View source for Crooner

{{short description|Type of singer}}
{{for|the film|Crooner (film){{!}}''Crooner'' (film)}}
{{redirect|Croon|the rower|Bernardus Croon}}{{More citations needed|date=August 2024}}[[Image:Frank Sinatra by Gottlieb c1947- 2.jpg|thumb|upright|[[Frank Sinatra]] in 1947]]

A '''crooner''' is a singer who performs with a smooth, intimate style that originated in the 1920s. The crooning style was made possible by better [[microphones]] that picked up quieter sounds and a wider range of frequencies, allowing the singer to access a greater [[dynamic range]] and exploit the [[Proximity effect (audio)|proximity effect]]. This suggestion of intimacy was supposedly wildly attractive to women, especially a youth subculture known at the time as "[[Bobby soxer (subculture)|bobby soxers]]". The crooning style developed among singers who performed with [[big band]]s, and reached its height in the 1940s to late 1960s.

Crooning is epitomized by jazz vocalists of the era such as [[Bing Crosby]], [[Rudy Vallee]] and [[Frank Sinatra]], although Sinatra did not consider himself or Crosby to be "crooners".<ref>CBS Special [https://www.youtube.com/watch?v=LesuXaSkDDc "Sinatra The Legend"] recording of It Was A Very Good Year (1965)</ref> Other performers, such as [[Russ Columbo]], also rejected the term.<ref>{{cite news |url=https://news.google.com/newspapers?id=p_wjAAAAIBAJ&pg=5345,2605998&dq=russ+columbo&hl=en |title=Russ Columbo Doesn't Croon |date=1 November 1931 |work=[[Milwaukee Journal Sentinel|Milwaukee Journal]] |access-date=24 June 2010}}{{dead link |date=December 2023 |bot=InternetArchiveBot |fix-attempted=yes}}</ref>

==History==
[[Image:Gene Austin 01.jpg|thumb|upright|[[Gene Austin]]]]
{{listen
| filename     = Learn_To_Croon_sung_by_Bing_Crosby.ogg
| title        = "Learn to Croon"
| description  = [[Bing Crosby]] demonstrates how to croon in this 1933 recording
| format       = [[Ogg]]
}}

This dominant popular vocal style coincided with the advent of radio broadcasting and [[electrical recording]]. Before the advent of the [[microphone]], singers had to project to the rear seats of a theater, which made for a very loud vocal style. The microphone made a more personal style possible.<ref name="Crooners">{{cite web |url=http://www.shsu.edu/~lis_fwh/book/roots_of_rock/support/crooner/EarlyCroonersIntro2.htm |title=The Coming of the Crooners |author=Whitcomb, Ian |work=Survey of American Popular Music |publisher=Sam Houston State University |access-date=24 June 2010}}</ref> [[Al Bowlly]], [[Bing Crosby]], [[Gene Austin]], [[Art Gillham]], and by some accounts [[Vaughn De Leath]]<ref>''Father of Radio: The Autobiography of Lee de Forest'', 1950, page 351.</ref><ref>Irving Settel, ''A Pictorial History of Radio'', p. 58, Grosset & Dunlap (1967).</ref> are often credited as inventors of the crooning style, but [[Rudy Vallée]] brought the style widespread popularity.<ref name="Crooners" /> 

{{blockquote|In his popular radio program, which began with his floating greeting, "Heigh ho, everybody," beamed in from a New York City night club, he stood like a statue, surrounded by clean-cut collegiate band musicians and cradling a saxophone in his arms.|[[Ian Whitcomb]]<ref name="Crooners"/>}}

His first film, ''[[The Vagabond Lover]]'', was promoted with the line, "Men Hate Him! Women Love Him!"<ref name="Crooners" /> while his success brought press warnings of the "Vallee Peril": this "punk from Maine" with the "dripping voice" required mounted police to "beat back crowds of screaming and swooning females" at his vaudeville shows.<ref>{{cite book |last1=Pitts |first1=Michael |last2=Hoffman |first2=Frank |title=The Rise of the Crooners: Gene Austin, Russ Columbo, Bing Crosby, Nick Lucas, Johnny Marvin, and Rudy Vallee |url=https://books.google.com/books?id=Deb9AAAAQBAJ&q=%22Vallee+Peril%22&pg=PA32 |series=Studies and Documentation in the History of Popular Entertainment, No. 2 |publisher=The Scarecrow Press |location=Lanham, MD |year=2002 |page=32 |isbn=0-8108-4081-2 |oclc=46976469}}</ref>[[Image:Perry Como, New York, ca. Oct. 1946 (William P. Gottlieb 01641).jpg|thumb|left|[[Perry Como]], October 1946]]By the early 1930s, the term "crooner" had taken on a pejorative connotation.<ref name="Crooners"/> Cardinal [[William Henry O'Connell|William O'Connell]] of [[Boston]] and the [[New York Singing Teachers Association]] (NYSTA) both publicly denounced the vocal form, O'Connell calling it "base", "degenerate", "defiling" and un-American, with the NYSTA adding "corrupt".<ref name="Crooners"/> Even ''[[The New York Times]]'' predicted that crooning would be just a passing fad. The newspaper wrote, "They sing like that because they can't help it. Their style is begging to go out of fashion…. Crooners will soon go the way of tandem bicycles, [[mah jongg]] and [[midget golf]]."<ref name="Crooners"/> Voice range shifted from [[tenor]] (Vallée) to [[baritone]] ([[Russ Columbo]], [[Bing Crosby]]).<ref name="Crooners"/> Still, a 1931 record by Dick Robertson, "[[Crosby, Columbo, and Vallee]]", called upon men to fight "these public enemies" brought into homes via radio.<ref name="Crooners"/>

==Female crooners==
The term crooner has been applied to some female singers around the world, especially those who have low [[alto]] voices. Among the first was white American singer [[Lee Morse]] who performed in three [[Vitaphone]] short films in 1930. A cartoon published in the ''[[Cleveland Plain Dealer]]'' in 1930 listed four male and seven female singers as the "All-American Crooning Eleven". Blues singer [[Ruth Etting]] was in the group, along with [[Helen Morgan (singer)|Helen Morgan]], [[Libby Holman]], [[Bernadene Hayes]], [[Annette Hanshaw]], and others.<ref>{{cite book |url=https://books.google.com/books?id=hASICgAAQBAJ&pg=PT250 |page=250 |title=Real Men Don't Sing: Crooning in American Culture |date=2015 |last=McCracken |first=Allison |publisher=Duke University Press |isbn=9780822375326}}</ref> Several more American women singers were called crooners in 1950 with chart hits by [[Teresa Brewer]] and [[Patti Page]]. [[Anita O'Day]]'s version of "[[Tennessee Waltz]]"  was a crooner-style hit in 1951. The success of women crooners continued through 1956 but was diminished in 1957 after ''Billboard'' combined the segregated black and white pop charts, which led to a rise in male hit songs.<ref>{{cite book |url=https://books.google.com/books?id=8ljeEAAAQBAJ&pg=PT39 |page=39 |title=All I Want Is Loving You: Popular Female Singers of the 1950s |last=Bergsman |first=Steve |date=2023 |publisher=University Press of Mississippi |isbn=9781496848802}}</ref> Black American blues singer [[Nina Simone]] has been described as a crooner for her work in the 1960s and 1970s.<ref>{{cite book |last=Coles |first=Alex |date=2023 |title=Crooner: Singing from the Heart from Sinatra to Nas |publisher=Reaktion Books |page=119 |isbn=9781789148305}}</ref>

==Country crooners==
Due to the country songs popularized by Bing Crosby, the crooning style of singing became an enduring part of [[country music]].<ref>Bing Crosby, "I'm an Old Cowhand," original mono recordings from 1933–1944, ASV Mono, Living Era, 1995.</ref> Crosby achieved a million seller with his 1940 rendition of the song "[[New San Antonio Rose|San Antonio Rose]]", originally recorded by [[Bob Wills & His Texas Playboys]]. In 1942, [[Perry Como]] had a smash hit with "[[Deep in the Heart of Texas]]"; Crosby, who had an enormous influence on Como, covered this song and took it to the number 3 position in the US chart that same year. [[Eddy Arnold]], [[Jim Reeves]] and [[Ray Price (musician)|Ray Price]] are especially well known for their country crooner standards.<ref>{{cite web|url=http://www.cmt.com/news/country-music/1587136/nashville-skyline-remembering-eddy-arnold.jhtml|archive-url=https://web.archive.org/web/20080512152607/http://www.cmt.com/news/country-music/1587136/nashville-skyline-remembering-eddy-arnold.jhtml|url-status=dead|archive-date=May 12, 2008|title=NASHVILLE SKYLINE: Remembering Eddy Arnold|last=Flippo|first=Chet|work=[[Country Music Television]]|date=8 May 2008|access-date=5 September 2014}}</ref><ref>{{cite magazine|url=http://www.billboard.com/articles/news/6205510/a-tribute-to-country-crooner-jim-reeves-on-the-50th-anniversary-of-his-death|title=billboard.com: A Tribute to Country Crooner Jim Reeves on the 50th Anniversary of His Death|last=Dauphin|first=Chuck|magazine=[[Billboard (magazine)|Billboard]]|date=1 August 2014|access-date=6 September 2014}}</ref><ref>{{cite web|url=http://www.dallasnews.com/entertainment/music/headlines/20131216-influential-country-crooner-ray-price-dies-at-87.ece|title= dallasnews.com: Influential country crooner Ray Price dies at 87|last=Wilonsky|first=Robert|date=16 December 2013|access-date=6 September 2014}}</ref>

[[Dean Martin]] is associated with the country music he recorded in the period when he was working for [[Reprise Records]], whilst his fellow [[Italian Americans|Italian-American]] crooner Como recorded several albums with country producer [[Chet Atkins]] in [[Nashville, Tennessee|Nashville]]. Regular, non-country crooners also scored hits with pop versions of country songs: [[Tony Bennett]] had a ''[[Billboard (magazine)|Billboard]]'' number 1 hit in 1951 with his rendition of [[Hank Williams]]' "[[Cold, Cold Heart]]"; Como had a number 1 hit in 1953 with his version of "[[Don't Let the Stars Get in Your Eyes]]", a chart-topping country hit for its author [[Slim Willet]] and a number 4 country hit for Ray Price; [[Guy Mitchell]] scored a number 1 in 1959 with "[[Heartaches by the Number]]", a country hit for [[Ray Price (musician)|Ray Price]]; and Britain's [[Engelbert Humperdinck (singer)|Engelbert Humperdinck]] achieved a 1967 UK number 1 hit with "[[Release Me (1946 song)|Release Me]]", another song already made famous by Price in 1954. In 1970, Price had a number 1 US country hit and a number 11 [[Billboard Hot 100|Hot 100]] hit with the song "[[For the Good Times (song)|For the Good Times]]", written by [[Kris Kristofferson]]; subsequently, Como's rendition reached number 7 in 1973 on the [[UK Singles Chart]].

== Modern-day crooners of the Great American Songbook ==

* [[Harry Connick Jr.]] played a pivotal role in bringing the crooner style back into mainstream media during the late 1980s and 1990s, particularly with his work on the soundtrack for ''[[When Harry Met Sally...|When Harry Met Sally]]'' (1989). His interpretations of jazz standards like "[[It Had to Be You (song)|It Had to Be You]]" helped reintroduce crooning to a new generation of listeners. The album's success, earning double-platinum status and critical acclaim, was a key factor in reviving interest in the crooner style during that period.<ref>{{Cite web |last=Kolgraf |first=Jackie |date=2024-07-19 |title=Harry Connick Jr. Remembers How 'When Harry Met Sally...' Changed His Life |url=https://www.siriusxm.com/blog/harry-connick-jr-when-harry-met-sally |access-date=2024-09-02 |website=SiriusXM |language=en}}</ref>
* [[Michael Bublé]] emerged in the early 2000s as a key figure in continuing this revival for a new generation. Bublé brought a modern sensibility to his interpretations, blending traditional swing and jazz with pop influences, which resonated with both older and younger audiences.<ref>{{Cite web |last=Bream |first=Jon |date=2007-08-19 |title=Michael Buble, A crooner who curses and charms |url=https://www.seattletimes.com/entertainment/michael-buble-a-crooner-who-curses-and-charms/ |access-date=2024-09-02 |website=The Seattle Times |language=en-US}}</ref>
* [[Seth MacFarlane]] has also made significant contributions to the contemporary crooner movement. Beginning in the early 2010s, MacFarlane released several albums that showcase his strong affinity for traditional pop standards and big band jazz. Albums like ''[[Music Is Better Than Words]]'' (2011) received critical acclaim further solidifying crooning in the modern era.<ref>{{Cite web |date=2016-04-05 |title=From ‘Family Guy’ to Sinatra: Seth MacFarlane to perform jazz with Seattle Symphony |url=https://www.seattletimes.com/entertainment/music/from-family-guy-to-sinatra-seth-macfarlane-to-perform-jazz-with-seattle-symphony/ |access-date=2024-09-02 |website=The Seattle Times |language=en-US}}</ref>
* [[Michael Feinstein]] stands as a prominent figure in the modern revival of the crooner tradition, known for his deep commitment to preserving and interpreting the [[Great American Songbook]].<ref>{{Cite news |last=Holden |first=Stephen |date=2008-09-03 |title=It Brings Back the Sound of Music So Tender |url=https://www.nytimes.com/2008/09/04/arts/music/04fein.html |access-date=2024-09-02 |work=The New York Times |language=en-US |issn=0362-4331}}</ref>
* [[Tommy Ward (singer)|Tommy Ward]] has emerged as a rising figure in the modern crooner scene, distinguished by his headlining career on the [[Las Vegas Strip|Las Vegas strip]] and a close mentorship with [[Quincy Jones]], who has likened Ward to [[Frank Sinatra]].<ref>{{Cite news |last=Moore |first=Jessica |date=2014-09-03 |title=Vegas teenage singer is a rising star with classic roots |url=https://news3lv.com/news/local/vegas-teenage-singer-is-a-rising-star-with-classic-roots# |access-date=2024-10-11 |work=News3LV}}</ref>
*[[Dennis van Aarssen]], a Dutch singer who gained international attention after winning ''[[The Voice of Holland]]'' in 2019, has carved out a niche in the modern crooner scene with his smooth interpretations of jazz standards and pop classics.<ref>{{Cite web |last=Prettitore |first=Alexandra |title=Dennis van Aarssen: The Next Jazz Icon |url=https://www.torchonline.com/culture/2024/10/07/dennis-van-aarssen/ |access-date=2024-10-11 |website=The Torch}}</ref>

==See also==
*[[List of crooners]]

{{clear}}

==References==
'''Notes'''
{{reflist}}

'''Further reading'''
* Gary Giddins, ''Bing Crosby: A Pocketful of Dreams: The Early Years, 1903–1940''. Boston: Little, Brown and Co., 2001.

{{Singing}}

[[Category:Crooners| ]]
[[Category:Baritones|*]]
[[Category:Bobby-soxers]]