A great incentive to fire up Spotify, or even the old stereo.

BEST MUSIC WRITING 2011

New Yorker music editor Ross (Listen to This, 2010, etc.) curates the year’s finest scribbling about sound.

The latest entry in the annual anthology of music journalism draws on a breadth of sources, from metro dailies and national magazines to websites, blogs and even Twitter. Ross brings in lively pieces from his primary discipline, classical music: Justin Davidson offers a measured contemplation of Beethoven’s contemporary interpreters, and online contest winners risibly summarize opera librettos in 140-character tweets. Befitting the times, pop mega-stars are the focus of several penetrating profiles: Vanessa Grigoriadis on Lady Gaga, Chris Norris on Will.i.am, Caryn Ganz on Nicki Minaj. Jonathan Bogart’s critical take on Ke$ha tells you more than you may ever want to know about pop’s trollop of the moment, but does it hilariously. Rock gets comparatively short shrift, and the top selections are backward-looking: James Wood on the Who’s maniacal drummer Keith Moon, Evelyn McDonnell on ’70s femme rockers the Runaways, Nate Chinen on the unlikely yet apt onstage confluence in 1970 of Miles Davis and Neil Young. The writing about contemporary rock—Titus Andronicus bassist Amy Klein’s hyper-feminist tour diary entry, blogger Mike Turbé’s review of a metal show in a Brooklyn basement—never rises above the jejune. The most startling stuff drives boldly into new territory: Lauren Wilcox Puchowski’s profile of a Washington, D.C., wedding band at work, Jason Cherkis on a Baltimore record collector’s life-changing obsession with an early-20th-century Greek vocalist, Chris Richards’ search for Parliament-Funkadelic’s Mothership stage prop and Joe Hagan on the profound darkness revealed in Nina Simone’s hitherto unpublished diaries. There is also a dizzying chapter from Dave Tompkins’ book How to Wreck a Nice Beach, excerpted by NPR.org, about the vocoder’s passage from cryptography to music. Though country and various roots styles are half-heartedly represented and a handful of solipsistic pieces tax the reader’s patience, this edition mainly sidesteps the usual suspects while maintaining the series’ high standard.

A great incentive to fire up Spotify, or even the old stereo.

Pub Date: Dec. 1, 2011

ISBN: 978-0-306-81963-6

Page Count: 336

Publisher: Da Capo

Review Posted Online: Oct. 2, 2011

Kirkus Reviews Issue: Oct. 15, 2011

Did you like this book?

No Comments Yet

NUTCRACKER

This is not the Nutcracker sweet, as passed on by Tchaikovsky and Marius Petipa. No, this is the original Hoffmann tale of 1816, in which the froth of Christmas revelry occasionally parts to let the dark underside of childhood fantasies and fears peek through. The boundaries between dream and reality fade, just as Godfather Drosselmeier, the Nutcracker's creator, is seen as alternately sinister and jolly. And Italian artist Roberto Innocenti gives an errily realistic air to Marie's dreams, in richly detailed illustrations touched by a mysterious light. A beautiful version of this classic tale, which will captivate adults and children alike. (Nutcracker; $35.00; Oct. 28, 1996; 136 pp.; 0-15-100227-4)

Pub Date: Oct. 28, 1996

ISBN: 0-15-100227-4

Page Count: 136

Publisher: Harcourt

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Aug. 15, 1996

Did you like this book?

No Comments Yet

WHAT A WONDERFUL WORLD

A LIFETIME OF RECORDINGS

Noted jazz and pop record producer Thiele offers a chatty autobiography. Aided by record-business colleague Golden, Thiele traces his career from his start as a ``pubescent, novice jazz record producer'' in the 1940s through the '50s, when he headed Coral, Dot, and Roulette Records, and the '60s, when he worked for ABC and ran the famous Impulse! jazz label. At Coral, Thiele championed the work of ``hillbilly'' singer Buddy Holly, although the only sessions he produced with Holly were marred by saccharine strings. The producer specialized in more mainstream popsters like the irrepressibly perky Teresa Brewer (who later became his fourth wife) and the bubble-machine muzak-meister Lawrence Welk. At Dot, Thiele was instrumental in recording Jack Kerouac's famous beat- generation ramblings to jazz accompaniment (recordings that Dot's president found ``pornographic''), while also overseeing a steady stream of pop hits. He then moved to the Mafia-controlled Roulette label, where he observed the ``silk-suited, pinky-ringed'' entourage who frequented the label's offices. Incredibly, however, Thiele remembers the famously hard-nosed Morris Levy, who ran the label and was eventually convicted of extortion, as ``one of the kindest, most warm-hearted, and classiest music men I have ever known.'' At ABC/Impulse!, Thiele oversaw the classic recordings of John Coltrane, although he is the first to admit that Coltrane essentially produced his own sessions. Like many producers of the day, Thiele participated in the ownership of publishing rights to some of the songs he recorded; he makes no apology for this practice, which he calls ``entirely appropriate and without any ethical conflicts.'' A pleasant, if not exactly riveting, memoir that will be of most interest to those with a thirst for cocktail-hour stories of the record biz. (25 halftones, not seen)

Pub Date: May 1, 1995

ISBN: 0-19-508629-4

Page Count: 224

Publisher: Oxford Univ.

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: March 1, 1995

Did you like this book?

more