Johann Sebastian Bach’s early years come to life in a delightful salute to the 17th-century German composer.
Johann, raised in a large family of musicians, is intrigued by the patterns he sees in musical notation and imagines the kinds of sounds he could invent with “just seven notes.” While this simplification of the concept of composition is likely for the benefit of budding musicians (Bach used the Western 12-tone scale), it also lends an immediacy to the light, first-person text. Leonard uses expansive double-page spreads throughout to illustrate Johann’s love of music. On one such, the notes of a score fill with vibrant color and float away beyond the young copyist’s hand. The artwork in acrylic paint on illustration board leaves plenty of room for young readers to interpret metaphorical images. An evocative, vertical double-page spread is a visual play on the word “scale,” as notes pour out of Johann’s hands to reach new heights and form castles in the air. A second vertical spread shows Bach as he “pulled out all the stops” on the organ to fill a church with sound that literally soars to the rafters. An afterword fills in the details of Bach’s life as a family man and his career as a composer, and a list of source material, suggested listening, and websites is provided.
An imaginative look at what sparked a musical genius .(Picture book/biography. 4-8)Pub Date: Feb. 28, 2017
ISBN: 978-1-62672-286-6
Page Count: 40
Publisher: Neal Porter/Roaring Brook
Review Posted Online: Nov. 1, 2016
Kirkus Reviews Issue: Nov. 15, 2016
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Dancing is one of the most universal elements of cultures the world over.
In onomatopoeic, rhyming text, Bolling encourages readers to dance in styles including folk dance, classical ballet, breakdancing, and line dancing. Read aloud, the zippy text will engage young children: “Tappity Tap / Fingers Snap,” reads the rhyme on the double-page spread for flamenco; “Jiggity-Jig / Zig-zag-zig” describes Irish step dancing. The ballet pages stereotypically include only children in dresses or tutus, but one of these dancers wears hijab. Overall, children included are racially diverse and vary in gender presentation. Diaz’s illustrations show her background in animated films; her active child dancers generally have the large-eyed sameness of cartoon characters. The endpapers, with shoes and musical instruments, could become a matching game with pages in the book. The dances depicted are described at the end, including kathak from India and kuku from Guinea, West Africa. Unfortunately, these explanations are quite rudimentary. Kathak dancers use their facial expressions extensively in addition to the “movements of their hands and their jingling feet,” as described in the book. Although today kuku is danced at all types of celebrations in several countries, it was once done after fishing, an activity acknowledged in the illustrations but not mentioned in the explanatory text.
The snappy text will get toes tapping, but the information it carries is limited. (Informational picture book. 4-6)Pub Date: March 3, 2020
ISBN: 978-1-63592-142-7
Page Count: 32
Publisher: Boyds Mills
Review Posted Online: Dec. 21, 2019
Kirkus Reviews Issue: Jan. 15, 2020
Categories: CHILDREN'S ENTERTAINMENT & SPORTS
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BOOK REVIEW
Bewitched by the rhythms of jazz all around her in Depression-era Kansas City, little Melba Doretta Liston longs to make music in this fictional account of a little-known jazz great.
Picking up the trombone at 7, the little girl teaches herself to play with the support of her Grandpa John and Momma Lucille, performing on the radio at 8 and touring as a pro at just 17. Both text and illustrations make it clear that it’s not all easy for Melba; “The Best Service for WHITES ONLY” reads a sign in a hotel window as the narrative describes a bigotry-plagued tour in the South with Billie Holiday. But joy carries the day, and the story ends on a high note, with Melba “dazzling audiences and making headlines” around the world. Russell-Brown’s debut text has an innate musicality, mixing judicious use of onomatopoeia with often sonorous prose. Morrison’s sinuous, exaggerated lines are the perfect match for Melba’s story; she puts her entire body into her playing, the exaggerated arch of her back and thrust of her shoulders mirroring the curves of her instrument. In one thrilling spread, the evening gown–clad instrumentalist stands over the male musicians, her slide crossing the gutter while the back bow disappears off the page to the left. An impressive discography complements a two-page afterword and a thorough bibliography.
Readers will agree that “Melba Doretta Liston was something special.” (Picture book. 4-8)Pub Date: July 1, 2014
ISBN: 978-1-60060-898-8
Page Count: 40
Publisher: Lee & Low Books
Review Posted Online: June 3, 2014
Kirkus Reviews Issue: June 15, 2014
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