Because author Delbanco is a novelist (Sherbrookes) and the son-in-law of Beaux Arts Trio cellist Bernard Greenhouse, you might expect this treatment to have more texture than the routine, patchwork artist-profile book. Disappointingly, however, that's not the case: Delbanco salutes the long-lived chamber group with a standard assemblage of interviews, anecdotes, clippings, and journalistic close-ups. A brief history of the Beaux Arts piano/violin/cello trio (relatively rare compared to string quartets) leads off—from 1955 formation to the 1969 retirement of violinist Daniel Guilet, to be replaced by the younger Isidore Cohen. Later chapters offer detailed descriptions of three specific items on the Trio's busy schedule: a 1982 concert at Harvard's Sanders Theater (a performance for a less obvious, less sophisticated audience would have been far more interesting subject-matter); a concert-tour in France; and, to much better effect, a six-day recording session in 1983, focusing on two Mozart piano quartets (with violist Bruno Guiranna as the fourth). And interviews with the three current Beaux Arts principals are interspersed throughout—as the lively, humorous musicians talk about training, practice, critics, life-on-the-road, recording, teaching, and a soloist career vs. chamber music. Some intriguing specifics, a few merry anecdotes, and obvious appeal to Beaux Arts fans—but, unlike the better artist-profiles (e.g., William Zinsser's Willie and Dwike, p. 684), this uninspired mosaic provides neither rich character-studies nor involving vignettes.

Pub Date: Jan. 23, 1984

ISBN: 0575036249

Page Count: 256

Publisher: Morrow/HarperCollins

Review Posted Online: Oct. 14, 2011

Kirkus Reviews Issue: Jan. 1, 1984

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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

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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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