Dizzy: The Life and Times of John Birks Gillespie [Hardcover] Review

This is by far the most revealing (because best researched), most fascinating, and best written biography about Dizzy Gillespie and his times yet available. Uniquely informative musical explanations of Dizzy's contribitions to be-bop and his use of Afro-Cuban elements in jazz, propelling that music from the Swing Era into jazz of today and tomorrow. Also presents the social and historical context of Dizzy's story, from cotton picking in Cheraw,SC to world renown and jazz immortality. Only thing not explained, because it's unexplainable: how and why he was gifted with and then powerfully developed such prodigious talent -- the Mozart of jazz!

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Dizzy Gillespie secured his place in the jazz pantheon as one of the most expressive and virtuosic improvisers in the history of music. More important is that he was one of its great innovators. As a primary creator of the bebop and Afro-Cuban revolutions, he twice changed the way improvisation was fundamentally done. And by combining electrifying musicianship, infectious warmth, and rare comedic skills, he achieved a worldwide popularity few jazz musicians have ever enjoyed.


This is the enthralling saga of Dizzy Gillespie -- a chronicle of the rise of a jazz genius from the lowest rung of the social order to the highest pinnacle of respect and ability that brings Harlem's golden after-hours era, the raucous 52nd Street scene, of the forties, the barrios of Havana and Rio, the White House, and the world's great concert halls to glorious life.

--This text refers to the Paperback edition.

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In a Silent Way: A Portrait of Joe Zawinul [Illustrated] [Hardcover] Review

One of the things that makes this such an interesting book is that it is about the music as much as it is about the personality of Joe. It has details such as how two Drummers were used on one of the Black Market Tracks. I so enjoyed listening to the songs after reading about them.

Half the book is about the Weather Report years, the other half is pre and post Weather Report.

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Joe Zawinul pioneered a seismic shift in American jazz, incorporating international rhythms and new electronic tonalities.

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So What: The Life of Miles Davis [Hardcover] Review

Prior to SO WHAT I felt that, as revealing as many prior Davis bios were (including Miles' own book), their sum was somehow less than the parts.That is, there was more to understand about Miles Davis than what was collectively written.Along comes SO WHAT, the most balanced and coherent one-stop source yet for getting to know about the entirety of Miles Davis' life.As much as Miles urged us to let the music speak for itself, the context and environment in which Davis' art was created is important, and author John Szwed is up to the challenge to walk down the many paths that lead to and from Davis' music and life (e.g., discussing the aesthetics of artists as wide-ranging as Stockhausen and Sly Stone, both of whom impacted Miles' musical vision in the 1970s).Szwed doesn't attempt to cram every interesting, revealing, or just plain provocative story from prior books into his bio.Still, his research does come up with some errors previously presented as facts, and there are plently of newfound "Miles Davis stories" to amuse and/or amaze the reader, for better and worse.
What the author seems to do is pick and choose among the previously-revealed tidbits about Miles and use them as supplements to 1) his open-minded knowledge about the entirety of Davis' music (as well as the cultural and commercial environment in which it was created), and 2) fresh, revealing interviews he conducted with family members and others close to the subject at key points in his life.Having unprecedented access to Davis' family was possibly the missing piece of the puzzle needed to really reconcile what was already known about Miles with the many contradictions that sat unresolved for decades (e.g., tough exterior, insecure interior).Even as Szwed stays in tune with Davis' music from beginning to end, he reveals with unprecedented detail just how chaotic his personal life was.Previously I thought Davis was unlucky to have died so relatively young...albeit at age 65.Given all of the substance abuse and other problems he faced (and created for himself), I'm now amazed that Miles lasted so long, and how he could--with a bare minimum of lulls over nearly a half-century--be artistically creative right up to his final hospitalization in 1991.
Being that Miles' life was often sensationalistic to begin with, Szwed plays it cool with this hot topic, writing the way that Davis played, sans ornamentation.SO WHAT stays focused on the big picture...with details that dip beneath the surface throughout Miles' entire life.The information seems mostly accurate; among the errors that I caught were that Szwed states the 1985 Artists United vs. Apartheid SUN CITY project in which Davis participated was a Quincy Jones production (in reality it was led by Little Steven and Arthur Baker). The author is confusing that benefit recording with WE ARE THE WORLD from the same year which Jones did direct (this error undermines Szwed's critique of the SUN CITY album).Also, it's unfortunate that the 20-CD COMPLETE MONTREUX boxed set came along too late to be included here, because the high quality of that music is the best evidence yet that Miles' final years were musically-productive ones.However, all this means is that understanding Davis remains an ongoing process.Even with its few minor flaws, no oneto date has better unraveled the enigmatic genius of Miles Davis than Szwed.I recommended this book first, with Paul Tingen's MILES BEYOND next in line.

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Straight, No Chaser: The Life and Genius of Thelonious Monk (Omnibus Press) [Paperback] Review

This book has gotten unjustified bad press.The author accurately captures the "real" T. Monk.She traces Monk's development and commitment to jazz over his career.The author had access to Monk's family(e.g., Toot his drummer son), friends, supporters, and the musicians thatknew him. What I particularly like about the book was her treatment ofMonk's mysterious pathology.Monk was a very strange guy.Variouspsychiatrists discounted him being schizophrenic and bipolar.Theconcensus was that he chemically ruined his brain over the years.He alsocultivated an image of eccentricity. During the last six years of his life,he got up, put on a suit and tie (he was always sartorially snappy) andthen laid in bed all day.This is a very good book and provided aninsightful picture of this eccentric musical genius.

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To Be, or Not . . . to Bop [Paperback] Review

Jazz has been a lifelong love of mine, and Dizzy is at the top of the heap! Have always loved his music, and in this book,he gives us a generous lesson on jazz from beginning to end.He lets us in onhow he got the name "Dizzy", as well as other interesting peeks into his life- always with humour and an upbeat attitude.From Page 1 onward, you can visualize Mr. G.,----body keeping timeto the beat in his head, those rubber cheeks expanded, his admirers ... male and female, musicians and non-musicians... listening and swaying and tapping with admiration and awe.

This book is a lesson in music.I used to wonder why the drummers from America sounded so different from the drummers in other countries, say the Caribbean. Why is itthat acertain soundsets Americanmusicapart from all the music elsewhere in the world.Well, Dizzy explains all of this in his down-to-earth and charming manner.Reading this book is almost like getting a degree in musicology....except it's a lot more fun. He sugarcoats nothing, and puts everything out there for you to see.

Well written, informative, great fun, and a lot of history too.To repeat myself, I loved it!

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Open Sky: Sonny Rollins and His World of Improvisation [Paperback] Review

Eric Nisenson claims that this is not a definitive biography of Sonny Rollins.I would have to agree.Not only does this book tell us hardly anything about Sonny's personal life (his inpirations, his heartbreaks, his relationships with other jazz musicians), it has neither a discography nor an index. It's list of sources is only a page and a half, half of which seem to be previous books by Nisenson.After an inspired first chapter, Nisenson just seems to list through Sonny's albums and notable achievements, using generous quotes from Sonny describing events that were just described by the author himself.There were some good discriptions of some of the albums and some of Sonny's better solos, but most of it reads like a textbook.I would suggest that someone wait for either Sonny's autobiography (for which he's obviously saved a lot of info) or a "definitive" biography.

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Rhythm-a-ning: Jazz Tradition and Innovation [Paperback] Review

DaCapo does it again, bringing back into print the best jazz criticism.I read this collection of Giddins' Village Voice essays a couple of years after it was first published by Oxford in 1985.The picture of jazz it captures from the early '80s is, for better or worse, not so different from the picture today.No revolutions, just an ongoing period of recombinations and the uneasy coexistence of various styles.

Giddins is catholic in his enthusiasms, but I was and continue to be more interested in the avant-garde.In addition to swing and bop players (including Monk, from whom he took his title), here are some of the players he writes about, mainly their recordings, but also some concerts -- Cecil Taylor, Ornette Coleman, Ronald Shannon Jackson, James Blood Ulmer, the Art Ensemble of Chicago, Muhal Richard Abrams, James DeJohnette, Andrew Cyrille, James Newton, Anthony Davis, Arthur Blythe, David Murray, Steve Lacy and Roswell Rudd, the William Breuker Kollektief, and Alexander von Schlippenbach's Global Unity Orchestra.

He concludes a review of the "Young Lions" performance, including the 21-year-old Wynton Marsalis, at the 1982 Kool Jazz Festival in NYC with these prophetic lines:"My intuition tells me that innovation isn't this generation's fate...the neoclassicists have a task no less valuable than innovation:sustenance. [M]usicians such as Marsalis are needed to restore order, replenish melody, revitalize the beat, loot the tradition for whatever works, and expand the audience.That way we'll be all the hungrier for the next incursion of genuine avant-gardists..." (161)Of course "this generation" cannot be reduced to the neoclassicalrevivalists, but to the extent that they have dominated the jazz world since the mid-'80s, Giddins had it right "on the money," in every sense of the word.

That tendency has now persisted long past the time it was (arguably) making a needed contribution.Contrary to Marsalis, the living soul of jazz is creative improvisation, not ossified composition!As of 2005, jazz is still in need of rejuvenation.Having a jazz museum at the Lincoln Center is fine, but jazz can only be kept alive outside of museums through constant innovation.

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In a companion to his collections Riding on a Blue Note and Faces in the Crowd, Gary Giddins has assembled a mosaic of pieces that provide an essential guide to the jazz world. Moving with ease from sweeping surveys of jazz history to precise, vivid assessments of individual performers including Thelonius Monk, the Marsalis brothers, Ornette Coleman, and David Murray, Giddins demonstrates once again why he is lauded as "the best jazz critic now at work" (Newsweek).

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Jazz and Death: Medical Profiles of Jazz Greats (American Made Music Series) [Hardcover] Review

This is an excellent reference work which should be on the shelf of most serious jazz collectors and anyone who writes about jazz or does discographical work in this field. Dr. Spencer very clearly explains numerous medical conditions and provides death certificates and other pertinent illustrations. He also clears up a number of mistakes/misunderstandings which have appeared in the literature. The references are annoying (the superscripts are tiny for my ancient eyes) and you must look in the back of the book to find the reference. The illustrations could have been sharper. Lastly, I understand that Dr. Spencer submitted a 660 page manuscript and only then was told that 300 pages was the goal. Thus, a great deal has been cut. He did a remarkable job but no doubt a lot of information got left on the cutting room floor!

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Living the Jazz Life: Conversations with Forty Musicians about Their Careers in Jazz [Paperback] Review

As Continental forces and Virginia militia units were engaged in winning independence, American quartermasters and provisioners struggled to provide these units with all the necessities of life, from meals and guns to meat, fodder for horses, the horses themselves, firewood, and every other type of material. Much of this was requisitioned from the civilian population and certificates were issued payable in either continental or state funds, depending on the units supplied, upon presentation to court authorities. Thousands of these certificates issued to Virginians were duly entered by the courts, and they provide a fascinating insight into the period of the Revolution. These "Publick" Claims booklets contain interesting and useful information about the contributions of ordinary people to the Revolutionary War. They provide some details of people's service in the militia or as guards for prisoners of war; they indicate where some bodies of troops were at particular times; and they identify providers of horses, wagons, cattle, grain, or other supplies. Much of the information in these booklets cannot be found anywhere else, which makes the surviving records particularly valuable. Also remarkable is the fact that records survived from virtually every county in the state at that time with the exception of the newly formed Kentucky counties. This makes the collection even more valuable in covering areas which heretofore in this time period have suffered from a lack of personal data. The "Virginia Publick Claims" are published by counties. In addition to a faithful transcription by Janice Luck Abercrombie and the late Richard Slatten, a complete index is provided for each county booklet. This series is an extremely important genealogical tool for searchers in Revolutionary-era materials.

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Monk's Music: Thelonious Monk and Jazz History in the Making (Roth Family Foundation Music in America Imprint) [Paperback] Review

Monk's Music is a fine read that will repay your attention.It will appeal to you if you are interested in music, especially jazz, and the way it interacts with and is given context by the culture it exists in.Jazz fans, Monk fans, music fans, and anyone with an itnterest in music and culture will want to read this book.

This is a book grounded in the academic tradition--yes, it uses big words and knotty concepts.It requires focus and attention to read.On the other hand, if you are willing to put in a bit of effort, the average music fan will find much of interest, and your effort will be repaid amply.

Solis sets about examining some very interesting questions, like "how does someone become a Jazz icon?""In an evolving musical genre, where slavish reproduction of a musical work is not valued and is indeed a source of disrespect, how does the ongoing evolution of a set of musical works take life and substance?"

If you are expecting a biography of Monk, or a simple analysis of his music, you will be disappointed--although the book does provide an excellent synopsis of Mon's life to provide contest, and also provides lucid analysis and commentary on the music.

Solis gives life and context to his discussion by incorporating the results of extensive interviews with musicians who played with Monk, a primary resource that has depth.

A unique and interesting book, I recommend it to anyone interested in jazz, music, and culture, and of course anyone interested in Monk and his music.

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Thelonious Monk (1917-1982) was one of jazz's greatest and most enigmatic figures. As a composer, pianist, and bandleader, Monk both extended the piano tradition known as Harlem stride and was at the center of modern jazz's creation during the 1940s, setting the stage for the experimentalism of the 1960s and '70s. This pathbreaking study combines cultural theory, biography, and musical analysis to shed new light on Monk's music and on the jazz canon itself. Gabriel Solis shows how the work of this stubbornly nonconformist composer emerged from the jazz world's fringes to find a central place in its canon. Solis reaches well beyond the usual life-and-times biography to address larger issues in jazz scholarship--ethnography and the role of memory in history's construction. He considers how Monk's stature has grown, from the narrowly focused wing of the avant-garde in the 1960s and '70s to the present, where he is claimed as an influence by musicians of all kinds. He looks at the ways musical lineages are created in the jazz world and, in the process, addresses the question of how musicians use performance itself to maintain, interpret, and debate the history of the musical tradition we call jazz.

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