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LEADER OF THE BAND

Name: LEADER OF THE BAND
Author: Gene Lees
ISBN: 0-19-505671-X

THE LIFE OF WOODY HERMAN

by Gene Lees ‧ RELEASE DATE: Nov. 1, 1995

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Workmanlike biography of a famed big bandsman. Woody Herman (191387) was one of the great figures of the big-band era, as instrumentalist, vocalist, and particularly as band leader. His famous series of ``herds'' introduced many key musicians, particularly the noted saxophone section of the Second Herd, featuring Stan Getz, Zoot Sims, and Al Cohn. Herman's first group, which came to prominence in 1937, took a more swinging approach to the music than other bands of the day and became known as ``The Band that Plays the Blues,'' thanks to their earthy repertoire. After the war, Herman was one of the first to embrace the progressive harmonies and jagged melodies of bebop, which was pushing out the edges of acceptable jazz. However, with the decline of the big bands in the '50sattributed by Lees to the success of rock 'n' roll and the closing of many large ballroomsHerman struggled to keep his group going. By the late '60s, he had half- heartedly embraced rock 'n' roll, even recording the Doors' ``Light My Fire'' and other rock songs. In his later years, charged by the IRS with tax evasion, Herman had to keep performing despite declining band standards and his own poor health. Lees (Cats of Any Color, 1994, etc.) is a noted jazz writer and a friend of Herman's; he even worked for a while as a publicist for him. Although obviously a dedicated fan (his negative feelings toward rock and contemporary pop make for some curmudgeonly passages), he is even- handed. Lees covers much the same ground as William Clancy's recent Woody Herman: Chronicle of the Herds (p. 191), although Clancy's book is more of an oral history, while this is a straight narrative. A few high notes from the past, bathed in a warm, nostalgic glow. (25 b&w photos, not seen)

Pub Date: Nov. 1, 1995

ISBN: 0-19-505671-X

Page Count: 416

Publisher: Oxford Univ.

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Sept. 1, 1995

Categories:

GENERAL NONFICTION

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NUTCRACKER

by E.T.A. Hoffmann ‧ RELEASE DATE: Oct. 28, 1996

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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 19, 2010

Kirkus Reviews Issue: Aug. 15, 1996

Categories:

GENERAL NONFICTION

- BOOK REVIEW
THE NUTCRACKER AND THE MOUSE KING
by E.T.A. Hoffmann ; adapted by Natalie Andrewson ; illustrated by Natalie Andrewson

- BOOK REVIEW
THE NUTCRACKER
by E.T.A. Hoffmann & illustrated by Julie Paschkis

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TO THE ONE I LOVE THE BEST

EPISODES FROM THE LIFE OF LADY MENDL (ELSIE DE WOLFE)

by Ludwig Bemelmans ‧ RELEASE DATE: Feb. 23, 1955

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An extravaganza in Bemelmans' inimitable vein, but written almost dead pan, with sly, amusing, sometimes biting undertones, breaking through. For Bemelmans was "the man who came to cocktails". And his hostess was Lady Mendl (Elsie de Wolfe), arbiter of American decorating taste over a generation. Lady Mendl was an incredible person,- self-made in proper American tradition on the one hand, for she had been haunted by the poverty of her childhood, and the years of struggle up from its ugliness,- until she became synonymous with the exotic, exquisite, worshipper at beauty's whrine. Bemelmans draws a portrait in extremes, through apt descriptions, through hilarious anecdote, through surprisingly sympathetic and understanding bits of appreciation. The scene shifts from Hollywood to the home she loved the best in Versailles. One meets in passing a vast roster of famous figures of the international and artistic set. And always one feels Bemelmans, slightly offstage, observing, recording, commenting, illustrated.