Genres Books

Excellent! We bought this book to take a tour of the blues through Missippi. We followed many of the suggested spots and even met some of the people mentioned in the book. Use it as the definitive tour guide to the blues.

Some of the directions could have been better, like Robert Johnson's grave site. It wasn't really clear how to get to downtown Greenwood, MS, but we eventually got there!
Lots of good information. Stumbled upon MS John Hurt's grave while trying to find Robert Johnsons, so that was a plus.
All blues lovers and enthusiasts should get this book before your journey. Lots of good information about the area, and details about the musicians you want to know more about!

This book is all you need to plan a trip to the true Delta blues spots. book is set up perfectly for a road trip and very honest and detailed. Top Notch!

If you are going south on a blues trip, you need this book. It is full of great info and directions to many, many graet sites of the blues. Highly recommended.

I highly recommend this book for anybody considering a Blues trip into the Delta. It is the best available resource on the market. Looking at its competitors, they all miss the mark due to either outdated, incomplete, or just plain incorrect information.

I have just completed a Delta blues trip and read the book after I returned. Having actually done such a trip provides a very authoritative vantage point from which to judge any such work.

Our trip was preceded by 6 months of online research into every aspect of the Delta and surrounding areas. Over 100 pages of information were accumulated prior to departure. The trip itself covered nearly a 1400 mile loop by car that began and ended in New Orleans. So many of the stops we made along the way ~ Jackson, Ms.; Greenwood, Ms.; Clarksdale, Ms.; Helena, Ark.; Memphis, Tenn.; all the historic gravesites; the prisons and the plantations were all covered in Steve's book. He certainly did his homework. (For goodness sake, he moved there as part of the overall immersion process, LOL!)

We met Steve in Helena while he was lecturing and playing at the `Blues on Main Street' exhibit opening at the Delta Cultural Center on Cherry St. He is proficient at both. It was there we bought the book that got carried home and subsequently read after the fact.

If you don't have 6 months to do your own research, just buy his book and read it in a week. He covers everything. Then take it with you and use it as a guide on the road.

(p.s. Plan your trip so it somehow involves the WC Handy awards in Memphis in late April, as well as the Beale Street Music Festival that follows that weekend).

The Brazilian Sound is good as far as it goes - a who's who list and discography of 20th century Brazilian music. Although, the book has the feel of a junior college textbook, it's written in plain language. It would be a relatively easy read if it were not that a parenthetical list of Brazilian names breaks up every third or fourth paragraph. There are some very informative passages - notably the chapter on Bossa Nova and the "Escolas de Samba" section of Chapter 2. At their best, the authors provide clear and comphrensive explanations of the geneology and sociological context of the music.

Unfortunately, unless a person is willing to spend countless shopping hours and a couple of thousand dollars building up collection of Brazilian records, he or she will gain almost no insight from this book into what the music feels like. The authors describe individual works and artists in only vague terms - terms often identical to those previously used to describe others. They beat the term "syncopation" into irrelevance - it's clear only that all Brazilian music is syncopated. The authors habitually refer to folk music genres and song forms ala "Composer X's work is all based on the Y song form..." But they provide no practical examples or definitions of those genres or forms.

The authors stridently dumb-down their text, accepting as axiom that one has to "hear it to believe it" and that it is meaningless to describe Brazilian music in technical terms. They generally refrain from even using common musical terms - bar, measure, pulse, key, etc. - to give the reader a clearer understanding of Brazilian rhythmic and harmonic structures. They use few effective musical comparisons or verbal metaphors. It is understandably difficult to describe music in writing. But it is possible. Judicious use of metaphor, comparisions, and technical descriptions would have greatly fleshed out what in the end comes off as a skeletal text.

This 1998 edition serves as the update to the first, apparently published in 1990 or 1991. However, the amendments appear to have been quite minor - embodied by an isolated paragraph here and there, and four meager pages in the final "More Brazilian Sounds" chapter. It's as if nothing has really happened in the evolution of Brazilian music since 1990 - an impression that must be wrong.

The Brazilian Sound catalogs decent research, but is neither good writing nor effective music history.

The best book about Brazilian music in English, "The Brazilian Sound" is a beautifully written, in-depth guide to samba, bossa and other Brazilian genres. Many of the reviews below are on the mark, but BGB from WA seems not to have read the book (or to have read a different book!). The 1998 edition substantially upgrades the original 1991 version. There is much added in terms of early history, capoeira, racial issues, choro, and the blocos and afoxes in Bahia. There is more on important artists from the 1990s, like Marisa Monte, Daniela Mercury, Carlinhos Brown, Chico Cesar, Chico Science and Karnak, though these additions are in various chapters, not just the final one ("More Brazilian Sounds"). One needs to have actually read the book to know that, of course...The music is nicely described, in both musical and cultural terms. One gets a strong sense of how it sounds, and a clear understanding of its rhythmic, harmonic and melodic ingredients. Some of the writing is rather encyclopedic, dispensing a rather staggering amount of information, while many sections vividly convey a sense of the music. I often felt I was at a bossa nova club in '59, at an escola de samba rehearsal, watching one of the 1960s song festivals, or attending a forro party. "The Brazilian Life" brings to life both the current and past greats of Brazilian music. As a result, I added quite a few CDs to my collection, especially of artists like Milton Nascimento, Pixinguinha, Jobim and Marisa Monte. I can't recommend this book highly enough.

An excellent book for anyone who wants to explore Brazilian music beyond the well-known classics. Helps place current and past musicians in their historical contexts; helps you understand who influenced whom, etc. The book will pay for itself just by helping you guide your ever-growing collection of Brazilian CD's (hard to stop once you get started)!

A lively and well-written book, The Brazilian Sound provides a broad overview of the remarkable spectrum of musica popular brasileira, from samba, bossa nova and forro to tropicalia, choro and Brazilian rock. It takes us on a journey both through the evolution of Brazilian music and the history of Brazil, and places artists like Jobim within a cultural context that helps us appreciate their music all the more. One comes away with a solid grasp of the major artists and genres of Brazilian music, as well as their impact on the "North American Sound." There is an extensive glossary at the end that is worth the price of the book alone, and an exhaustive discography.

The authors succeed in bringing the music to life, whether they are conveying the playfulness of the choro musical style, placing the reader at an Olodum concert in Salvador, or describing a samba-school rehearsal on a "hot and humid night in Rio de Janeiro." For the latter, they write, "Surdos (bass drums) pound out a booming beat, and their incessant drive provides the foundation for the rest of the bateria, the drum-and-percussion section that will later parade triumphantly during Carnaval. Snare drums called caixas rattle away in a hypnotic frenzy, and above them tamborins (small cymbal-less tambourines that are hit with sticks) carry a high-pitched rhythmic phrase like popcorn in an overheated pot. Enter the sad cries and humorous moans of the cuica (friction drum), the crisp rhythmic accents of the reco-reco (scraper), and the hollow metallic tones of the agogo (double bell). Other percussion instruments add more colors, the ukelele-like cavaquinho adds its high-register plaintive harmonies, and the puxador (lead singer) belts out the melody...." Such vivid and elaborate descriptions helped me make sense of the wall of sound that is samba, and made me want to book the next flight to Rio de Janeiro for Carnaval.

The second edition adds more historical information and brings the book up to date with musical developments in the `90s. There is extensive additional information about the origins of capoeira (the Brazilian martial art which is accompanied by music in training and which is gaining increasing popularity all over the world), and about racial issues in Brazil as reflected in popular music. There are new profiles of contemporary artists such as Marisa Monte, Nacao Zumbi, Karnak, Daude, Chico Cesar, Daniela Mercury, Timbalada, and Carlinhos Brown. The descriptions of Bahian percussionist-songwriter Carlinhos Brown's collaboration with Sergio Mendes (on the 1992 album Brasileiro) and his groundbreaking 1996 solo album Alfagamabetizado are especially memorable. This is a classic study of Brazilian music, a must for any world-music aficionado.

You could fill a book with all the information I _don't_ know about Brazilian music... In fact, these guys already have! Concise, conversational, informative and very well laid out, this is an exceptionally readable book. Chapters on samba, bossa nova, tropicalia, forro and jazz include focused biographical sketches of dozens of key artists, as well as succinct historical information about the progress of Brazilian music from its European and African folk roots into its bewildering and often beautiful modern offshoots. The book's focus is nonpartisan: although there is plenty of room for aesthetic criticism within the various styles, the authors generally hold their preferences and dislikes to themselves. They do, however, give readers a good sense of which recordings might be best to check out -- an invaluable service considering how little of Brazil's vast musical output makes it to the United States. Highly recommended! Certainly the best English-language guide to Brazilian pop that you will find in print (online is a different matter), this is great for casual listeners and hardcore fans alike.

"On Tour" is the perfect complement/finisher to Marsh's "Two Hearts". It fills in the gaps through the Devils & Dust Tour. The verbage is light & the pictures vivid. Fan or not, it's worth the read. Nothing compares to seeing him live, but it follows the energy as well as it can.

Bought book as a christmas present for my boss who is a Springsteen Fan. He is going to put it on his coffee table with his other favorite rock star books. Great pics....

I actually got the book for a gift for somebody else, but when it arrived, I kinda scanned through it and it looked great. My friend is a huge Bruce fan and said that it looked incredible. She loved the pictures!!!

Purchased as a gift for an all time super fan of Springsteen. He loved the book. A must have for any Springsteen fan.

Dave Marsh is not what you'd call an unbiased journalist. Nor should he be. He is basically the official Springsteen biographer, and his previous books have documented his rise (the first book), then his popular explosion (his second book), which have been collated in the terrific "Two Hearts".
Here, he provides a tour-by-tour analysis/memoir/scrapbook of the career of Bruce Springsteen.

I am a huge Springsteen fan. Just huge. I devoured this book and begged for more.

There are literally hundreds of killer little details that will delight anyone who has seen a Springsteen show. If this book is given to a Springsteen fan who by chance has not yet seen him live, it will make them want to donate a kidney to do so.

The most frequent comments I internally made while reading this tome were "I wish I was there", or " I wish that would come out on CD or DVD", or "That must have been amazing" and usually ending with " I must find a way to get tickets to his next concert!"

No other musician could have a book like this. Many of his beloved onstage stories are reproduced here. Accounts of particularly historic shows (The Bottom Line, The Roxy, Nassau, the Coliseum), guest performers (Ronnie Spector, his mom requesting an encore)...the way he went from band tours to solo shows...

Bottom line (no pun intended) is that this is a mandatory purchase for any Bruce fan!

Of the books I have seen, this has to be one of the best! Peter Black was the only photographer granted 'all access' on the Sixteen Stone tour. The book contains pictures/notes from the very beginning of Bush's career to the time when it is certain that the band are true rockstars!

I loved this collection of photos from the Sixteen Stone Tour! Very good collection of backstage and on stage pics. A must for any Bush fan!

I loved this book so much! If there are any bush fans who don't have it ,I recomend that you get it. I Also think that the photos in this book are so meaningful they don't even need a caption to know what they are.

This book has some unique and incredible black and white photography of Bush both on and off-stage. It gives the readers a glimpse into Bush's life with some comedic commentaries that are always good for a laugh. You can't use it for a book report, but it's one you'll enjoy for a long time. And hey it makes a great gift for Bush fans!

This book gave Bush fans an idea of what the group has to go through during a tour. The photography was excellent (especially of Gavin cuz he a hottie!) and was creatively put into book form. GAVIN IS SO FINE! ~Lara~

The transcriptions are spot on and a huge time saver for anyone who wants to learn Bird's patterns and doesn't have the proper equipment or time to transcribe em' his/herself. I learn more and more through this book every day. It's absolutely worth transcribing pieces on your own sometimes but to get a collection of this magnitude, and accurate as it is, would be really time-consuming. This Eb version is a necessity for any serious jazz alto players - personally i think the some version of it should be in EVERY MUSICIAN'S library.

Whether you are a saxophonist trying to follow bird' s steps or a pianist wnting to improve your reading and improvisational skills, this book is a true jewel.

If you want to play great bebop lines, you immitate the master. If there is a better way to immitate the master than working this book on the metronome, I haven't encountered it yet. This book has become the standard for Bird transcriptions. If you're serious about playing bop, you won't be disappointed by this book.

Man, if Bird was god, then this is sure is the bible. If you got a horn, this is all you need, the only way to learn fully is to play Birds solos. Buy it and you'll never put your horn down.

There's no denying this book is considered a classic, but it could use a few revisions. It appears not to have changed at all since its original appearance in 1976, including an annoying amount of tacky and out-of-date advertisements. In one instance, a half-page ad on the second page of "K.C. Blues" replaces what should have been Parker's second solo on that tune! Many of the songs are transcribed without key signatures - adding key signatures would make transposing tunes and riffs significantly easier. There are some rhythm errors in a few of the tunes ("K.C. Blues" has one measure with only three counts, "Ballade" also has a few rhythm mistakes and is nearly impossible to read the way it's written, with its overabundance of 32nd and 64th note runs). I'm not questioning the talent of Parker - some of the other "Omnibook" reviews here are based on Parker's playing abilities rather than the way his compositions are represented in these transcriptions. The simple addition of key signatures would be a huge improvement. For less experienced students, it'd also be nice to see a synopsis of the tune beneath the title describing the song's form or the origin of the chord changes. Simple things like that could make this book even more indispensable than it has become.
Do we all have to buy this book? Despite its shortcomings, I'm afraid the answer is "yes". Surely, there's some ambitious grad student out there somewhere willing to enter the entire book into Finale or Sibelius so we can at least get key signatures and those few rhythm corrections. Please?

After reading "Left Behind", I thought to myself "I could write something like that". After reading this book, however, I realize just how wrong I was. "The Complete Idiot's Guide to Writing Christian Fiction" functions both as a writing manual and as a set of detailed guidelines as to just what Christian publishers are looking for and it was through reading those guidelines that I came to the realization that I just wasn't cut out for writing Christian fiction. That's OK, though, it's better to know this sort of thing before I begin, rather than after I've wasted two years of my life on writing un-publishable fiction. That is why this is such a fantastic book. Writing Christian fiction isn't just about writing a book without any sex, violence or coarse language, there's a lot more to it than that and that's what Ron Benrey (a published Christian fiction writer) explains in this book. The writing manual (how to write a novel) sections of this book are mediocre in quality, I've seen better secular books on this topic (for example, "The Plot Thickens"). However, even if you don't read those sections, this book is well worth your money just for Benrey's insight into the way Christian readers and publishers think.

Love the ease of use in this book. Benray obviously knows his way around the cba market and it shows. His references and advice on what/who/where/when/why to include in manuscripts and submissions is priceless.

This book is a must-have for anyone just starting out writing Christian fiction. It's all here: the writing itself, content, point of view, theme and message. Also the importance of starting out in a recognizable genre, establishing your own voice, research, critique groups, finding time to write, writing a proposal or pitching one to an editor at a writers' conference.

But there's also much here for the established Christian author. Even as the author of 40 published novels, I learned about the "magic paragraph," dealing with bad reviews and how the publishing process works (which even after all those published books was still something of a mystery to me), marketing your books and much more.

Altogether, it's almost mind-boggling how much information Ron Benrey has managed to include in this one book.

Whether you're a seasoned pro or just getting started in the business of writing for the Christian market, you'll find this an excellent guide to the sometimes confusing path to publication. It's easy to read, concise and full of real-world examples from published Christian novelists.

A must!

There are how-to books and how-to books . . . some are so filled with philosophy and attitude that the fledgling writer can't find one solid answer to his question. Ron Benrey has written an intelligent, practical book that will answer most, if not all, questions that a beginning writer might ask. Best of all, the book is well-organized and Ron's wry sense of humor carries us through from the first page to the last. A true seminar-in-a-volume, this book is on my "highly recommended" list!

Just purchased this rightoff on Alibris and was real excited to read this even tho I'm into music conducting, arranging, writing, hearing by ear, all of it.

This is deeply a Music Must if u're interested of being a most-talented musician, bandleader, music director, conductor, and/or just trying it out for practice.

Alot of people been recommend 'cuz the man himself Brock Elheran tells it right here from the heart and it's rocks on to this day 4ward.

I just begun conducting while in high school with the band and duggin' up everybody who can do that. I'm also a talented musician myself so ya'll know the basics 'bout that. I look 4ward of reading more books like this in the future and 'mos definitely on arranging, composing, orchestration, theory, composition, leadership, music production, all of the above.

I'm proud to say that I studied with Brock. He is an amazing conductor with great passion for music. While his book was required reading for his undergraduate conducting class, his concepts are used every day is my choral rehearsals. I've been conducting for 12 years now, and know that his concepts and rehearsal techniques have served me well. A very simple, concise, and practical guide by an incredible teacher and conductor.

I bought this book shortly after I'd agreed to conduct an adult community choir, and studied it with fearful concentration through the first tentative weeks while the choir and I developed some trust in each other's good will and ignorance. I'm still a novice conductor, but I've now stood in front of some big groups of singers, experienced and beginners, and I trust this book. Even when it's not hidden in the music in front of me.

There's room for argument with some of what McElheran says, and I haven't yet seen a choral conductor who works as he recommends, but the book is clear, sensible, brief, and practical. What's more, it's in better shape than most of my music, although it's travelled further and lived rougher.

I've found the exercises very useful, especially those with "a group of friends". I tried these with my novice choir, in a spirit of "let's explore", and we all learnt from them.

Warmly recommended for anyone interested in conducting, even those who are not about to try their hand, with or without baton, at it.

This is the best book for technique I've come across, period. The style is not unnecessarily abtruse and the clarity of the book in explanation is magnificent. What appealed to me is the fact that logical, scientific explanations are given for most of the technique encompassed, and the author does not take refuge in 'tradition'. It is as suited to the absolute beginner as it is to the professional looking to polish his/her tehnique.

This book has become a common introductory text for undergraduate level conducting gesture in the United States. In this respect, the book is extremely effective.

McElheran's treatise is laid out in ultra-clear chapters, all of which are concise and contain possible "Assignments." Not to get too bogged down in the mire of conducting gesture, McElheran's first chapter is on Inspiration. In short, "make the performers want to do their best," he says.

The next few chapters cover aspects such as the baton, beat patterns, the left hand, dynamics and other aspects of music, cues, off-beat accents, fermatas, and some aspects about rehearsals and performance. There are more chapters but you get the picture. All are good.

Some readers may wonder if this is meant for "orchestral" or "choral" conducting. McElheran states clearly that there is (or should be) little difference and that choral conductors should develop an orchestral technique. While I would say that good choral and orchestral conducing are about 95 % similar (perhaps even more so), choral conductors should be aware that there are some differences, especially in ideas of always "hitting the imaginary table" or conducting every single beat. Nonetheless, Conducting Technique can be very helpful for the beginning choral conductor.

Moreover, McElheran's writing style is very fresh and full of self-effacing wit. Reading the book gives one the impression that Brock McElheran is the type of person who takes the art of music seriously but not himself seriously. I think any beginner of conducting should consult this book, and even professionals might want to have it around just as a reference.

I used to think that success was all about having a lot of money, having a big house, and wearing diamond studded underwear. Sure, there is nothing wrong with these things...except maybe the diamond studded underwear, that is just wrong on too many levels...but to me, success is not so much about externals as it is a deep inner feeling of knowing that you are doing something with your life that can make you feel good about who you are as a person.

I've mentioned in several other reviews how there was a time in my life where I felt like an abject failure...that I was a huge dissapointment to all of life. I'd look at my world and see nothing but despair and negativity and hopelessness. I really wanted to end my life at one time. But looking back on those days, I realize that I didn't want to die as much as I wanted all those thoughts I had about my life to die.

But how do we change our thoughts? How do we go from thinking that we are failures to thinking that we're successful? We change our thoughts about ourselves by changing the thoughts we have about ourselves. I'm sorry to be so simplistic. I'm sorry I don't have some "Wa-zoo" device I could sell to you like the Nega-vac 3000 that sucks away all your negative thoughts and feelings, but the bottom line is that if you want to start thinking and feeling good about your life, then you are going to have to start thinking and feeling good.

You see, we do play a role in our own lives. We do have a say as to what we are going to think about. If you woke up feeling kind of lousy this morning, I want you to do something. I want you to go back to bed. That's it. Put the covers back over you and get up again...but this time get up thinking a positive thought about yourself...this time get up feeling as though you have something to offer life because you do; YOU!

This book is a total Godsend. It is to be devoured. It is to be assimilated. When you read it you can just feel little skyrockets of joy going off in your mind. I'm not gonna kid you, it does take work to change your thoughts and it takes even more work to keep them changed but think about this, the moment you begin to change, the WHOLE UNIVERSE will change with you. It has to! There is no set reality! All reality is, is your ideas about it, anyway.

So you could be a totally boring, mouth breathing drone or you could actually become something wonderful...something beautiful...you could be like me! And I am wonderful! I am beautiful! I am rich! I am successful! But then again, so are you. The only difference is, is that you aren't thinking it...you aren't feeling it. You are a success now. You really are. Consider this your invitation to become even more successful!

I wish you well on your journey of Light.

There have been dozens of books telling you that your thoughts create your reality and how to use that to your advantage. This is one of the original such books. The major difference is that because Holmes was inspired as one of the original channels through which this very important information came through, I could fell that his words in this book were highly charged with transformational spiritual energy. I'm not talking of some New Age foo-foo idea. And I'm not talking about religiosity (religion, the bureacracy between God and man!). I'm talking about grounded, very real direct spiritual power. What he offers in this book is the real deal. I have known of this stuff for years. And yet when I read this book, I intentionally approached it with "beginner's mind" as if I've never heard of this stuff before. And as good as my life already was going into this book, applying what Holmes writes has boosted my life to a new level of inner fullness. Buy it, read it, apply it every moment and this will transform your life.

Ernest Holmes' philosophy, applied with a somewhat specialized focus and in capsule form. A magnificent book to pack for trips, taking little space and keeping the spirits up. Unconditionally recommended.

If you have never read Ernest Holmes before, this is a great book to start with. It is simple to read, yet it conveys Ernest Holmes' wisdoms at the core, and directly.

Ernest Holmes will tell you about the concept of Divine Mind, Spiritual Supply, Mental Laws, and why our thoughts create our experience.

The first time I read his concept of "Entering The Absolute", it really opened up a new way of thinking for me. He says that to enter the absolute means, be able to think independently of any existing circumstances or problems. Meaning, if you have any problem or situation which you wish to solve or get out from, the only way to get out from it is to spend your focus mainly on what you really want - which is the solution/answer. If you are poor, you have to think thoughts of wealth,abundance and success, to dwell on the "Infinite Supply" and never on the present circumstances. Many other authors have written about true stories where people have gotten themself out of their situation of lack, by daily thinking and feeling about what they truly desire.

I recently read that the author Anthony Robbins, many years ago when he was broke, he set such big 'impossible' goals for himself such as owning a huge castle to live in, a limosine, being a multi-millionaire and being the successful person he desired to be. And he mentally rehearsed each goal everyday, as if its already achieved, that within JUST ONE YEAR he achieved all of his goals above! The castle, the limo, the wealth and life he dwelled on everyday!

For those who are interested in this topic, you may want to read "As A Man Thinketh" by James Allen. However, I still think 'Creative Mind and Sucess' is the best. If you are interested in Ernest Holmes, I recommend his other books such as "This Thing Called YOU", "Love And Law", "The Essential Ernest Holmes".

Its kind of hard to believe that this book proceeded Ernest Holmes classic text "Science of Mind", but I am glad it did and would recommend this book prior to reading Science of Mind. This is truly the secret unlocked but with a powerful spiritual foundation. Bottom line we are each God, the Universe in expression, and that truth appears in our life according to consciousness (awareness) and I will say it again and again BELIEF. For those looking for a quick fix, put this book down and go out and find something else. While results may happen rather quickly this spiritual path is for those willing to commit themselves to a better life by expanding their consciousness and putting out to LIFE. Once I embraced and realized my relatonship to the One, a great sense of peace, poise, fearlessness and confidence starting expressing through me. I thought I had these before but the foundation was largely ego based. Many of the ideas and concepts I believed as a child have been revealed to me in this book, concepts, ideas, and truths of prosperity, abundance, peace, poise, health and that I can live in this world bu not be of it. I am by far not a religious zealot or fly by night "im spiritual" type. I use these ideas to better my life and they are expressing through me here and now. I am manifesting more prosperity and abundance in all forms like never before. I pull this book out as a part of my daily study when im feeling good and when I need a pick me up. Former Oaklund A's pitcher Barry Zito sings the book praises for helping him become a a star pitcher.

Ive read all of Ernest Holmes book, but this one has to be the best for those on a new path or wanting to study and practice these principles especially when you cant make it to a local churtch or study group. Science of Mind is the ultimate text, but the language is very rich , Creative Mind was written almost 100 years ago but is still very prevalent today. YOU CANT DO WRONG WITH STARTING HERE!

This is Saul Williams but it is not a book of poetry. It is well written and I would recomend it to anyone who likes Saul Williams, poetry, hip hop or both.

Saul Williams, hip-hop's so-called "poet laureate," can comfortably add "hip-hop mystic" to his résumé with this collection of excellent poetry. His rhymes drip with the religious symbolism of ancient Mystery cults (most notably, Isis) as he journeys with the reader on a path to self-discovery, spiritual fulfillment, and ethical reasoning. In hip-hop Williams sees ancient drums and chants, camp-fire storytellers whose power has been hijacked by capitalist greed, materialism, defeatism, and chauvinism. He teaches through twistable and irresistible verse that the power of history's lessons and thought can change worlds by changing words.

I admit that I am not a hip-hop fan, per say. I do enjoy a select few artists (Williams included), and have studied African American history/culture, so I was not entirely unfamiliar with the themes/issues of this book. I am, however, a lover of poetry, truth, and vulnerable strength, which Saul Williams encapsulates perfectly. Truly, one need not know much about hip-hop to appreciate this book. No matter one's musical preference or cultural background, Williams speaks truth, and therefore can be embraced by all. "Word is bond."

i've written tons of academic papers (including my current thesis) on williams; his work is unbelievable and should be taught everywhere. his attempt to uplift hip-hop is honorable and appreciated.

The Dead Emcee Scrolls start out with a great new poem called NGH WHT. After that, a good deal of the material is from older poems that he has in some cases edited, while in others, left mainly the same. NGH WHT is filled with subtle nuances that are not always easy to pick up on, so multiple reads are likely merited.

While a bit repetitive for die-hard fans, the work gives a very strong representation of where his work comes from, but also has some great new material. As to where he will go from here, that is anyone's guess.

I first heard about this book on a message board (I think it was the one from DaveyD.com) and I really enjoyed reading the publisher's excerpt, and it was just the introduction. With it, I didn't know how to take it. Whether it was truth or just a very well worded story from Saul Williams. Either way, I could feel the vibe of Hiphop Kulture coming from it. So of course, I went out and bought it.

I was blown away.

I first heard of Saul from the book ", said the Shotgun to the Head." So I already thought I knew what to expect. But I was completly blown away by the deepness of these poems. Whether really taken from a strange manuscript in an old spray can or just a way to publish his own poems about Hiphop's preservation of love, peace, and unity, this was great. I recommend it for anyone who like poetry, spoken word, rap music, or just books. Very good.

Being a long-time jazz fanatic and avid reader of jazz biographies, I of course knew Al Haig's name and his association with the bebop era. However, after reading Death of a Bebop Wife by Lady Haig Grange Rutan, I now realize how little I knew about him previously. This great book tells the rich (and entire) story of Al Haig (who served as one of the seminal bebop pianists and an early member of the famous Charlie Parker/Dizzy Gillespie quintet) and the tale is a compelling one - told from the multiple vantage points of those who were there with him during that magical time in jazz music history. Among the many fascinating tidbits which overflow this important tome is that Al Haig was a highly sought after, but extremely selective accompanist who played with many of the legends of his time, was the favorite pianist of Bud Powell (himself, considered the greatest of all bebop pianists) and was an important contributor to the early fame of Stan Getz and Harry Belafonte. While these facts alone would qualify him for membership in the pantheon of greatest jazz musicians of all time, he remains only a footnote to the era he helped define. Grange (Lady Haig) Rutan's book helps to correct this historical oversight and slight.
The central theme of the book is the background story of Al's indictment, defense and ultimate acquittal of the charge of murdering his third wife. In fact, the "murder/accidental death" of Bonnie Haig, a remarkably sad counterpoint in the life of this musician (not to mention that of the victim's family and friends), is sensitively told, and Rutan amasses and presents copious information in the book from which the reader can derive his or her own judgment as to Al Haig's probable guilt or innocence. I will not prejudice future readers by disclosing my own view of this matter here.
Nevertheless, this book is so much more than a crime story. Rather, it is a treasure trove for the jazz afficionado - chock full of anecdotes, insights and, most importantly, direct testimonial evidence of the public and private lives lead by many jazz musicians of the fifties, as told by many of the musicians themselves. Within this milieu, as the book makes eminently clear, Al Haig stood out as a very complex, technically proficient and brilliantly-inventive (but perhaps also seriously troubled) musician -equally adept at both classical and jazz music- who more than passed muster with the greatest purveyors of the music of his time.
Al Haig made his mark on the music and, because of this great book, his legacy will survive. No serious jazz fan should overlook this gem!

I first met Al Haig in Sarasota, Florida, in the early 50s. My drummer friend, the late Jess Gruel, and I were very young "beboppers" just out of high school, and when we found out Al Haig was in town, it was like the arrival of royalty. The three of us ended up playing a few gigs together around the Sarasota-Venice area at that time. I was a trumpet player who knew most of the bebop riffs and enough standard tunes to get through a job. He was always gracious about our lack of expereinece and always, always professional. I ran into him again at Birdland on a trip to NYC with the Gator Band from UF a year or two later, and again a couple of years after that when I lived in NYC one summer. I spent some time talking with him several times at Birdland. Years later in the late 70s, I looked him up when he was playing at Gregory's in NY, and we chatted on one of his breaks. He was working as a single. When I reminded him of our earlier work together in Sarasota in the 50s, he could not recall any of that period of his life. So, when a friend told me of Grange Rutan's book, I ordered it immediately and devoured it. It filled in a lot of the personal info on Al that he had kept to himself when I knew him. I guess I never really knew him, expect for his obvious skill. It turns out that the period of his time in Sarasota was not a happy time for him, as the book explains. The book is very well written, and it reflects a daunting amount of research. I was put off slightly at first by the Helvetica typeface and the tight layout, but the content and story quickly make you forget such editorial shortcomings. It made me relive the whole era - a turbulent time for those of us who lived through it. I recommend it highly, and have to many, for insight into a marvelous musician who had apparent emotional problems, but who was a pro right to the end. I won't tell you from whence the title comes - you wiill have to buy the book and read it for yourself. But, it is a shocker.

Reading this book not only educated me on the whole "Bebop Era", it left a warm place in my heart. This woman Grange (Lady Haig) Rutan spent over a decade of her life interviewing and collecting quotes from all the "who's who" in jazz, to share a story with the world that was so desperately needed. I know there have been so many books written about this era, but it was great to read it from a woman's perspective. Besides this being a must read to anyone who loves jazz, I must comment on the author's writing style....she has a way of keeping you hooked, not wanting to put the book down for one second....like you are putting the pieces of a puzzle together. People put these artists up on a pedestal, but when you dig deeper into their lives you see that they are only human. Trying to do the best that they can. She truly loved this man, and wanted to tell his story (the truth).

It is truly a great read....
samantha scott
miami beach florida

Al Haig was one of the pioneers of the bebop era and while the story focuses on a very serious subject/event, this book also serves as a magnificent collection of oral histories from those who knew Al Haig, including many of the jazz greats/legends. Since we have lost so many of the greatest of our jazz heroes, Lady Haig's book provides the jazz fan with an inside look at Haig from all the right places - those who worked with him, were around him, etc. I'd also recommend this book as a serious addition to anyone studying jazz history or wanting to learn more about those involved in making the bebop era one of the most magical of musical times.

Highly recommended.

"Death of a Bebop WIfe" by Grange (Lady Haig) Rutan
Published by Cadence Jazz Books, Redwood, NY
A review by R. Mayfield Phillips

In a noteworthy book, part jazz history, part mystery, part autobiographical; the tragedy of an innocent's (Bonnie Gallagher Haig) loss of life is portrayed in a style that informs, while astonishing the reader at the depth and breadth of its historical content. For jazz buffs, readers will find an intimate look into a somewhat disregarded period where jazz as bebop influenced a large segment of urban culture. The author gives us a first hand glimpse of such notables as Miles Davis, Charlie Parker, Dizzy Gillespie, and the central figure, Al Haig. The author, once briefly married to Haig (and also victimized), is able to delve underneath the pleasing artistry of pianist Haig, and reveal a darker character with shadows of misogamy. The ultimate victim's powerlessness at the hands of Haig reminds one of Charles Baudelaire's observations in "Flowers of Evil"

The Devil holds the string which moves us,
In repugnant things we discover charms:
Everyday we descend a step further toward Hell,
Without horror, through gloom that stinks.

By today's standards and given current society's awareness and prosecution of domestic abuse, Bonnie Haig's death, the bumbling police work, and flawed legal proceedings (Haig is freed) seem to be hopelessly disconnected to the perceived tranquility and competency to be found in an affluent New York City suburb. Furthermore family members sounded alarm bells that went unheeded: Robert Rutan (father of Grange) found Haig "weird" and stated "He never bought it." Maggi Gallagher (Bonnie's mother) called Haig "sick, sick sick" acknowledged being "scared to death" and revealed that "Al had beaten up my beautiful dauther."

What was it about that society that provided an alibi for the deviate behavior of certain artists and musicians? The book provides rather graphic insights of parallel cultures with differing standards living side by side. The author has been courageous in providing detail usually only available in a diary to insure credibility and objectivity. While she digs into the past "for both of us" the objective reader's emotions move from sympathy to anger given Haig's actions and final freedom. As Walter Benjamin stated in his "Thesis on the Philosophy of History."

The tradition of the oppressed teaches us that the 'state of emergency' in which we live is not the exception, but the rule.

The author's unique narrative style is at times from the perspective of an observer-participant dialectic (reminding us of Baudelaire's flaneur), occiasionally as the narrator, but always passionate and intimate journalist who spares no detail or obsrvation as a result of her investigative prowess. The book is writtn in composiiton that juxtaposes time events in a non-linear arrangement constantly surprising and pleasing the reader. It is conversation which reaches backward then forward with flashes of anecdotes that charm and reinforce the passion of the author whether it is the music historian, mystery lover, or biography buff, "Bebop Wife" is a story as unique as its author.