For a brief time in a Europe threatened and then occupied by Nazi Germany, jazz was heard as ubiquitously as rock ' n' roll is today. In a personal search for the story of that time, Mike Zwerin spent two years traveling across Europe talking with individuals who performed and enjoyed jazz in Hitler's dark shadow, including the Ghetto Swingers, a Jewish jazz band that "toured" Auschwitz and Theresienstadt; the Luftwaffe pilot who listened to Glenn Miller while bombing London; Django Reinhardt, the brilliant guitarist who refused to flee Nazi-controlled France; and many others.
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The most sensitive writer on jazz since the late Otis Ferguson. (John Hammond )
This book is the literary equivalent of a jam session in an after-hours joint on the wrong side of twon—loose and untidy, scary, downright rank, exhilarating and exhausting. (San Francisco Chronicle )
A treasure of information, affection and understanding. (Times Literary Supplement )
The best jazz columnist at work today. (Studs Terkel )
This book is the literary equivalent of a jam session in an after-hours joint on the wrong side of twon—loose and untidy, scary, downright rank, exhilarating and exhausting. (San Francisco Chronicle )
A treasure of information, affection and understanding. (Times Literary Supplement )
The best jazz columnist at work today. (Studs Terkel )
About the Author
Mike Zwerin has been the pop music critic for the International Herald-Tribune in Paris for twenty years. A professional trombonist, he has recorded with Miles Davis, John Lewis, and Eric Dolphy. He is the author of an autobiography, Close Enough for Jazz.
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2 of 2 people found the following review helpful:
3.0 out of 5 stars
Disjointed and hard to follow,
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This review is from: Swing Under the Nazis: Jazz as a Metaphor for Freedom (Paperback)
Zwerin combines the story gathered from his interviews with jazz musicians and fans with the outer story of his own experiences researching and interviewing for the book. Consequently, the time line jumps back and forth from the 1930s and 40s to the 1980s, often with confusing transitions, or none at all. He often inserts one story into the middle of another, making it hard to follow whom he's talking about. If I weren't so interested in the topic, the book's general disorganization would not incline me to keep reading.
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