An exhaustive look at how some jazz musicians adjusted to the advent of rock ‘n’ roll. Nicholson (Billie Holliday, 1995, etc.) begins his study with the emergence of the US in the 1950s and ’60s as a world center of musical innovation, particularly in the uniquely American forms of jazz and rock ‘n’ roll. While the jazz influence on acts such as Chicago and Blood, Sweat, and Tears is perhaps obvious, artists such as Cream and Jimi Hendrix, normally thought of as pure rock or as being predominantly blues-influenced, are shown by Nicholson to also have been very much influenced by jazz. But if jazz made an impression on rock, the opposite also occurred. For instance, it was his friendship with Hendrix that led jazz giant Miles Davis out of traditional jazz and into jazz-rock “fusion.” Davis was soon opening for the Grateful Dead and working with rock promoter Bill Graham. The development of the Mahavishnu Orchestra and Chick Corea’s career are also thoroughly traced here. The 1980s return of Miles Davis to the scene and the juggernaut of bassist extraordinaire Jaco Pastorius are also plumbed for their vast influence. Exploring rock acts persistently influenced by jazz, Nicholson offers a strong analysis of Frank Zappa, probably the most important artist in the genre, and others. The future of jazz-rock fusion is located in the work of such pioneers as Ornette Coleman and in the development of such groups as Digable Planets. If there is one flaw in Nicholson’s study, it is his tendency to hew to a stiff, repetitive format: covering staff changes in a band’s lineup, discussing a record’s release (including the promotional materials from the record companies), and then going into a close analysis of the music itself. Still, his impeccable music scholarship makes up for this tendency toward structural formula. (50 illustrations, not seen)
Pub Date: May 1, 1998
ISBN: 0-02-864679-7
Page Count: 424
Publisher: N/A
Review Posted Online: May 20, 2010
Kirkus Reviews Issue: April 1, 1998
Categories: GENERAL NONFICTION
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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
Categories: GENERAL NONFICTION
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A light-speed tour of (mostly) Western poetry, from the 4,000-year-old Gilgamesh to the work of Australian poet Les Murray, who died in 2019.
In the latest entry in the publisher’s Little Histories series, Carey, an emeritus professor at Oxford whose books include What Good Are the Arts? and The Unexpected Professor: An Oxford Life in Books, offers a quick definition of poetry—“relates to language as music relates to noise. It is language made special”—before diving in to poetry’s vast history. In most chapters, the author deals with only a few writers, but as the narrative progresses, he finds himself forced to deal with far more than a handful. In his chapter on 20th-century political poets, for example, he talks about 14 writers in seven pages. Carey displays a determination to inform us about who the best poets were—and what their best poems were. The word “greatest” appears continually; Chaucer was “the greatest medieval English poet,” and Langston Hughes was “the greatest male poet” of the Harlem Renaissance. For readers who need a refresher—or suggestions for the nightstand—Carey provides the best-known names and the most celebrated poems, including Paradise Lost (about which the author has written extensively), “Kubla Khan,” “Ozymandias,” “The Charge of the Light Brigade,” Wordsworth and Coleridge’s Lyrical Ballads, which “changed the course of English poetry.” Carey explains some poetic technique (Hopkins’ “sprung rhythm”) and pauses occasionally to provide autobiographical tidbits—e.g., John Masefield, who wrote the famous “Sea Fever,” “hated the sea.” We learn, as well, about the sexuality of some poets (Auden was bisexual), and, especially later on, Carey discusses the demons that drove some of them, Robert Lowell and Sylvia Plath among them. Refreshingly, he includes many women in the volume—all the way back to Sappho—and has especially kind words for Marianne Moore and Elizabeth Bishop, who share a chapter.
Necessarily swift and adumbrative as well as inclusive, focused, and graceful.Pub Date: April 21, 2020
ISBN: 978-0-300-23222-6
Page Count: 304
Publisher: Yale Univ.
Review Posted Online: Feb. 9, 2020
Kirkus Reviews Issue: March 1, 2020
Categories: GENERAL NONFICTION
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