Wein is eye-crossingly voluble, but he does have a lot of stories, perspectives, and music history to get off his chest.
Garrulous memoir by the music promoter and club owner who brought jazz to the masses through the Newport Jazz Festival.
“I was fortunate enough to have an older brother who set a precedent for underachieving,” writes Wein. We were all fortunate. His brother liked the jazz clubs on 52nd Street more than the classroom, and he brought young George along, nurturing in the boy a love of Art Tatum, Hot Lips Page, Thelma Carpenter, and Frankie Newton. In 1950, Wein opened a club in Boston called Storyville and launched a half-century of jazz promotion. In plain, if at times serpentine, prose (“I think that even after these short moments I thought that perhaps our lives would become permanently intertwined”), Wein tells of ushering practically every jazz musician alive through Storyville’s doors and bestows a little story upon each: Billie Holiday, Ella Fitzgerald (“I developed a blister on my middle finger from snapping to the beat”), Charlie Parker, Lester Young, George Shearing. From these associations he was able to patch together the Newport Jazz Festival, a terrific fusion of art and pop, elusive and foot-tapping that was forever in one form or another of trouble: financial, legal, critical. Wein promoted ferment as much as music; he introduced rock into the jazz festival in 1969 (“Led Zeppelin’s performance was a wall of pure energy”) and electricity into the Newport Folk Festival—another of his brainstorms—in 1965, with Paul Butterfield and Bob Dylan. He managed to infuriate both jazz purists (Nat Hentoff thought Newport was crassly commercial) and folkie diehards: when Dylan launched into “Maggie’s Farm,” Wein writes, “the prevailing feeling among the crowd was a sense that they had been betrayed.” It was also history, and he invites readers to walk along at his side as he made it.
Wein is eye-crossingly voluble, but he does have a lot of stories, perspectives, and music history to get off his chest.Pub Date: May 1, 2003
ISBN: 0-306-81114-6
Page Count: 542
Publisher: Da Capo
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: April 1, 2003
The author's youthfulness helps to assure the inevitable comparison with the Anne Frank diary although over and above the...
Elie Wiesel spent his early years in a small Transylvanian town as one of four children.
He was the only one of the family to survive what Francois Maurois, in his introduction, calls the "human holocaust" of the persecution of the Jews, which began with the restrictions, the singularization of the yellow star, the enclosure within the ghetto, and went on to the mass deportations to the ovens of Auschwitz and Buchenwald. There are unforgettable and horrifying scenes here in this spare and sombre memoir of this experience of the hanging of a child, of his first farewell with his father who leaves him an inheritance of a knife and a spoon, and of his last goodbye at Buchenwald his father's corpse is already cold let alone the long months of survival under unconscionable conditions.
Pub Date: Jan. 16, 2006
ISBN: 0374500010
Page Count: 120
Publisher: Hill & Wang
Review Posted Online: Oct. 7, 2011
Kirkus Reviews Issue: Jan. 15, 2006
A moving meditation on mortality by a gifted writer whose dual perspectives of physician and patient provide a singular...
A neurosurgeon with a passion for literature tragically finds his perfect subject after his diagnosis of terminal lung cancer.
Writing isn’t brain surgery, but it’s rare when someone adept at the latter is also so accomplished at the former. Searching for meaning and purpose in his life, Kalanithi pursued a doctorate in literature and had felt certain that he wouldn’t enter the field of medicine, in which his father and other members of his family excelled. “But I couldn’t let go of the question,” he writes, after realizing that his goals “didn’t quite fit in an English department.” “Where did biology, morality, literature and philosophy intersect?” So he decided to set aside his doctoral dissertation and belatedly prepare for medical school, which “would allow me a chance to find answers that are not in books, to find a different sort of sublime, to forge relationships with the suffering, and to keep following the question of what makes human life meaningful, even in the face of death and decay.” The author’s empathy undoubtedly made him an exceptional doctor, and the precision of his prose—as well as the moral purpose underscoring it—suggests that he could have written a good book on any subject he chose. Part of what makes this book so essential is the fact that it was written under a death sentence following the diagnosis that upended his life, just as he was preparing to end his residency and attract offers at the top of his profession. Kalanithi learned he might have 10 years to live or perhaps five. Should he return to neurosurgery (he could and did), or should he write (he also did)? Should he and his wife have a baby? They did, eight months before he died, which was less than two years after the original diagnosis. “The fact of death is unsettling,” he understates. “Yet there is no other way to live.”
A moving meditation on mortality by a gifted writer whose dual perspectives of physician and patient provide a singular clarity.Pub Date: Jan. 19, 2016
ISBN: 978-0-8129-8840-6
Page Count: 248
Publisher: Random House
Review Posted Online: Sept. 29, 2015
Kirkus Reviews Issue: Oct. 15, 2015
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