puzzle, why this woman is not better known. One would think that the most formidable female in the male dominated world of instrumental jazz would have ended up with more recognition. Who else was on the cutting edge of the music from Swing to Bebop to Avant-Garde and Funk? Who else could say they'd traveled with the territory bands decades before exploring the outer limits with the likes of Cecil Taylor? As the author points out, Mary was known for playing in a way more manly than most men, and she was proud of it. She was a devout Catholic who even hired a priest as her manager. Linda Dahl's book is the first - and best - biography of "The Lady Who Swings the Band."
May 30, 2015
What a life she had!
Displaying 1 - 6 of 6 reviews