What is *Lady Sings the Blues* about?

*Lady Sings the Blues* is Billie Holiday’s raw autobiography, co-authored by William Dufty, chronicling her traumatic childhood, rise to jazz stardom, and battles with racism, abuse, and addiction. It spans her early life in Baltimore, teenage prostitution, incarceration, and iconic music career, offering unfiltered insights into the resilience that shaped her haunting vocal style.

Who should read *Lady Sings the Blues*?

This memoir appeals to jazz enthusiasts, social historians, and readers interested in biographies of trailblazing artists. It’s particularly resonant for those exploring themes of racial injustice, personal resilience, and the intersection of art and trauma.

Is *Lady Sings the Blues* worth reading?

Yes, for its unflinching portrayal of Holiday’s life and the systemic challenges faced by Black artists in the 20th century. While some critics note factual discrepancies, the book remains a cultural touchstone for its emotional depth and historical significance.

What themes are explored in *Lady Sings the Blues*?

Key themes include **resilience** (overcoming poverty and abuse), **racial injustice** (navigating segregation and discrimination), and **artistic authenticity** (channeling pain into music). The memoir also critiques societal exploitation of Black women and artists.

What are the most impactful quotes from *Lady Sings the Blues*?

- *“You can be up to your boobies in white satin, with gardenias in your hair and no sugar cane for miles, but you can still be working on a plantation.”* - *“You just feel it...”* (reflecting her emotional singing style). These lines underscore her critique of systemic oppression and artistic philosophy.

How does *Lady Sings the Blues* address Billie Holiday’s struggles with addiction?

The book candidly discusses her heroin use, framing it as both a coping mechanism for trauma and a consequence of industry exploitation. It avoids sensationalism, instead linking her addiction to broader societal failures.

What criticisms exist about *Lady Sings the Blues*?

Scholars note inconsistencies in timelines and events, attributed to Holiday’s collaborative writing with Dufty and her desire to protect certain relationships. However, these nuances add to its authenticity as a subjective, lived account.

How did Billie Holiday’s early life influence her music?

Her childhood trauma—including rape, prostitution, and incarceration—directly informed her vocal phrasing and emotional depth. Songs like *“Strange Fruit”* echo her experiences with racism and violence.

La signora canta il blues

Billie Holiday & William Dufty

Panoramica di La signora canta il blues

L'autobiografia cruda di Billie Holiday espone la brutale realtà del razzismo, della dipendenza e del genio musicale. Oltre ad aver ispirato l'iconica interpretazione di Diana Ross, la storia implacabile di questa leggenda del jazz risuona in artisti come Erykah Badu. Quali verità si celano dietro le controverse inesattezze che hanno reso la sua voce "vera come la pioggia"?

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Capitolo 1

A Voice That Changed the World

Billie Holiday's memoir "Lady Sings the Blues" isn't just another celebrity autobiography-it's a raw, unfiltered testament to one of the most influential voices in American music history. When first published in 1956 for $3.75, critics questioned its factual accuracy, but they missed the point entirely. This book, like Holiday's music, isn't about perfect precision-it's about emotional truth. Written with William Dufty, the memoir captures Holiday's authentic voice as if she's speaking directly to you across her kitchen table, sharing stories both heartbreaking and triumphant. The book became an immediate cultural touchstone, later inspiring a film starring Diana Ross, and remains the definitive starting point for understanding Lady Day's complex life. What makes this memoir so powerful is that it preserves Holiday's voice not just as a singer but as a storyteller-giving us the rare opportunity to hear how she viewed herself, her music, and the often-cruel world she navigated with unforgettable resilience.

Capitolo 2

From Baltimore's Streets to Harlem's Heights

Born Eleanora Fagan on April 7, 1915, in Baltimore, Billie's early life was marked by poverty and instability. Her mother Sadie was just thirteen when she gave birth, and her father Clarence Holiday was merely eighteen when they married. Despite their youth and struggles, Sadie refused to abandon her child, making a deal with the hospital to scrub floors in exchange for their care. While her father pursued his musical ambitions with McKinney's Cotton Pickers, Billie was left with relatives, including a cousin who regularly beat her. Her closest confidante became her great-grandmother, a former slave who shared Bible stories and experiences of plantation life. When this beloved figure died with her arm locked around the young Billie, the trauma was so severe that Billie spent a month hospitalized for shock. By sixteen, Billie was working as a domestic, scrubbing white steps and kitchen floors across Baltimore for fifteen cents instead of the standard nickel. She developed entrepreneurial instincts early, bringing her own supplies and building a clientele that sometimes earned her over two dollars on good days-substantial money during that era. Music became her escape and passion. She'd run errands for Alice Dean, who ran a local whorehouse, just to listen to Louis Armstrong and Bessie Smith records on the victrola. "People forget that whorehouses were often the only places where Black and white folks could naturally meet," Holiday explains. "I'd have run errands for anyone with a victrola playing Pops and Bessie, even a minister." When she was ten, a neighbor attempted to rape her. Instead of receiving protection, Billie was thrown into a Catholic institution while her attacker received just five years. There, she endured horrific treatment, including being locked overnight with a dead girl's body-an experience that left her hands bloody from screaming and clawing at the door. These early traumas would haunt her throughout her life, informing both her music and her relationships with others.

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Capitolo 3

Surviving the Impossible

At twelve, Billie faced a deeply traumatic experience that affected her ability to form close relationships. By fifteen, after reuniting with her mother in New York, she became entangled with Florence Williams' establishment, unaware of its true nature. Though the earnings allowed her first taste of luxury - a silk dress and fashionable shoes - the emotional impact was devastating. Her refusal to comply with a powerful Harlem figure's demands led to her arrest. Judge Jean Hortense Norris, known for her severe sentencing of young women, committed the fifteen-year-old to Welfare Island for four months. The facility conditions were inhumane - severe overcrowding, inadequate nutrition, and unsanitary conditions. After an altercation with another resident, she faced additional punishment in solitary confinement with minimal sustenance. Upon her release, Billie had lost significant weight and possessed only her silk dress despite the winter weather. Exploitative individuals waited at the facility exit to recruit vulnerable women. Though briefly accepting assistance from one such person, she maintained financial independence, declaring her mother as her only legitimate guardian. After experiencing physical abuse, she found refuge in Jamaica, Long Island with Dorothy Glass, supporting herself through work at a gaming establishment and occasional performances at the Elks Club. In a twist of fate, Billie later discovered that Judge Norris, who had pronounced harsh judgment on her youth, was herself removed from the bench during the Seabury investigation for judicial misconduct. Holiday's pointed observation about this irony reveals her enduring spirit. The Great Depression's impact on America was severe, though as Billie observed, economic hardship was nothing new to her community. When her mother's health declined, preventing her from continuing domestic work, their financial situation became critical. Having vowed never to return to her previous circumstances, Billie sought alternative solutions. She would wait outside Fletcher Henderson's performances at the Roseland Ballroom, appealing to her father for essential rent money.

Capitolo 4

The Birth of Lady Day

Billie's singing career began out of pure desperation. About to be evicted, she walked down Seventh Avenue looking for work. At Pod's and Jerry's, she tried to audition as a dancer but knew only two steps. When the piano player asked if she could sing, she performed "Trav'lin' All Alone." The entire joint went quiet, and she collected thirty-eight dollars in tips-enough for rent and food. She started working as an "up"-singing from table to table-for eighteen dollars a week. Unlike other singers, Billie refused to take money directly from tables, which earned her the nickname "Duchess"-the beginning of people calling her "Lady." This dignity and self-respect would become hallmarks of her persona, even as the world tried repeatedly to strip her of both. Prohibition was ending, but Harlem's club scene was thriving-the Basement Brownies, the Yea Man, the Alhambra, Mexico, the Next, the Clam House, the Shim Sham. Limousines brought wealthy patrons uptown nightly. At the Log Cabin, she met Paul Muni, John Hammond, Mildred Bailey, Red Norvo, and Benny Goodman. Bobby Henderson became her pianist, Joe Glaser her manager, and Bernie Hanighen her biggest supporter. Benny Goodman invited her to make her first record. Terrified of the microphone, she needed encouragement before recording "Your Mother's Son-in-Law" and "Riffin' the Scotch" for thirty-five dollars. Later, John Hammond paired her with Teddy Wilson's band for more recordings at thirty dollars per session. When the records started selling, Bernie Hanighen fought for her at Columbia Records, eventually securing seventy-five dollars per session and recordings under her own name-not just as "vocalist." Her Apollo Theater debut came after Ralph Cooper convinced Frank Schiffman to hear her sing. Unable to categorize her style, Cooper told him, "It ain't the blues... you got to hear her." On opening day, after being up all night at the Hotcha, she was so nervous she visited the bathroom eighteen times. Pigmeat Markham had to push her onstage. She opened with "If the Moon Turns Green," followed by "The Man I Love," and the audience went wild. She was so successful she played a second week-a rare honor at the Apollo.

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Capitolo 5

The Harlem Renaissance's Hidden Heart

The Harlem of the 1930s that Billie and her mother inhabited was a complex world largely invisible to the white patrons who visited places like the Cotton Club for entertainment. "These were just sideshows," Holiday explains. "The real life happened backstage where few whites ever ventured." Their small apartment functioned as far more than just a home-it was a YMCA, boardinghouse for broke musicians, soup kitchen, community center, and after-hours joint where you could get whisky and "the most fabulous fried chicken in town." Her mother Sadie had an extraordinary capacity for seeing the good in everyone, welcoming all kinds into their home, especially musicians, regardless of their backgrounds or troubles. Despite her limited formal education-Billie never got beyond fifth grade in Baltimore's segregated schools-she taught her mother to read and write. "Nothing gave me such a kick as getting handwritten notes from her when I was on the road later," she recalls with pride. The apartment became a hub for legendary jam sessions where musical history was made. It was at one of these sessions that Billie met Lester Young, who would become her musical soulmate. After hearing about Lester's hotel troubles-finding a rat in his dresser drawer-Billie and her mother invited him to move in with them. Lester was the first to call her mother "Duchess," a name she carried to her grave. He called Billie "Lady Day," combining "Lady" (a nickname other girls had mockingly given her) with "Day" from Holiday. She called him "President"-shortened to "Prez"-because she thought he was the greatest. These jam sessions were crucibles of musical innovation. Billie recalls when Lester took on the great Chu Berry in a saxophone duel on "I Got Rhythm." Lester blew fifteen beautiful, unique choruses that left Chu finished, though some complained Lester's tone wasn't "big" enough. Billie's response captures her artistic philosophy: "Everyone's got to be different. You can't copy anybody and end up with anything worthwhile. No two people on earth are alike, and music demands that uniqueness."

Capitolo 6

Breaking Barriers with Artie Shaw

In 1937, Billie joined Artie Shaw's orchestra-the first time sixteen white men performed with a Negro girl singer. This groundbreaking collaboration tested America's racial boundaries at every turn. "Don't tell me about pioneer women facing redskins," Holiday quips. "I'm the girl who went West with sixteen white musicians, Artie Shaw and his Rolls-Royce, with hills full of white crackers." Shaw insisted Billie sit on the bandstand like any other vocalist, despite her concerns about backlash. In Kentucky, the sheriff loudly called her "Blackie" and eventually "nigger"-a term she had bet the band members he would use. Artie never thought in terms of white and colored-he was determined to stand his ground, even when hotel owners and venue managers objected to her presence. Every day brought a new "incident." In St. Louis, an ancient hotel owner in a wheelchair objected to her presence, but she challenged him to let them perform, betting she'd go over better than anyone. They stayed six weeks instead of three. The band often fought for her-wrecking a restaurant when a waitress refused to serve her. Getting rooms, finding bathrooms, and simply existing on the road became federal cases. Some venues wouldn't let her appear at all. The strain of constantly being denied basic services left her with a serious bladder inflammation that took months to diagnose properly. Detroit was particularly hostile-when trumpet player Chuck Peterson took her for a drink, a woman objected to her presence, and her husband and friends beat Chuck, kicking him in the mouth saying "I'll fix it so you don't play trumpet tonight." After enduring months of Southern discrimination, Billie faced perhaps the cruelest blow back in New York-her hometown. They were booked at the Blue Room of Maria Kramer's Lincoln Hotel with a coast-to-coast radio wire-a career-making opportunity. The management suspiciously gave her a suite, then insisted she use the back entrance. Worse still, they gradually reduced her performances until she was singing just one song per night, always off the air. She finally quit, telling Artie he should've been straight with her when management pressured him to sideline her. "At least Southern racists were honest to your face about their prejudice," she observed bitterly.

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Capitolo 7

Cafe Society and "Strange Fruit"

Moving from Pod's and Jerry's in Harlem to Cafe Society Downtown near Sheridan Square was "only five miles by subway but worlds apart culturally-a journey that took me seven years to make," Billie reflects. She met Barney Josephson through John Hammond when his club was still just a basement being renovated. He and his wife promised her something revolutionary-a club with no segregation or racial prejudice where "everybody's going to be for real." The opening night featured an incredible lineup with Meade Lux Lewis, Albert Ammons and Pete Johnson on piano, Joe Turner, and Frank Newton's band. With six hundred people packed in, including celebrities and society folks, they nearly couldn't perform because the cabaret license hadn't arrived. Billie was ready to risk jail rather than disappoint the crowd, but the license came through just in time. At Cafe Society, Billie found the song that became her personal protest-"Strange Fruit." Lewis Allen showed her his poem about lynching that seemed to spell out everything that had killed her father. Sonny White and Billie, with help from Danny Mendelsohn, turned it into music over three weeks. She was terrified to perform it, afraid people would hate it. The first time she sang it, there was complete silence before one person began clapping nervously, then everyone joined in. "Strange Fruit" became her biggest-selling record for Commodore, though singing it always depressed her, reminding her of her father's death. "The song affects me so deeply I get physically sick after performing it," she admits. "It separates straight people from squares-some misunderstand it completely, while others are moved to tears." Few other singers ever attempted it, and audiences would shout down those who tried. During her two years at Cafe Society, Billie met both nice people and "drags" as she became a celebrity. She'd decided at thirteen to never say anything she didn't mean, which caused problems in high society. She discovered the main difference between uptown and downtown was authenticity-uptown people were what they were, while downtown everything was disguised behind social niceties. "What will people think?" mattered tremendously downtown but never to her.

Capitolo 8

The Law's Relentless Pursuit

In May 1947, Billie sensed trouble after closing at Philadelphia's Earle Theater. Federal agents had been tailing her since her sanatorium stay a year earlier. When she spotted them filling the lobby of her hotel, she forced her chauffeur out of the car, took the wheel despite never having driven before, and escaped through gunfire with her dog Mister whimpering in the backseat. She made it to New York and opened at the Onyx Club while getting her accompanist Bobby Tucker released from jail. The feds watched her all week before arresting her at the Hotel Grampion after her engagement ended. In court, she was charged with "receiving and concealing drugs illegally imported into the United States." When asked if she wanted a lawyer, she declined, believing nobody could help her. She hadn't eaten for a week and couldn't even keep water down. When it came time to appear before the judge, she was so sick she couldn't walk, so they gave her a morphine shot to keep her functioning. Despite the D.A. explaining how she'd been exploited by parasites who charged her hundreds for drugs worth only dollars, and how she'd earned nearly a quarter million in three years but had nothing left, the judge sentenced her to a year and a day at the Federal Woman's Reformatory at Alderson, West Virginia. The "cure" at Alderson was no cure at all-they just threw her in a room alone and took her off cold turkey. The prison was completely segregated-three cottages for white girls, three for colored. They ate, slept, prayed, and watched movies separately, with blacks always in back. After quarantine, they put her to work picking vegetables despite her fear of bugs and worms. When she passed out from sunstroke, the doctor recommended indoor work, but she was sent to the piggery next. Finally, they made her "Cinderella" of Cottage No. 6-permanent kitchen duty. She washed dishes, cleaned windows, brought coal, and prepared meals starting at 5 AM. Despite everything, she received thousands of Christmas cards from around the world-Shanghai, Bombay, Cape Town, Alexandria-which gave her hope knowing people remembered her.

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Capitolo 9

The Comeback and the Cabaret Card

Just ten days after her release from prison, Billie performed at Carnegie Hall. The night before Easter-traditionally the worst night in show business-they sold out so quickly they had to add seats on stage. Around 3,500 people attended while thousands more were turned away. Before her second set, someone sent gardenias-her trademark. In her excitement, she pinned them to her head without noticing the huge hatpin, which she drove deep into her scalp. Blood ran down into her eyes and ears, but with five minutes until showtime and 3,500 people waiting, she mopped up as best she could and went on. Her black dress hid most of the blood as she performed thirty-four numbers. By the end, between sweat and blood, she was a mess and passed out after the third curtain call. Despite the Carnegie success, she faced a devastating reality: as an ex-convict, she couldn't get a cabaret card to perform anywhere in New York that served alcohol. She could play concerts, theaters, radio, and TV, but not a single bar. Without this permit from the police department, her career was crippled in her home city. "I've been a displaced person for years-a citizen in Philadelphia, Washington, Boston, and San Francisco, but not in New York," she laments. After exhausting every legitimate way to get her police permit, she met John Levy who ran the Ebony Club on 52nd Street. He promised he could get her the card and let her perform without one. She opened terrified, expecting to be arrested any moment, but nothing happened. Levy transformed her life with extravagant gifts-$500 gowns, jewelry, and her first mink coat. He bought her a beautiful furnished apartment and later a fabulous home in St. Albans, Queens. But the relationship soured when she realized he controlled all her finances, refusing even a small allowance despite her earning $3,500 weekly for a record eight-week run at the Strand Theater.

Capitolo 10

Europe: Recognition and Revelation

In 1954, after years of dreaming about performing in Europe, Billie finally got her passport and joined a tour across Scandinavia and Europe. In Copenhagen, she was overwhelmed by the warm reception-hundreds of people with flowers, reporters, and photographers. A local doctor and his daughter, fans who knew all her records, invited her to their home. "They offered me a place to stay anytime-the kind of welcome I'd never experience at home in America," she notes with bittersweet recognition. What struck her most was how European music journalists actually listened with their ears instead of following press agents or polls-"they wrote about music when it happened, not ten years later." But the most eye-opening discovery was Britain's approach to addiction-treating it as a medical issue where patients could see private physicians for legal treatment rather than criminalizing the sick. "Unlike America's punitive system that forces addicts to risk their lives with dangerous black market drugs, European countries had virtually no 'narcotics problem' because of their civilized approach to treatment," she observes. "Americans laugh at Britain's free healthcare system while our own government interferes with medicine by threatening doctors who try to help addicts." Her London concert was "the biggest thrill of my life"-performing with a thirty-four-piece band to an audience so quiet you could hear her heels clicking as she walked on stage. She loved their system of doing three concerts in one night: one for youngsters, one for a mixed audience, and then a nightclub show afterward.

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Capitolo 11

A Life's Lessons

When Billie was arrested again in Philadelphia in February 1956, the old woman doctor at the jail greeted her with "Well, Billie, you're back again." It felt like twenty years earlier-busted, out on bail, broke from paying the bondsman, hungry and exhausted. But this time she had her husband Louis McKay with her for support. Throughout her memoir, Holiday offers hard-won wisdom. On addiction, she states plainly: "The moral of my story is simple: dope isn't for kicks or thrills-it's worse than living with polio or in an iron lung. It can destroy your ability to play or sing, and once you're busted, you'll never live it down." She advocates for treating addiction as a medical issue rather than a criminal one: "Judge Jonah Goldstein recently said what I've been saying all along-narcotics needs to be taken out of police hands and given to doctors. He even advised a man to send his addicted son to England for treatment-a sad admission that the only help available is outside our country." Despite all her hardships, Billie maintained her uniqueness and refused to compromise her artistic vision. Her advice to musicians rings true for anyone pursuing their passion: "Everyone's got to be different. You can't copy anybody and end up with anything worthwhile." As she concludes her story, Billie shows the resilience that defined her life: "The doctors say with luck I should stay straight for two whole years. Who can ask for more? I've got enough Irish in me to believe if you expect nothing but trouble, maybe a few happy days will turn up." Billie Holiday died on July 17, 1959, at age 44, just three years after her memoir was published. Her voice-both in music and in these pages-continues to resonate with unflinching honesty, profound musicality, and the unmistakable sound of a woman who refused to be anything but herself in a world determined to break her spirit. As she famously sang, "God bless the child that's got his own"-and Billie Holiday most certainly did.

★★★★★

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Temi chiave in La signora canta il blues

jazz age harlem
racial injustice
trauma and resilience
musical innovation
systemic poverty

Citazioni da La signora canta il blues

I'm always making a comeback, but nobody ever tells me where I've been.
If I'm going to sing like someone else, then I don't need to sing at all.
This book, like Holiday's music, isn't about perfect precision-it's about emotional truth.
"These were just sideshows," Holiday explains.
This dignity and self-respect would become hallmarks of her persona.

Personaggi di La signora canta il blues

Billie HolidayLegendary jazz singer and author of the memoir
Sadie FaganBillie's mother who struggled to support her
Clarence HolidayBillie's father and a professional musician
William DuftyCo-author who helped Holiday write her memoir
Jean Hortense NorrisSevere judge who sentenced Billie to prison

Sull'autore

Billie Holiday (1915–1959) è stata un'iconica cantante jazz e una pioniera culturale che ha co-scritto la sua cruda e risoluta autobiografia Lady Sings the Blues con il giornalista William Dufty.

Queste memorie fondono la storia del jazz con un'acerba critica sociale, riflettendo le esperienze dirette della Holiday come artista nera alle prese con il razzismo sistemico, il sessismo e la dipendenza durante il Rinascimento di Harlem e oltre.

Nota per aver aperto la strada a interpretazioni cariche di emozione di classici come "Strange Fruit" e "God Bless the Child", il genio musicale della Holiday — forgiato attraverso collaborazioni con leggende come Lester Young e Count Basie — permea la narrazione di un'autenticità lirica.

Dufty, scrittore del New York Post, ha incanalato la voce della cantante in quest'opera che ha definito un genere, acclamata per la sua candida esplorazione dell'artisticità in mezzo all'oppressione.

L'eredità duratura del libro — adattato in un film del 1972 nominato agli Oscar con protagonista Diana Ross — ha cementato lo status della Holiday come simbolo di resilienza. Introdotta nella Rock & Roll Hall of Fame e nella National Women’s Hall of Fame, la sua storia rimane fondamentale per comprendere la musica del XX secolo e le lotte per i diritti civili.

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"BeFreed replaced my podcast queue. Imagine Spotify for books — that’s it. 🙌"

@Jaded_Falcon

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"It is great for me to learn something from the book without reading it."

@OojasSalunke

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"I never knew where to start with nonfiction—BeFreed’s book lists turned into podcasts gave me a clear path."

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108

"Reading used to feel like a chore. Now it’s just part of my lifestyle."

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254

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@Jaded_Falcon

201

"It is great for me to learn something from the book without reading it."

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"The themed book list podcasts help me connect ideas across authors—like a guided audio journey."

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483

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Capitolo 6

La signora canta il blues

PanoramicaPanoramica di La signora canta il blues

Un libro. Tanti modi per ascoltarlo.

A Voice That Changed the World

From Baltimore's Streets to Harlem's Heights

Vedi ogni parola mentre la ascolti

Surviving the Impossible

The Birth of Lady Day

Ottieni di più da La signora canta il blues

The Harlem Renaissance's Hidden Heart

Breaking Barriers with Artie Shaw

Vedi ogni parola mentre la ascolti

Cafe Society and "Strange Fruit"

The Law's Relentless Pursuit

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The Comeback and the Cabaret Card

Europe: Recognition and Revelation

Vedi ogni parola mentre la ascolti

A Life's Lessons

Hai raggiunto la fine di La signora canta il blues

Temi chiave in La signora canta il blues

Citazioni da La signora canta il blues

Personaggi di La signora canta il blues

Sull'autore

Scarica il riassunto di La signora canta il blues

Agli utenti è piaciuto anche

FAQ su questo libro

What is Lady Sings the Blues about?

Who should read Lady Sings the Blues?

Is Lady Sings the Blues worth reading?

What themes are explored in Lady Sings the Blues?

Parte di un piano di apprendimento

Learn jazz basics & history

Scopri di più

1,000,000+ curious minds.

1,000,000+ curious minds.

Un libro. Tanti modi per ascoltarlo.

A Voice That Changed the World

From Baltimore's Streets to Harlem's Heights

Vedi ogni parola mentre la ascolti

Surviving the Impossible

The Birth of Lady Day

Ottieni di più da La signora canta il blues

The Harlem Renaissance's Hidden Heart

Breaking Barriers with Artie Shaw

Vedi ogni parola mentre la ascolti

Cafe Society and "Strange Fruit"

The Law's Relentless Pursuit

Ottieni di più da La signora canta il blues

The Comeback and the Cabaret Card

Europe: Recognition and Revelation

Vedi ogni parola mentre la ascolti

A Life's Lessons

Hai raggiunto la fine di La signora canta il blues

Agli utenti è piaciuto anche

Parte di un piano di apprendimento

Learn jazz basics & history

Scopri di più

Panoramica di La signora canta il blues