Music Books

When I went and saw "Assassins" for the first time, I honestly wasn't sure what to expect. I've been a Sondheim fan ever since I began watching "Into The Woods" at the tender age of four years old... but I don't think I was sufficiently prepared for "Assassins". And that's a good thing.
"Assassins" keeps you on your toes throughout, being able to make dramatic changes from the light-hearted to the tragic in the time it takes to bat an eye. Perhaps most striking is how you come to like and sympathize with every one of the assassins, while still knowing that they all have their dangerous streak.
Moreover, "Assassins" deals with a common subject in a very uncommon way. The overall 'theme' says "Everybody's got the right to be happy." The brilliance in this statement is not in the statement itself, but within the context of the cold-blooded murderers with it has been placed. It gives us the lesser seen perspective of life from the point of view of these historical figures who had major problems with their lives and with themselves. Rare, even in the history books.
In fact, "Assassins" has been a better history lesson for me than nearly anything else. The play is very highly based on the facts of every person's life and the details of their assassination attempts. Good for theatre buffs and history teachers alike.
Go Sondheim, go!

Well, I was not very well aquainted with Sondheim, though I had heard of him. Then I was fortunate enough to be cast as Sam Byck in a production of Assassins. I have to say, the show was an experience like I can only hope to have ever again. Weidman's writing brings to life thoroughly disturbed characters in a way the audience can relate to. It shows us the world of a psychopath- looking out from the inside. My first thought was to question whether I could do justice to the material. The incredible intensity of the scenes and the forceful emotion of the songs is nearly overwhelming. From the actor's point of view, I can say only that a sense of desparation is omnipresent, even in the comedy, and that there is the feeling of a great injustice, and perhaps an epiphany that never quite came. I encourage anyone who can to try and acquire a copy of the London production( I don't know if there are any official ones, but as any theatre enthusiast knows, there are ALWAYS bootlegs), or of the new production when it becomes available, because of the added song "Something Just Broke". This incredible piece serves as an important... I think the word is catharsis. I remember crying backstage during the first show, because it put a sharp point on the events of the previous scene, where Oswald takes his shot. The play itself also brings into focus the background of the assassins, and those lesser-known souls who tried and failed( like Byck). While it won't appeal to everyone, it is definitely worth looking into for Sondheim lovers and US History buffs. And serious performers will find the songs and text rich with meaning. I recommend this show, libretto and music, to anyone with an open mind, or a love of art.

I profess to be of a young age, and those who don't know me would probably consider my experience with musical theatre to be rather inextensive. I am, however, even at a young age, a Stephen Sondheim admirer. Yet even I, whose favorite musical is the ghastly and mind-numbing masterpiece "Sweeny Todd," was not entirely prepared for the unabashed "Assassins."

Assassins combines all the would be and have been presidential assassins of the United State's history and throws them all into a timeless world where Charles Guiteau (Garfield) can chat with Leon Czolgosz (McKinley) and Sam Byck (Nixon) at a bar while John Wilkes Booth (Lincoln) reads a copy of Variety magazine. It is more of a revue than anything, but the music (which you MUST own if you're going to buy the libretto) is so moving and so powerful it actually is able to draw sympathy for Lincoln's assassin. If the prospect of feeling pity or sympathy for Lee Harvey Oswald makes you angry, Assassins is not my recommendation.

Indeed, Sondheim and Weidman sucessfully made me feel sorry for Leon Czolgosz and Booth and Oswald and nearly all the characters in the musical. Some may think it unpatriotic; I think it presents the other side to woefully biased history lessons claiming the Assassins to be vengeful madmen searching for chaos. Assassins truly brings to light what's wrong with the American dream, and for any history buff, Sondheim fan, or just plain theater fan, Assassins is a MUST have.

All I can say about this play is that it is sheer genius. I was fortunate enough to see the Broadway revival cast act it out in Studio 54, thus can safely say that the play is just as shrewd and clever onstage as it seems in the play.

The thing that often repels people from 'Assassins' is firstly its subject matter - assassins and would-be assasins of presidents of the United States - and secondly, the way it handles its subject matter. 'Assassins' neither trivializes nor glorifies its characters: what it does is examine them, and let the audience make the decision as to what prompted them to commit the crimes they did. On stage, the play is chilling - seeing "Squeaky" Fromme carve an 'M' for 'Manson' into her forehead at the end of her number with John Hinckley 'Unworthy of Your Love' does not seem disgusting; it is entrancingly horrific. And this is not even mentioning the song 'How I Saved the President', the fast-paced narrative of Giuseppe Zangara's attempt on the life of President Franklin Roosevelt: it rises to an eerie feverish pitch and ends with a jolt - literally. The singing ceases only when Zangara has been electrocuted.

I realize that the above description may seem to portray 'Assassins' as a gruesome horror-trip into history - but really, that is not what it is at all. The rises and falls of emotions in the songs (apparent in the book as well as in the play) are shrewdly placed so that the viewer can't quite bring themself to feel sorry for the assassin, exactly, more fascinated. And this is what 'Assassins' is - a fascinating look at some of the most forbidden American taboo in our country's history. The play jumps on its subject matter with surprising gusto - it does not jump delicately from point to point. It attacks its topics and does not let the audience leave unshaken.

I feel as though I should probably mention that reading the book and seeing the play live are two different things. They are both thought-provoking and interesting looks at the various assassins - but a certain emotional element is lost in the text. Not that the book is bland and dry - far from it. However, seeing Charles Guiteau dance his way up to gallows feverishly reciting his poem 'I Am Going to the Lordy' is slightly more morbid than reading it.

Highly recommended.

This review is by Crosley.

I had become very well acquainted with the score to Assassins before I read the script, and I think John Weidman may have done the impossible: he may have overshadowed Sondheim's score with his book. Don't get me wrong, the music and lyrics are phenomenal, but the book is what really matters in this one.

Assassins is an examination of the dark side of the American Dream and those it has affected, namely, those who have tried to kill presidents. Most of the assassins actually have good reasons for their efforts. The play has gained a lot of bad publicity for "glorifying assassinating the president," "being unpatriotic" and "trivializing terrible events." The play does none of these on any level. I said that some assassins had good reasons. I did not say that their actions were the right thing to do, because they weren't. However, the play rehumanizes people that society has dismissed as one dimensional madmen. Hence, the Balladeer. The Balladeer represents the traditional, one sided view of the assassins, and is used expertly. The play keeps in mind the fact that the assassins are dangerous people who should be condemned, but it also keeps in mind that they are indeed people. The scene between Csolgosz and Emma Goldman is wonderfully poignant, and allows us to see a side of Csolgosz rejected by the world, and it's things like that that make the characters much more real.

By making the characters real and at least vaguely sympathetic, the play succeeds in such a way that could never be done with demonized characters. Since the assassins are made human and just like us, Americans trying to live The Dream, they are infinetly more terrifying and frightening, because now we can identify with them, and see the clear and present danger in America.

They all have different motives, but there is one thing that ties them all together. They thought The Dream was not a goal, but something they were entitled to, and when they didn't get it, they wanted people to listen. Hence, drastic measures. Booth's anger with Lincoln is very real, and the crimes he lists against Lincoln are all true to some degree. Csolgoszs' anger at the working man's plight is completely justified, considering his working conditions and wages. Few of them have motives that we can't understand (except Moore and Guiteau), and again, they are that much worse because of it.

This is not to say that the play is not funny. Au Contraire, Assassins is one of the funnier plays I've read, mostly because it preys upon the assassins' character flaws and quirks and exploits them for some great comedy. They're even funnier if you know about the personalities of each for whatever reason. For example, regarding the scene where Guiteau hits on Moore, it was known that Guiteau hit on anything with two legs (usually unsuccessfully), and Moore, who had been married five times (each husband was more successful than the last), may have been roped in by Guiteau's line of "How would you like to marry the ambassador to France?" It's really quite good. The scenes between Moore and Fromme are priceless, as are Byck's rants into his tape recorder, hamburger in hand. "I am Unworthy of you Love" is a gorgeous song, and in context (being sung to Jody Foster and Charles Manson by John Hinckley and Squeaky Fromme, respectively), it's uproarious. Thank God for Weidman's wit, because this is a show that definetly needs comic relief.

The interesting idea that the play presents is that the assassins are just as American as anyone else, because America is "The land where any kid can grow up to be president," and likewise, "Any kid can grow up to be his killer." Comedy, tragedy, laughs, tears, a message, great music, Assassins has it all. The scene near the end with Lee Harvey Oswald is one of the most powerful scenes I've ever read. In fact, it was recorded on the soundtrack, because it's just that important. Delaying Oswald's appearance for so long was a great move, because the audience, after being emotionally assaulted by the other 8 assassins, is finally pushed over the edge with an event that most of them were alive for and remember. The triumphant chords after Oswald's shot give me shivers every time I hear them.

Assassins is a phenomenal play that unfortunately is rarely produced. I recommend reading the script and enjoying the excellent score to people looking for something a little different (hey, that's Sondheim for you), a little funny, and a little scary. The show will live on because of its relevance, and it's a wonderful addition to the American Musical Theater.

This is a big book, full of candid photographs of some of the rawest moments in punk rock history in DC. Anyone who is interested in the history of the scene, especially Dischord, should be able to appreciate how extensive this collection of words and images is, and will enjoy the sense of urgency and life it conveys.

Without a doubt, this book is the best around on punk and hardcore. Banned in DC was put out long ago, about at the height of the infatuation with Dischord, just as that DC scene was beginning to shun itself and others, in a way.

But this collection of b/w photos is amazing. Simple and smart, the pix capture the essence of the scene, including the bands and the people. Because this music is best experienced live, the photos do it justice unlike words can.

Anyone into punk, hardcore or indie music needs to have this book. Unlike many British and 70's NY or LA punk books, Banned in DC means something to anyone who grew up on 80's and 9's underground music.

This book rocks! I feel so lucky to have grown up in the area during this time skating and listening to these legendary bands that helped pioneer and shape the domestic punk rock scene. That time in my life had such a great influence on who I am today. In what was normally a stuffy conservative area, the DC punk scene was a culture of it's own that forced me to think outside the box. I have long since left the area for the west coast, but I will never forget that time and all the great shows I saw at the 9:30. This book really helps bring those memories back to life.

I've had this book for years! I even found three pictures that have me in them!

It's a collection of photos that could be submitted after the fact - because of that, the photos were of people and bands that were around the photographer/submitter - thus the limited perspective that some reviewers commented on.

I don't think that the people taking the pictures had planned to publish something of this magnitude, and try to make a documentary of it, but the stories and pictures of people that I remember make it worthwhile. Some of these people are still very influential in the music scene.

If you want to get a feel for what it was like during the late 70's and into the 80's in the DC punk scene, this book is invaluable.

These rare photos are amazing. Cynthia Connelly's simple high-contrast black-and-whites were ubiquitous while growing up in the DC area, and for good reason--she is an awe-inspiring artist and master of her craft. The only thing that's disappointing about this book is that it features her boyfriend Ian's record label and both of their dischord-scene friends a little TOO prominently. There were (and still are)so many other bands and people doing things in DC--NOT just Dischord--many of the other small labels, promoters, and bands who maybe weren't accepted by the 'Dischordites' are ignored and as such, dismissed here. Too bad. This is a one-sided view of a very multi-dimensional, thriving musical scene.

Most books give you tabs and "teach" you to play songs--this book teaches you how to be a banjo player! It starts out so completely basic that you can't help but master a new lesson every time you pick the banjo up. It teaches you the basics of each song, then shows you different techniques you can use to make some real music! Rather than trying to memorize the rolls Hal's books put to each song, I can now dress up simple tunes any way I want AND sing at the same time since I'm not trying to remember what to play! The method of instruction in this book is SO amazing, you won't be disappointed!

This is definitely worth the money. It is the best book for basic banjo pickin' I've came across thus far for a beginner like myself. Tablature is a good way to get you started. The instructions and songs are laid out well for the ease of understanding, but the only draw back is there needs to be a couple of more recent songs or just a few more songs in general.

Not only was I an ignoramus, I was (and still am) a klutz, but Wayne Erbsen has taught me to play the banjo! I didn't think anyone could do it. This book is wonderful!

MY SON IS ENJOYING THIS BOOK/CD. HE SAYS IT IS EASY TO FOLLOW AND PLAYED SOME OF THE SONGS THE FIRST TIME HE LOOKED AT IT. ITS HUMOROUS STYLE OF TEACHING IS VERY RELAXED AND ENJOYABLE.

THIS MUST BE YOUR FIRST BANJO BOOK. It's a short on technique but long on something priceless -- motivation. You see, Erbsen teaches banjo by teaching you how to fake familiar songs. Instead of playing "Cripple Creek" over and over, or practicing rolls 'til your fingers bleed, you learn very short versions of some folk standards while learing how you can play simple but recognizable versions of your favorite songs -- bluegrass or otherwise.

It works! I'd been playing for about a month when one day, just noodling around, I came up with a crude version of "Route 66." Now THAT was gratifying.

I've since played "Cripple Creek" a few thousand times and practiced rolls until my fingertips were (almost) bleeding. I'm fairly sure I wouldn't have bothered if it hadn't been for Erbsen.

The origin of Africans in America and the music they produced over the last three hundred years was very interesting to read. Mr. Jones provides a chronological and historically based history of the evolution of Black music in America.

He also points out that when black music is accepted by the mainstream it becomes a diluted and pitiful shell of its former greater self. I agree. If anyone notices whenever a beloved artist goes mainstream, generally his or her music is so shallow, you wonder what happened to the real person. I guess it is all about the dollars. They want to get paid. They know that most folks in the mainstream society cannot take or intellectually and spiritually relate to the rawness of our people's music. It is too powerful and personal. The black experience is unique, which affects our worldview and attitudes.

However, the black folk, the masses, always create new music or keep the real music alive. We continuously create, and the mainstream is darn well lucky. If not for black folks, I don't know what in de world they would do with dye selves. Lady this would be such a dull place.

This is a really interesting look at the evolution of black culture through the lense of music. Some of the author's opinions about later music (50's-60's) may seem out of touch to today's readers, but overall it is well worth reading.

This is one of the most important books on America and American history, culture and citizenship. It would benefit the world if it were incorporated into public education. Someone said that nations are judged by their art and this book examines that subject superlatively. This study of the blues examines the evolving cosmology of the Africans and their journey and creation: the blues, one of the singular most powerful beauties of America. He shows how from the blues came all and embraced all other peoples and cultures. Baraka's ability to live the thoughts of the originators enables us to understand the profoundity of their sorrow and sublimity of their joy.

The other day a friend rashly claimed that art and music were equally hard to describe in words. I asked him to tell me about a certain painting of Picasso's. He did, but claimed it wasn't accurate. "OK," I said, "you're right, but now tell me about Mozart's Jupiter Symphony." He opened his mouth, closed it, looked at me, and said, "Yeah, I see what you mean." Writing a book about the blues would be equally hard, it seems to me. So, LeRoi Jones did what he could, back in 1963, to tie the indescribable to the more concrete. He wrote a social history of African-Americans in the USA through the prism of music or---maybe on the principle of red and yellow tile floors (are they red with yellow designs or yellow with red designs ?)---he wrote a book on African-American music through the prism of social history. It is one of the most important books on American music (and American society) that you can find. It has stood the test of time. He begins from the Africans who came to North America as slaves bearing very different cultures, confronted by an absolutely different view of the world emanating from their new masters. Here he tries to show how African music became transformed into African-AMERICAN music and then American. He continues then up through the generations of slavery, to Emancipation, migration to the cities, World War I, the Depression, World War II and the bebop age of the Fifties. The book is pre-Civil Rights movement, pre-Martin Luther King. Jones may have looked down on the NAACP and its allies as "white liberal supported organizations", I'm not sure, but they don't appear. The times are symbolized by the use of "Negro" throughout. I agree, the tome is dated, but don't reject it, don't pooh-pooh the man. This is a very intelligent, very worthwhile book. Anyone, particularly from outside the USA, who wants to know the history of African-American music within its social environment ought still to read BLUES PEOPLE. He writes, "If Negro music can be seen to be the result of certain attitudes, certain specific ways of thinking about the world (and only ultimately about the ways in which music can be made), then the basic hypothesis of this book is understood." [p.153] Jones goes to great lengths to get to the bottom of those attitudes and thoughts.

My main criticism, apart from the fact that history dictates that we must be left a half century behind contemporary realities, is that though Jones obviously knew and loved the blues and jazz and all the various styles ( if not swing), his approach is coldly academic, highly dispassionate. He may criticize people who tried to make money, he may downplay all those who "abandoned" their roots, but my disappointment is that there is nothing of himself in the work barring a few mentions of his family. He does not share his enthusiasm. Music is beauty after all. I am sure he wanted the book to be taken as a serious essay, which it is. But in keeping himself removed from the discussion, being so analytic and professional in the style of the day, he has robbed us "readers of the future" of many insights.

African-American experience in the USA expressed itself most particularly in the blues, only later did that musical mode become part of the general American culture, often watered down, sometimes imitated by those who didn't wish to fit in or who wished to cash in. When conditions have changed, when the black middle class has entered mainstream America, and the urban underclass is wrapped up in hip-hop, gangsta rap culture, which is relentlessly commercialized by the powerful media, talking about the blues may seem a matter for historians or ethnomusicologists. Still, BLUES PEOPLE resonates strongly if we try to understand where we have been. As for where we are going---that old line sums it up---we're goin where the Southern cross the yella dog.

I actually purchased the first paperback edition this book a long time ago, and I learned that it had been out of print for quite some time. It was a time when I was a casual listener of blues and jazz, and didn't think about the roots of the music I was listening to. The book was interesting enough, but it didn't have information about more contemporary stuff, as it was printed in 1963.

Recently, I found this book in the upper shelves of my library, having completely forgotten about it in spite of my infatuation with the blues for the better part of the last two decades. It was a most welcome surprise for me, as it contained a compact but comprehensive introduction to the time period from the first Africans came to America to the 1920s when their music was first recorded, and laid the groundwork to how this music evolved in a sociological context. The rural lifestyle, the reflections of the exodus from the south on the music and subsequent refined, urban sound are discussed in this framework.

Although it would not really appeal to the casual reader and listener, "Blues People" is invaluable for the serious blues and jazz fan for setting the music into the general context of social life and external effects that made this music what it is today.

LOVE IT, BEAUTIFULLY WRITTEN.
Would love to get more of his silent films
The General is wonderful!!!!!!
I LOVE Amazon.com..........you have everything
Thankyou

I can't believe I've reached my 50th review.And it is happily on a topic near and dear to my heart.....Buster Keaton.
Buster was not as appreciated as he might have been in his 1920s heydays.And when his downfall at the hands of MGM came in the early 30s,as far as the public was concerned he was just considered just another fatality
like so many of his peers that occured in the late 20s and early 30s with the conversion to sound.He was soon forgotten.
But it didn't keep Buster down the least bit.He eventually battled back from depression and acute alcoholism.He was rarely out of work for very long and whether behind or in front of the camera he continued on like a trouper for the rest of his days.
The man lived and breathed comedy and never lost his ability in the development and creation of gags.And of course his masterful directing abilities and knowledge of the camera were unquestionable.
Buster fortunately lived long enough to see a steady resurgence in his popularity and homages from many in the film industry.And his public persona also reached new heights as new generations rediscovered his older films and/or relished his appearances in newer films and on TV.
This book then is a fitting tribute to a legend and one of the GREAT(and I don't use this word lightly) purveyors of screen comedy in the 20th century.
It is first and foremost a pictorial tribute.It is absollutely filled with wonderful photographs,some I have seen but others I have not.
It even has a photo montage of a Buster how-to on creating his trademark pork pie hat.
All this is nicely rounded out with text from the author and most especially his late widow Eleanor.
All in all I recommend this book highly to those who are just discovering this great screen comedy genius.There's no better way to acclimate yourself to his life and career.And to those like myself who have known and adored this mans' work for years,this book should be an essential piece in the Buster Keaton section of your library.

I've always been a little disappointed that Buster Keaton gets overshadowed by stars like Chaplin, mainly because he was more than just a silent comedian. In many ways, he was a daredevil of his time, always doing his own stunts and risking his life on several occasions. In today's Hollywood, what star would've dared let a whole house fall on him and miss by mere inches as Buster does in Steamboat Bill Jr.?? Not even Jackie Chan would've tried that one!

With that in mind, Buster Keaton Remembered is superb at illustrating a lot of the stunts and tricks he used in making his best movies, not to mention the man himself, with some glorious candid and studio photography.

The only real disappointment I found with this book is the text's general lack of depth. Sure, the classic shorts and features are all here. But his later work (post-1940) is generally glossed over. Many intriguing elements are also introduced like the death of one of his gag writers, his unreleased film "Ten Girls Ago", his family becoming part of Buster's films, etc. But in most cases, these are only mentioned in passing and get little analysis or explanation.

But then, Buster Keaton Remembered isn't really meant to be a biography - this is more of a coffee table book. So if you're looking for a stunning pictorial of his life, this is the one to pick up. If you're looking for more detailed insights into the man and his movies, it's time to head for the library.

the photos are worth the price of admission, many i had not seen before as a long time fan of keaton. the text is clear, and not horribly sentimental, which i was afraid to find as the book was co-written by his last wife.

gorgeous. really well done.

I thoroughly enjoyed this book. Being a fan of Buster, I've read numerous bios, ranging from mediocre to all out hatchet jobs. Students of the "Great Stone Face" will learn a lot, I certainly did. The photographs alone are worth the price of the book, epsecially the "stills" from THE GENERAL, STEAMBOAT BILL JR. and ONE WEEK. Keaton always seems to take the proverbial "back-seat" to Chaplin, but Buster was the better comic, by FAR!!! And, as an added bonus, you can see how Buster and Eleanor made the "pork-pie hats" worn in so many of Keaton's films.

Geoff Dyer's But Beautiful: A Book about Jazz is much more than an extended critical essay on a still-evolving, vital musical genre and a great deal more than fictional portrayals of Jazz legends. Here, Dyer focuses his considerable talents on creating a kind of Jazz-in-print, seeking to emulate the frenzied riffing, explosive spontaneity and creative interplay, which has given Jazz music so much more vitality than many other genres' created in the 20th century. Without question, one would have to agree that he has succeeded, totally to the readers' enrichment.

But Beautiful hits the reader on several levels; we are taken on a series of journeys into the lives, thoughts, conversations and seminal events of eight Jazz musicians. Between each chapter is inserted a fictional, road-tripping almost ghostly presence of Duke Ellington, a father figure of modern Jazz who may well have known, recorded and very likely influenced all eight men whom Dyer chose to write/riff about. What's real about the eight musicians are the bare-bones facts known to many Jazz fans; Lester Young court-martialed by the Army because of an inability to cope with a racist Drill Sergeant, Chet Baker's teeth knocked out by an angry drug dealer in a seedy, San Francisco diner, Art Pepper sentenced to five years in prison on a Heroin possession conviction and so on. What's possible, and perhaps no less real to the reader are the details of their lives, their anguish and the self-destructive passions which attend the day to day living of so many creative people. Dyer draws these details in part through listening to the music and inspiration gained by looking at photographs of some of the musicians. 'Not as they were but as they appear to me....' Dyer asks the reader to see the musicians as he sees them, to believe in the memory of what these photos inspired. The men and their lives are portrayed, much like Jazz itself, with a kind of heart-stopping intensity and a poignant, empathetic acknowledgement of lives spent creating and being swallowed whole by the gift that makes creation possible. On Thelonious Monk; "Whatever it was inside him was very delicate, he had to keep it very still, slow himself right down so that nothing affected it." On Ben Webster; "He carried his loneliness around with him like an instrument case. It never left his side."

Very little, insightful criticism or critical essays have been produced regarding Jazz and the people who play it and live it. Dyer has done more than write mere history or criticism in But Beautiful, he has written (and played) a genre-exploding, lyrical meditation on Jazz and on the terrifying, exhilarating possibilities of the music itself and what ought to be recognized as a new form of fictional riffing.

If you ever loved a jazz tune, you will love these pages. Not for anything else but for beauty in the art itself. Sobering, BUT BEAUTIFUL.

This book captures the essence of jazz. Every nuance from languid to livid, sad to sublime is etched out by Dyer's poetic and harmonious flow of prose. If you are familiar with these artists, his stories encourage you to say, put on your favorite album by Monk while you read about him -- or after you read about him, so you can reflect on how the writer has connected with the soul of the music. If you aren't familiar with the artists, this work will definitely urge you to acquire some of their music. This book is simply an extended poem, traced so delicately that it allows the experienced and the novice alike, the opportunity to peer through a window and into the soul of Jazz.

Picture this: "Onstage at Birdland, eyes shut, one arm hanging at his side....trumpet raised to his lips like a brandy bottle--not playing the horn but swigging from it, sipping it."

Geoff Dyer's employs his exquisite imagery as a starting point for his "imaginative criticism" of the celebrated and tragic lives of several iconic jazz musicians (including figures such as Chet Baker, Lester Young, Thelonious Monk, Ben Webster, Charles Mingus, and Bud Powell). While photographs are the inspiration, Dyer's writing is so precise and sensual that he need only describe the photographs (the book has only one small photo). And this is just right for a book about music, his writing is so lyrical that we almost hear the sounds while reading. (In fact. the least effective aspect of the book is the Duke Ellington "road trip" that introduces each chapter, perhaps because the narrative is not connected to any particular Ellington sound.)

Many of the scenes and dialogue (especially the inner dialogue) are necessarily fictions, "assume that what's here has been invented or altered rather than quoted." But Dyer's explains that while his version may veer from the truth, "it keeps faith with the improvisational prerogatives of the form." He mixes truth and fiction into portraits that illuminate what strictly factual history cannot always convey. (Think of Robert Graves' in his WWI memoir/fiction "Goodbye to All That."). Dyer explains that while a photo depicts only a "split second," its "felt duration" may include the unseen moments before and after that split second. "But Beautiful" invites us to improvise (as Dyer does) into that unseen time, and discover our own subjective relationship to the music.

Listen to this: "Chet put nothing of himself into his music and that's what lent his playing its pathos...Every time he played a note he waved it goodbye. Sometimes he didn't even wave."

The evocative word pictures are unusually perceptive and sensitive. Although personal and often imagined, it's really like an improvised solo that either feels "right" or not. I think "But Beautiful" hits the right notes and rhythms: his words evoke the music, and, after reading it, the music will evoke the words. Not without its flaws, it is still an astonishing feat.

This work, along with James Baldwin's short story, "Sonny's Blues," is as good as any I've read about the jazz life, its creators and innovators, and the high cost of such terrible beauty. I had the advantage of being present while Lester was lost on stage in an alcoholic stupor; Monk was dancing around the piano, knocking over cymbals, rather than playing the instrument; Chet Baker, unable to stand, was expending his last breaths on "The Thrill Is Gone"; and Duke was waiting for Harry Carney to swing by with the car to chauffeur him through the wintry night from Kenosha, Wisconsin to Kansas City. But how a young writer like Dyer managed to capture these moments before his time, freezing them unforgettably in a literary living moment, I can't imagine.

Dyer knows that the foremost responsibility of a music critic is not to critique but to verbalize his non-verbal subject, bringing it to life for the reader. He does so admirably, creating believable, recognizable, fascinating portraits in unlabored, unpretentious prose.

His portraits of the artist ring completely true to the ears of this fellow observer--penetrating glimpses of the creative child trapped in a man's body now reduced to fighting a losing battle against physical and mental entropy. Yet his faith in the living tradition of jazz is refreshing, as is his characterization of the jazz musician's struggle as a valiant contest with the precursor, not unlike that of the strong poet's.

Though there's an elegaic tone throughout the book, it's never ponderous or depressing. In fact, its human portraits are more likely to interest newcomers than the many text books that catalog styles and names.

This is not to say the book is without shortcomings. The author is much better at capturing the musicians for us than their music. And his appreciation and understanding of Duke Ellington's music seems somewhat limited. Too bad he didn't give at least as much attention to the colorful cast of characters on the band bus as to the private conveyance preferred by Duke.

Yet any listener who has the slightest interest in jazz and its makers simply cannot afford to pass this one up. And it goes a long way toward fleshing out some of the caricatures served up on the Ken Burns' television series.

This is a great product for Josh Groban fans who want to (attempt to) sing like him. Although the music itelf is simplified, it still gets the point across. I recomend it!

This music book is just what I hoped it would be. Easy to read/play, and the price was great!

This has everything I could have wanted.All the songs are complete and in the rights keys.Nothing is missing.It's magic to play Groban by yourself.Plus it has the English translations to the foreign language songs and great shots of Josh.

The sheet music here is challenging, but playable and close enough to the composition on the CD that it's amazing! the vocal is soprano, the piano moderate difficulty, it's exactly what i expected, and i would encourage it's purchase if you're looking for the sheet music to the Josh Groban Closer album, all songs are in the book.

Love the fact that the words and translations are provided. Not an expert pianist but the music works for my purposes (playing for fun and to sing along with).

Don't love the fact that when I tried to press open the book so that it would lay on the music stand of my piano, the whole cover fell off (cheap binding materials, apparently). But at least now I can use it.

Being from Toronto, I have always had a keen interest in Rick James' career. Toronto is where he really started on his musical journey.
I waited a long time for this book and when I got my hands on it, I couldn't put it down.
I liked the honesty, candor of Rick's writing: he put it all on the line, the good and the bad. Great insight and details, along with lots of fab pictures, complete the portrait of the man. Almost.
Some things that the book missed: Rick's embrace of Islam while in prison; it would have been interesting to know how that happened and why. As mentioned in a previous post, I wanted more on Rick's view of rappers using samples of his songs, especially MC Hammer. We don't know how Rick really felt about rappers and contemporary urban / rap music.
In addition to the discography at the end, it would have been nice to see the chart positions of his albums and singles / re-mixes. Maybe a list of awards would have been a nice addition, too.
Overall, it is an intensely personal and intimate memoir of a man who led an extraordinary life. It is bare, raw and real. Totally refreshing.
Thanks Mr. James for the music and the memories. R.I.P.

This was a great book. It's wonderful to read about the life of such a great talent. His life story tells so much about his music and influence on his lifestyle. Then it's NO HOLDS BARRED! He doesn't omit any names in the Hollywood life of sex, drugs, and rock and roll.

Rick was something else. While I enjoyed his music, his writing was concise and entertaining all the way thru and I really enjoyed the pics.
Great insight into a musical genius the likes we may never see again.
DJ
Stockbridge, GA

After doing some (in-store and online) price comparison, Amazon's prices are definitely the better bargain "hands-down".

If you like Rick James this book is highly recommended. It is a book you will not be able to put down.

COUNTERPOINT, the frank account of the varied and exciting life of Joe Harnell, pianist, composer, arranger, bandleader, will be sure to appeal to anyone who's a fan of mid to late 20th century popular culture and it's major players, louis armstrong, marlene dietrich, etc.
While not always pretty (Harnell has no desire to gloss over the more unpleasent aspects of his life), it is an always honest and very revealing account of the artistic and personal development of a musician's musician. After reading this book, it is difficult not to be touched by Harnell's humanity whether or not one is aware of his work and contributions to popular and television music over the last five decades.

COUNTERPOINT, the frank account of the varied and exciting life of Joe Harnell, pianist, composer, arranger, bandleader, will be sure to appeal to anyone who's a fan of mid to late 20th century popular culture and it's major players, louis armstrong, marlene dietrich, etc.
While not always pretty (Harnell has no desire to gloss over the more unpleasent aspects of his life), it is an always honest and very revealing account of the artistic and personal development of a musician's musician. After reading this book, it is difficult not to be touched by Harnell's humanity whether or not one is aware of his work and contributions to popular and television music over the last five decades.

"Counterpoint" provides the reader with a rare perspective on a rich era in American Music written by one of the industry's giants about other musical giants of the time. Not only is Joe Harnell's personal journey told with extreme honesty, it's written with the light touch of a master humorist. He and Ira Skutch choose to divide the dazzling parade of musical legends by giving each one their own chapter, which makes it easy to refer back to a particular singer and reread a funny anecdote or insightful observation. This book succeeds on several levels: as a chronicle of music history; as a story of personal triumph; and as an important musical autobiography.

Joe Harnell pulls no punches in this great journey from boyhood to the present. Not only did I love the descriptions of the places and times Joe has traveled through, but the insight into the musicians and stars he worked with was rewarding. The fact that he is so out front with his personal life only makes you like him more for his human foibles and the peaks and valleys that we all experience. I'm from a younger generation but truly enjoyed reliving this time period through the words and music of Joe Harnell.

Not only a riveting expose of the music business over the last half a century, but also a revealing glimpse into the intimate life of a man with the sensitivity and temperament of a true artist and all the color and drama that go with it. Joe invites you along on his roller coaster ride of a life with stories you will never forget.

When 10-year-old Zoe Elias sees a documentary about the legendary pianist Vladimir Horowitz, she is instantly hooked. She knows that she wants to play the piano like Horowitz, to be a prodigy and to appear onstage at Carnegie Hall. In Zoe's daydreams, music, fame and really fancy shoes seem to go hand in hand: "And then you lift your hands high above your head and slam them down on the keys and the first notes come crashing out and your fingers fly up and down and your foot --- in its tiny slipper with rubies at the toe --- your foot peeks out from under your gown to press lightly on the pedals. A piano is glamorous. Sophisticated. Worldly."

As usual in Zoe's life, though, her daydreams are worlds away from her everyday existence. In real life, Zoe is just a girl whose best friend has abandoned her, who is ostracized for wearing funky toe socks because, as a popular girl points out, "'Nobody wears socks. Everybody knows that.'" She's not even a girl who plays the piano, because her well-meaning father has bought her a Perfectone D-60 organ. Instead of transforming into a piano prodigy, Zoe struggles to learn the theme songs to "Gilligan's Island" and "Green Acres."

Soon enough, though, Zoe discovers that her organ playing just might be causing some unexpected transformations after all. Her lovable but anxiety-ridden and agoraphobic father, who has always spent his days earning absurd "degrees" through correspondence courses by Living Room University, loves dancing around to Zoe's music, especially when she turns on one of the bouncy rhythm accompaniments. Zoe's playing also earns her the respect of a most unexpected friend, one who might love Zoe despite (or even because of) her dorkiness and who might also help Zoe's dad at the same time. Most importantly, Zoe might just have the chance for that Carnegie Hall moment --- or something like it --- when she enters an organ-playing competition.

The theme of Linda Urban's wise, witty and utterly realistic debut novel is voiced by none other than Vladimir Horowitz himself: "Perfection itself is imperfection." In other words, when you're playing the piano, even if you get every note exactly right, you still won't be making music. In A CROOKED KIND OF PERFECT, Zoe learns that in life, as in music, it is possible to accept --- and even embrace --- the flaws in ourselves and those we love.

Zoe's family is particularly realistically drawn, warts and all. Her father, so paralyzed by anxieties that he can barely leave the house, recreates their home environment, down to the tablecloth on the table and the pictures on the wall, when they stay in a hotel. Her mother, a workaholic state controller who believes that everything in life can be reduced to a ledger sheet, breaks Zoe's heart as often as she balances a budget. And Zoe herself can be timid, worried, resentful and suspicious --- but readers will love her, and her loving family, anyway. Zoe's Horowitz daydreams might not come true --- exactly. But she discovers that holding onto those dreams --- and being willing to create new ones --- just might be what she and her family needed all along.

--- Reviewed by Norah Piehl

A Crooked Kind of Perfect is a testament to normal families everywhere. Every child has dreams of fame and Zoe Elias is pretty much perfect in that regard. However, dealing with a workaholic mother and an agoraphobic father does not necessarily make for the All American family, or does it?

Zoe does not concentrate on her father's disability nor her mother's dominant personality because in her world they are perfectly normal. In fact Zoe participates in many of her dads Living Room University courses where you can learn any trade from the privacy of your own home.

Through out the book Zoe keeps the readers informed of a variety of Living Room courses her dad takes. Everything from a Golden Gloves Boxing Coach, to the Scuba-Dooba-Do, diving lessons which required him to stay under water for half an hour. "He took the test in our bathtub breathing through a bendy straw. I timed him."

Zoe dreams of being a concert pianist but when her dad buys a Perfectone D-60 Organ which comes with six months of lessons from Mabelline Person, she resigns herself to the fact she will never be able to play at Carngie Hall as a piano prodigy.

However, when Mabelline Person insists Zoe enter the Perfectone O'Rama Organ competition things at school and at home begin taking hillarious turns.

A Crooked Kind of Perfect is a great read for middle grade youth. The chapters are short. Chapter one is two pages and chapter two is only one page. This book is not slap-on-the-knee type of humor but it is full of chuckles and an occasionall laugh out loud.

I think this would make a wonderful book club book. Zoe has the unique situation of having her dad buy her an organ when she actually wants a piano. Urban's diary-like writing style really hooks the reader into feeling empathy for Zoe.

I'm sure most students would be familiar with pianos, but I wonder how many would need to see an organ or at least a picture of one to get an idea of how it works. Much of the story and plot are dependant on at least an acquaintance with the organ, so there would need to be some background knowledge. Zoe plays several classic TV hits from the 70s and I also wondered if young readers would follow what was happening, but I suppose those parts are just funny on different levels of understanding.

Zoe interacts with boys at school and one of them "likes" her. I don't think it is at all inappropriate for 3rd grade or older students. Other complicated issues present are divorce and agoraphobia. It should make for some interesting discussion!

The fictional book, A Crooked Kind of Perfect by Lisa Urban is a wonderful and inspiring book that shows the importance of following a dream. In this book a young girl has a tough time, has much perserverence, and is very brave. I gave this book 5 out of 5 stars because when i read this book, I felt like i was a character in the book. I recommend this book for girls ages 9-15 because I think they would be able to relate to the story. In the book a girl who wants to be a pianist gets an organ that she doesn't like but plays it any way, then her friend ditches her for a new friend. So the main character makes a new friend who supports her through stage fright. If your interested in buying the book it is $16.00. I recommend it!

Ten-year-old Zoe dreams of performing at Carnegie Hall one day. She thinks pianos are glamorous, sophisticated, and worldly. She'd love to have a grand piano and be taught how to play impressive, difficult pieces by a grandfatherly maestro.

Instead, she gets a Perfectone D-60 organ and six months of free lessons from a woman named Mabelline Person. Instead of Fur Elise, Moonlight Sonata, or even Frere Jacques, she is given television theme songs from the sixties and seventies. Not exactly glamorous.

Zoe is an only child. Her mother is a straightforward, working professional, a controller for the state who spends a great deal of time a work. Her father enjoys earning degrees from Living Room University, learning how to scrapbook, coach boxing, and pilot a plane - all from the comfort of his own home, using objects he has around the house. After school, before or after her own lessons, Zoe helps her father with his. Sometimes, she delights in his antics, but other times, his errors - like getting her a wheezy organ! - make her cringe. Her goofy classmate named Walker befriends her father and the two bake in the background while Miss Person sets up a metronome and a Hits from the Sixties songbook for an exasperated Zoe.

Zoe's getting frustrated. She's not a prodigy. She's not a concert pianist. But she's also not a quitter. Slowly but surely, she learns how to play the organ and surprises herself with how much she likes it. When she goes on to compete at Perform-o-Rama, winning over her parents is far more important to her than winning a trophy.

With quirky characters and quick chapters, Linda Urban's debut is as close to Perfect as you can get. The humorous writing will satisfy both reluctant and avid readers. From her head to her toe socks, Zoe is a lovable little girl, and her voice rings true. If this book were a song, it would be music to my ears. One of the best books of 2007, in my opinion. Highly recommended.