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Better Together
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Editorial Reviews
From Publishers Weekly
Lees, former editor of Down Beat, presents a collection of essays, most of which are based on interviews originally published in Jazzletter. He talks with ethnomusicologist Dominique de Lerma, pianist and composer Dave Brubeck, singer Ernie Andrews, pianist and composer Horace Silver, trumpeter Red Rodney, saxophonist and composer Benny Golson, bassist Red Mitchell, pianist and composer Cedar Walton, drummer Kenny Washington and pianist and drummer Jack DeJohnette. In discussing their careers, most are restrained about the issue of racism and jazz. Only in his final piece does Lees, a white, Canadian-born writer who deplores attempts by black musicians to claim jazz as a purely black art form, get to the meat of his book, an attack on what he considers the antiwhite bias about jazz currently fostered by trumpeter Wynton Marsalis and writers like Herb Boyd and Stanley Crouch. This, in addition to the interview with de Lerma, a black who challenges simplistic myths concerning the origins of jazz, provides a thought-provoking look at the contemporary jazz world.
Copyright 1994 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.
From Library Journal
Growing up in a hard-working, left-leaning Canadian family in the 1940s and 1950s, Lees loved everything American, from movie stars to cartoons to music. And what could be more American than jazz? Since moving to the States in the mid-Fifties, he has written on jazz for the New York Times, was an editor at the respected Down Beat, and now publishes JazzLetter. After several books on the music and the artists (Waiting for Dizzy, LJ 4/15/91), Lees now turns to an often underplayed aspect of the industry: racism. Yet this is anything but a dry sociopolitical treatise. Through interviews with musicians, composers, and critics, Lees describes the varying ways that racism has always been a part of the jazz scene. Still, the blacks and whites, Jews and Native Americans who share their views here sound one common theme: love of music transcends race. Written by a real authority who also happens to be a gifted writer, this book is recommended for all music libraries.
Dan Bogey, Clearfield Cty. P.L. Federation, Curwensville, Pa.
Copyright 1994 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.
See all Editorial Reviews
Lees, former editor of Down Beat, presents a collection of essays, most of which are based on interviews originally published in Jazzletter. He talks with ethnomusicologist Dominique de Lerma, pianist and composer Dave Brubeck, singer Ernie Andrews, pianist and composer Horace Silver, trumpeter Red Rodney, saxophonist and composer Benny Golson, bassist Red Mitchell, pianist and composer Cedar Walton, drummer Kenny Washington and pianist and drummer Jack DeJohnette. In discussing their careers, most are restrained about the issue of racism and jazz. Only in his final piece does Lees, a white, Canadian-born writer who deplores attempts by black musicians to claim jazz as a purely black art form, get to the meat of his book, an attack on what he considers the antiwhite bias about jazz currently fostered by trumpeter Wynton Marsalis and writers like Herb Boyd and Stanley Crouch. This, in addition to the interview with de Lerma, a black who challenges simplistic myths concerning the origins of jazz, provides a thought-provoking look at the contemporary jazz world.
Copyright 1994 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.
From Library Journal
Growing up in a hard-working, left-leaning Canadian family in the 1940s and 1950s, Lees loved everything American, from movie stars to cartoons to music. And what could be more American than jazz? Since moving to the States in the mid-Fifties, he has written on jazz for the New York Times, was an editor at the respected Down Beat, and now publishes JazzLetter. After several books on the music and the artists (Waiting for Dizzy, LJ 4/15/91), Lees now turns to an often underplayed aspect of the industry: racism. Yet this is anything but a dry sociopolitical treatise. Through interviews with musicians, composers, and critics, Lees describes the varying ways that racism has always been a part of the jazz scene. Still, the blacks and whites, Jews and Native Americans who share their views here sound one common theme: love of music transcends race. Written by a real authority who also happens to be a gifted writer, this book is recommended for all music libraries.
Dan Bogey, Clearfield Cty. P.L. Federation, Curwensville, Pa.
Copyright 1994 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.
See all Editorial Reviews
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