by Graham Robb
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Amazon.co.uk Review
There is perhaps a reason why so many people write so well about jazz--there is an extent to which the free improvisation of the music finds an echo in the way that journalists and poets think about their own art. Both are performances in which, in the end, you are on your own and without a net. Richard Gottlieb, formerly of the New Yorker has put together a quirky collection of memoirs, autobiography, essays and reviews, which cover, slightly selectively, jazz from its beginnings to now.
There is perhaps a reason why so many people write so well about jazz--there is an extent to which the free improvisation of the music finds an echo in the way that journalists and poets think about their own art. Both are performances in which, in the end, you are on your own and without a net. Richard Gottlieb, formerly of the New Yorker has put together a quirky collection of memoirs, autobiography, essays and reviews, which cover, slightly selectively, jazz from its beginnings to now.
Gottlieb tends to regard jazz as most authentic when played by African-Americans--the only white musicians discussed here tend to be women singers, and European jazz might as well not exist. His selection includes perhaps rather too many pieces expressing resentment of other musics-- Miles Davis's admiration of the Artist Formerly Known as Prince is implicitly taken as evidence of the great trumpeter's decline.
On the whole, though, this is a generous book both in its sheer size and in the spirit in which people write joyfully about the music; it is a book about the heroic, and anyone with jazz heroes-- from Louis Armstrong to Charlie Parker--will find them attractively celebrated here. --Roz Kaveney
Product Description
This is a collection of more than 150 excerpts from books, journals, magazines and newspapers, creating an anthology of essays about jazz - the life and the music. Dividing the book into three sections - "Autobiography", "Reportage" and "Criticism", Robert Gottlieb also provides an overall introduction and a brief preface to each piece. There are first-person narratives by Louis Armstrong, Sidney Bechet, Billie Holliday, Charles Mingus, Charlie Parker, Jelly Roll Morton and Fats Waller. There is journalism about musicians and recordings by Whitney Balliet, Leonard Feather, Nat Hentoff, Ralph Ellison, Rudi Blesh, Lillian Ross, A.B. Spellman and Dan Morgenstern. The critiques of major musicians are by Marshall Stearns, Henry Pleasants, Will Friedwald, Gary Giddins, Andre Hodeir, Eric Hobsbawn, Philip Larkin, Albert Murray, Stanley Crouch, LeRoi Jones, Jean-Paul Sartre, Gunther Schuller and Virgil Thompson.
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