A devoted gardener offers a meandering collection of brief essays that may hold some charm for others of the same ilk. As the editor of Horticulture magazine, Cooper contributes a regular column whose intent, he says, is ``to capture the world in and around a garden.'' This translates into fragmentary and scattered musings, mainly about his own backyard gardens in Massachusetts, so don't look for practical assistance or even the occasional clever idea here. Although the columns are not dated or presented chronologically (for example, the reader sees Cooper's daughter age eccentrically from three to two to six), they are grouped by month. January finds the author poring over nursery catalogs and drafting resolutions (``Stop accepting plants as gifts, no mater how tempting . . . just imagine they are offering a tray of zucchini seedlings''), while by April he is yearning for a spiffier potting shed and delighting over the arrival of packages from mail-order nurseries. A number of columns are little more than the verbal equivalent of puttering, but then, as Cooper says, gardeners do ``raise puttering to the state of high art.'' Occasionally, pieces that were written to be read one at a time are diminished by being crowded together: Although July's articles on water and wateringmusing on a watering can, noting the desirability of an efficient soaker hose, and admonishing readers to learn from water shortages out Westare separated by forays into other matters, they lose some of their effect when read within the space of half an hour. This one is for people who nod sagely at the line, ``There is only so much Geranium endressii one person can handle,'' and whose hours not spent in the garden are spent talking about being in the garden.
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)
This early reader is an excellent introduction to the March on Washington in 1963 and the important role in the march played by Martin Luther King Jr. Ruffin gives the book a good, dramatic start: “August 28, 1963. It is a hot summer day in Washington, D.C. More than 250,00 people are pouring into the city.” They have come to protest the treatment of African-Americans here in the US. With stirring original artwork mixed with photographs of the events (and the segregationist policies in the South, such as separate drinking fountains and entrances to public buildings), Ruffin writes of how an end to slavery didn’t mark true equality and that these rights had to be fought for—through marches and sit-ins and words, particularly those of Dr. King, and particularly on that fateful day in Washington. Within a year the Civil Rights Act of 1964 had been passed: “It does not change everything. But it is a beginning.” Lots of visual cues will help new readers through the fairly simple text, but it is the power of the story that will keep them turning the pages. (Easy reader. 6-8)