A lively, if not thorough, overview of jazz’s origins.
A debut book that examines American jazz’s early history, focusing mainly on legendary composer George Gershwin.
A cursory look at this book’s title may make readers assume that it’s an all-encompassing history of jazz music. In reality, it only covers the genre’s origins, from the birth of American song during the 18th century through the life and career of Gershwin in the early 20th century. That said, this book at least could serve as an introduction for those unfamiliar with jazz. Rather than taking a dry, academic approach to the subject, Gerber, a musician and natural foods entrepreneur, writes in a conversational, lively, and witty style, although some of the personal tangents and jokes fall flat at times: “When European high-society muckety-muck, Lady Mountbatten (no relation to Lady Gaga) heard Gershwin play….” Using a variety of bibliographical sources, Gerber paints a vivid picture of jazz’s roots in slaves’ spirituals and minstrel shows; the music’s popularity in the Storyville section of New Orleans; and the emergence of Louis Armstrong. He unearths some interesting facts, such as shared cultural experiences of African-Americans and Jews: he notes that African-American singers such as Billie Holliday and Alberta Hunter recorded Jewish songs and that Louis Armstrong so admired Jewish people that he wore a Star of David around his neck. The last two-thirds of the book, though, focuses on Gershwin, including the creation of his immortal work, “Rhapsody in Blue”—even going so far as to include a section on the famous clarinet glissando that opens the piece. It’s interesting to learn that Gershwin’s folk opera, Porgy and Bess, was initially a financial failure, and Gerber also delves into other aspects of Gershwin’s life, including his dietary habits, his relationships with women, and his love for fine art. He makes a strong, enthusiastic case for Gershwin’s contributions to jazz, something that many jazz historians, according to the author, don’t often acknowledge (“As far as George Gershwin goes—jazz can’t live with him and jazz can’t live without him!”). In addition, Covarrubias’ vibrant illustrations really enhance the text. This title shouldn’t be the first stop for those seeking an exhaustive, well-rounded survey of either jazz or Gershwin. Still, it’s an accessible overview for novices that could point them toward more comprehensive studies.
A lively, if not thorough, overview of jazz’s origins.Pub Date: May 6, 2015
ISBN: 978-0-692-44553-2
Page Count: 336
Publisher: Gerber's Miracle Publishers LLC
Review Posted Online: July 30, 2015
Kirkus Reviews Issue: Sept. 1, 2015
Review Program: Kirkus Indie
An enjoyable slice of 20th-century music journalism almost certain to provide something for most readers, no matter one’s...
Music journalist and musician Wald (Talking 'Bout Your Mama: The Dozens, Snaps, and the Deep Roots of Rap, 2014, etc.) focuses on one evening in music history to explain the evolution of contemporary music, especially folk, blues, and rock.
The date of that evening is July 25, 1965, at the Newport Folk Festival, where there was an unbelievably unexpected occurrence: singer/songwriter Bob Dylan, already a living legend in his early 20s, overriding the acoustic music that made him famous in favor of electronically based music, causing reactions ranging from adoration to intense resentment among other musicians, DJs, and record buyers. Dylan has told his own stories (those stories vary because that’s Dylan’s character), and plenty of other music journalists have explored the Dylan phenomenon. What sets Wald's book apart is his laser focus on that one date. The detailed recounting of what did and did not occur on stage and in the audience that night contains contradictory evidence sorted skillfully by the author. He offers a wealth of context; in fact, his account of Dylan's stage appearance does not arrive until 250 pages in. The author cites dozens of sources, well-known and otherwise, but the key storylines, other than Dylan, involve acoustic folk music guru Pete Seeger and the rich history of the Newport festival, a history that had created expectations smashed by Dylan. Furthermore, the appearances on the pages by other musicians—e.g., Joan Baez, the Weaver, Peter, Paul, and Mary, Dave Van Ronk, and Gordon Lightfoot—give the book enough of an expansive feel. Wald's personal knowledge seems encyclopedic, and his endnotes show how he ranged far beyond personal knowledge to produce the book.
An enjoyable slice of 20th-century music journalism almost certain to provide something for most readers, no matter one’s personal feelings about Dylan's music or persona.Pub Date: July 25, 2015
ISBN: 978-0-06-236668-9
Page Count: 368
Publisher: Dey Street/HarperCollins
Review Posted Online: May 15, 2015
Kirkus Reviews Issue: June 1, 2015
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Stricter than, say, Bergen Evans or W3 ("disinterested" means impartial — period), Strunk is in the last analysis...
Privately published by Strunk of Cornell in 1918 and revised by his student E. B. White in 1959, that "little book" is back again with more White updatings.
Stricter than, say, Bergen Evans or W3 ("disinterested" means impartial — period), Strunk is in the last analysis (whoops — "A bankrupt expression") a unique guide (which means "without like or equal").Pub Date: May 15, 1972
ISBN: 0205632645
Page Count: 105
Publisher: Macmillan
Review Posted Online: Oct. 28, 2011
Kirkus Reviews Issue: May 1, 1972
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