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Editorial Reviews
From Publishers Weekly
There has been a resurgence of interest in Jelly Roll Morton (1890- 1941) in recent years, much of it highlighting the unattractive characteristics of the legendary Creole jazz pianist, composer and bandleader, such as his flashy clothes, diamond-studded tooth, boastfulness and denial of his race. In their sympathetic biography, Reich, jazz critic of the Chicago Tribune, and Gaines, an investigative reporter who retired from the Chicago Tribune in 2001, play down these aspects of Morton's personality and concentrate on his musicianship, keyboard virtuosity, innovative compositions and ingenuity in devising a way to set improvisational music down on paper. The authors also highlight the redemptive qualities of Morton's last years, basing their discussion on letters, documents and scores from the voluminous archive of Morton material in the collection of New Orleans jazz historian William Russell that became available after Russell's death in 1992. They show that at the end of his life Morton composed revolutionary new works, though he couldn't get anyone to play or record them. At the same time, he kept up a running battle with his publishers, who had exploited him for years, and launched a crusade against ASCAP (the American Society of Composers, Authors, and Publishers), which collected royalties for composers and robbed black songwriters of what was due them by denying them membership. Morton's correspondence with the Justice Department concerning his case against ASCAP and his music publishers is included in the book (though not seen by PW), as an annotated discography.
Copyright 2003 Reed Business Information, Inc.
From Booklist
Thanks to music educator William Russell's 65,000-item collection relating to the musician with whom he was obsessed, Reich and Gaines finally sift reality from hype about Jelly Roll Morton (1885?-1941). They demonstrate that Morton's long-derided claim to have invented jazz holds a lot of water. By 1905, Morton had formulated pieces that remain in the jazz repertoire, and he published the standards "Jelly Roll Blues" and "Frog-I-More Rag" while World War I raged. Meanwhile he extended his performing arena from New Orleans-Biloxi-Mobile to Los Angeles, Chicago, and New York. Flush in 1923, he recorded the first great jazz piano solos and, in 1926, with his carefully picked Red Hot Peppers, the best pre-swing jazz-group recordings. Cheated unto destitution by white publishers, and gravely ill at the last, Morton continued writing, producing big band charts that anticipated 1950s innovations, and battling music-industry exploitation of black artists. Despite much poor wording and some grammatical groaners, this is a revisionist milestone in jazz studies, a book on which more than just future Morton biographies will depend. Ray Olson
Copyright © American Library Association. All rights reserved
See all Editorial Reviews
There has been a resurgence of interest in Jelly Roll Morton (1890- 1941) in recent years, much of it highlighting the unattractive characteristics of the legendary Creole jazz pianist, composer and bandleader, such as his flashy clothes, diamond-studded tooth, boastfulness and denial of his race. In their sympathetic biography, Reich, jazz critic of the Chicago Tribune, and Gaines, an investigative reporter who retired from the Chicago Tribune in 2001, play down these aspects of Morton's personality and concentrate on his musicianship, keyboard virtuosity, innovative compositions and ingenuity in devising a way to set improvisational music down on paper. The authors also highlight the redemptive qualities of Morton's last years, basing their discussion on letters, documents and scores from the voluminous archive of Morton material in the collection of New Orleans jazz historian William Russell that became available after Russell's death in 1992. They show that at the end of his life Morton composed revolutionary new works, though he couldn't get anyone to play or record them. At the same time, he kept up a running battle with his publishers, who had exploited him for years, and launched a crusade against ASCAP (the American Society of Composers, Authors, and Publishers), which collected royalties for composers and robbed black songwriters of what was due them by denying them membership. Morton's correspondence with the Justice Department concerning his case against ASCAP and his music publishers is included in the book (though not seen by PW), as an annotated discography.
Copyright 2003 Reed Business Information, Inc.
From Booklist
Thanks to music educator William Russell's 65,000-item collection relating to the musician with whom he was obsessed, Reich and Gaines finally sift reality from hype about Jelly Roll Morton (1885?-1941). They demonstrate that Morton's long-derided claim to have invented jazz holds a lot of water. By 1905, Morton had formulated pieces that remain in the jazz repertoire, and he published the standards "Jelly Roll Blues" and "Frog-I-More Rag" while World War I raged. Meanwhile he extended his performing arena from New Orleans-Biloxi-Mobile to Los Angeles, Chicago, and New York. Flush in 1923, he recorded the first great jazz piano solos and, in 1926, with his carefully picked Red Hot Peppers, the best pre-swing jazz-group recordings. Cheated unto destitution by white publishers, and gravely ill at the last, Morton continued writing, producing big band charts that anticipated 1950s innovations, and battling music-industry exploitation of black artists. Despite much poor wording and some grammatical groaners, this is a revisionist milestone in jazz studies, a book on which more than just future Morton biographies will depend. Ray Olson
Copyright © American Library Association. All rights reserved
See all Editorial Reviews
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