Western Michigan Books

At the end of this book, author Andy Hamilton reassures Konitz that it will become a classic of jazz literature. I guess Hamilton was speaking at least half tongue-in-cheek, but, for what it's worth, I also think he's probably right.

As it's been said elsewhere, the author's editorial prowess is phenomenal, and the proof is that the book is extremely easy to read, while, at the same time, it is packed with information and insight. Hamilton has also been able to engage Konitz in some interesting discussions, like his views on several musicians - Anthony Braxton, most memorably - or his assessment of his own playing, and on the actual physical and psychological aspects of the process of improvising music.

This is pretty close to my ideal book on a jazz musician, where the subject has the chance to tell his story while speaking freely to a knowledgeable counterpart.

Highly recommended.

I found this book to be one of the most clear, informative and honest books in jazz literature that I have ever read.
Lee comes across as a candid, humble man, a servant to his art.
Through the conversational and well researched style that the writer Andy Hamilton adopts, Lee Konitz offers many realistic, straightforward insights into his life and study: and the lives of those around him.
As a jazz musician myself, this book opens many doors of perception.
It cuts through the myth and hyperbole that often surround the lives of the truly great ones in this wonderful artform.
Highly recommended!

In this book of lively conversations on the improviser's art, Lee Konitz talks about all aspects of his music, from his beginnings (as a student of the clarinet, during the late 1930s) to the early years of the new century, and he does so with great candour. There's lots about the Cool School of playing and Konitz's musical mentor, the blind pianist Lennie Tristano. Tristano's music ran on a parallel track to bebop, but because it wasn't such a hot, sweaty affair it's been dismissed as a pallid version of the real thing, cerebral and abstract, disconnected from feelings, a music to be analysed by beard-strokers rather than enjoyed by foot-tappers. Konitz dismisses these false distinctions and emphasises both the vitality and originality of Tristano's music - points supported by several musician-contributors to the book.

The criticisms and comments that Konitz offers are frank, thoughtful and well-argued. Several of the chapters cover specific decades in his career. Others include: Formative Influences; Working with Tristano; Early Collaborators; The Art of Improvisation; The Instrument; The Material. Embedded within each of the chapters is a series of brief interviews with musicians, most of whom have worked on the bandstand with Konitz or recorded with him, including John Zorn, Phil Woods, Mike Zwerin, George Russell, Clare Fischer, Sal Mosca, Alan Broadbent, Sonny Rollins, Rufus Reid, Ornette Coleman, Harold Danko, Wayne Shorter, Paul Bley, John Tchicai, Greg Osby, Martial Solal and Evan Parker. Although this is fundamentally a book of interviews, Andy Hamilton provides scene-setting introductions to each of the chapters, explanatory links between subsections, and brief comments that help the reader better to contextualise the interview material. His contributions are considerable, but they're done with such a light touch the attention remains firmly on Konitz throughout.

Although Konitz broke with the Tristano school, Tristano's foremost `disciple', tenor saxophonist Warne Marsh, remained in a strong creative partnership with him until the late 1970s. Marsh is undoubtedly the saxophonist whom Konitz admires most, and Konitz's aesthetic, sound and approach to improvisation owe perhaps more to Marsh than any other player. He contrasts Marsh's approach with that of several other major players, including Charlie Parker and John Coltrane, whose solos relied to some degree on pre-prepared material. Throughout the book, there's much useful discussion about the philosophy of music-making.

Konitz is a great talker, with lots of interesting things to say about his own music and the music of Marsh, Tristano, Ornette Coleman, Miles Davis, Gil Evans, Parker, Coltrane, Charles Mingus and a host of others, and the book is peppered with valuable comments about `the jazz life'.

This is clearly one of the best books about jazz I ever red. I'd put it next to P.Pettinger's "How My Heart Sings", J Szwed's "Space Is The Place" or E.Jost's "Free Jazz".
Pretty differently, here author chooses an original, extensive interview format, augmented by short essays written with the complete approval -and corrections, is said- of Mr.Konitz himself. Many great insight and analisys of this great, epocal musician are offered for a good work of comprehension of the complexity of Lee Konitz music and his belonging to jazz tendencies such Cool Jazz and Tristano's and others, his relations to many major jazz figures.

Despite Lee Konitz's illustrious career, there had not been a book-length treatment of his music and life until Andy Hamilton's book appeared. There have been numerous published interviews with him, but none is as informative, thorough, or enlightening as this book. Considering that Mr. Konitz is much better known in other countries than in the U.S., it is no wonder that an Englishman decided to write a book on him. One of the things that I liked about the book is that the artist got involved in the process, for example, proofreading the text himself. This lends a high degree of authenticity to the book. In addition to the interviews with Mr. Konitz, there are a number of shorter interviews with other musicians, which are also intriguing. This is an exciting and enjoyable book and I highly recommend it.

Being an experienced sea kayaker I often review books to evaluate the competence of the authors. This book is written by kayakers who really love the sport and want to share it but who have chosen not to guide new kayakers' every stroke. So many guide books do the entire trip for you leaving you with little to learn about your personal skill and no adventure whatsoever. They give you the basics and then leave it to you to discover yourself and adventure. Great guidebook!

We referred to this book time and time again and found accurate, precise information regarding Lake Michigan and Superior paddle trips. Guided us to many accesible sites that represents the true nature of both lakes, from sandy beaches to rocky shores. An accurate guidance of what skill level should attempt each trip. Great book to use as a guide to map a vacation. Also good information regarding restuarants and camping spots.

Good directions to put-ins and landmarks visible on the water

For those serious about growing in the spiritual life, Walter Hilton is a must. Not everything will speak to every person but there is much to be gained from a slow, careful, and prayerful reading.

Author Peter Ackroyd (The Life of Thomas More) says that Hitlton's "Scale of Perfection" and Kempas'"Imitation of Christ" are part of the broad tradition of late medieval Christian piety. Both books played a central part of Thomas More's life. Scale of Perfection is concerend with the active Chrictian life in the world. Hilton also wrote a volume entitled "The Mixed Life."

Walter Hilton's massive undertaking (the first thorough treatment of ascetic theology in the English language) is as rewarding for those today as in his own era - and a careful reading makes one realise that he was treating many of the same difficulties we would find in our own time. This is by no means light reading, but the lawyer's mind, theologian's precision, and pastoral father's homely charm are a winning combination. (How can anyone resist one who, after giving an explanation of sin so with the lawyer's accuracy that one nearly searches for the section on plea bargaining, then tenderly reassures his reader that God is most generous with forgiveness or "heaven would be much too empty?)I would recommend it (if not require it) of anyone with an interest either in ascetic theology or fourteenth century England.

My uncle, Joe Jaffee owned the Parrot Lounge along with Al Green and others. He told some cute stories of the club, including the time he got mad at Billy Eckstine for smoking marijuana. The parrot, as legend goes, became so foul-mouthed from listening to the drunken customers, that my Uncle finally had to get rid of it.
This book is extremely well-researched; maps are included of where the spots were located, and the pictures are very vivid. There was a recent book published about Detroit's history that completely ignored the nightclubs, and this book fills in the gap. In fact, in most books that have been written about Detroit's nightclub scene, you always see Al Green and the Flame, but never a word about the other clubs and or owners.

This book is definitely a must-have for music lovers and historians alike.

Of course nowadays they would just look at you like you were crazy, but in Detroit from the 30's through the 50's they would have taken you to one of the places described in this book: Club Plantation, the El Sino, the Greystone Ballroom, the Forest Club, Frolic Show Bar, Flame Show Bar, Cozy Corner, Blue Bird Inn, Sportree's Music Bar, or any of about 90 others. This book has the maps, pictures, facts, anecdotes, and solid economic and social explanations to bring this era alive. This history has already been so erased from the face of Detroit that there are hardly even any decaying buildings left. All is empty lots with bricks sticking out of the soil; places as evocative as the service drive of an expressway. Who could know that Duke Ellington, Miles Davis, Bix Beiderbecke, Charlie Parker, Billie Holiday, played or spent time here?

How else could you know about Detroit musicians like drummer J. C. Heard who fanned out across the country, blending their talents into the bands of Lionel Hampton, Fletcher Henderson, Glenn Miller, Benny Goodman, and many others?

You might read this book to see how the Detroit influence added to the influences of New Orleans, New York and Chicago to the world of jazz.

Or you might read it to find out why Detroit is where it's at in its own musical history.

Or if you lived in Detroit, you might read it to understand the significance of the mute things around you, through which maybe you drive to work each day.

But man, read it!

Recipes in "Michigan Cooking and Other Things," are practical with easy to follow directions. In addition to recipes for preparing delicious, practical Michigan foods, Eberly has included stories about the history of Michigan. She's dug up recipes used by lumber camp cooks and others. My "Michigan cooking" is thumbworn and used more than any other cookbook in my collection. It's a standard!

Love the michigan cookbook & have had it for years. We live 6 mo. in Fla. & have a Mich. day there. We are the chaimen for it this year & need different ideas for puzzles & games. I remembered your ad in back of book for puzzles, fill-ins on Mich. Do you still sell any of this? I would like to purchase one if you do, or if you have any items that would be helpful to us. Thank You Marcella Best P.S. The book travels with me

Oh, Philip, "That is not what I meant at all. That is not it, at all." This is a collection of Middle English lyric poetry about Mary, mother of Jesus. It includes detailed introductory material and notes. Nothing about Gilligan, sorry. But if you want to explore medieval Christians' understanding of Mary's place and character, please have a look.
Here's what I wrote for the publisher's catalogue: "The mother of Jesus was a beloved, central figure in the hearts and minds of medieval Christians. Non-judgmental, gracious, and kind, she served as an ever-available mediator and model for believers who sought to reconcile guilt and hope. The poems selected for this volume provide a sampling of the rich tradition of Marian devotion as expressed in Middle English. Some of these lyrics survived in commonplace books, on flyleaves, or as incidental pieces in longer works; other appeared in liturgical manuscripts, hymnals, or sermon notebooks. They range widely in form, tone, and aesthetic quality. Taken together, they express the full range of a people's effort to voice its anxieties and joys through Mary."
Though it's not particularly helpful on the subject of television, I believe the book will be useful to those interested in literature, history, theology, women's studies, and language.
(Phil Christman, by the way, has written cogent, wise, and useful reviews for Paste Magazine and for Perspectives: A Journal of Reformed Thought. Seriously.)

Both a valuable collection of medieval Marian lyrics and a scorching commentary on the effects of mass culture on a plague-devastated populace, this collection of Middle English lyrics devoted to the popular "Gilligan's Island" character is an essential tool in our understanding of the chord struck among Medieval Europeans -- themselves moored in a sort of existential Gilligan's Island, all classes shipwrecked together by the growth of the bourgeiosie and the isolation wrought by the Black Plague (a la Chaucer's Canterbury Tales, notice) with only each other and what cold comforts could be salvaged from the era's rudimentary technology for company -- by this popular narrative. Professor Saupe's next work, a study of (de)constructive and (fe)menist-h(e)rmeneutica(l) (like dancin') techniques in the era's miracle and "Party of Five" plays, promises to shock, provoke and entertain as well.

Do you know need a reason to buy this book? I can give you an excellent one -- it's called the Table of Contents. It lists 700 pages worth of Robin Hood ballads, plays and more. It has the earliest ballads and plays where Robin is merely a yeoman, the first play that casts him as the Earl of Huntington, and later ballads that give the "origins" of Little John, Maid Marian and Will Scarlet. Also, there's an introductory article on the history of the legend and complete introductions and notes to all the ballads and plays. The notes and introductions are by Stephen Knight and Thomas Ohlgren, two top Robin Hood scholars. If you want to read the original tales of the outlaw, or if you are teach a course in Robin Hood, this book is an excellent buy. Just treat it with care. I notice my cover is fraying somewhat.

Before my professor pointed it out I hadn't really given much thought to where my knowledge of, and love for, the Robin Hood tales came from. Once I began to give it some thought, I realized it wasn't from books at all, it was from the Errol Flinn and Disney movies (such poor literary sources!). We all seem to know one or two Robin Hood tales, but Robin Hood is a much more complex character than those few tales would show.
I was also suprised to learn that no Robin Hood tales are included in the major anthology of English literature (Norton's), which seems odd to me, since the tales are classic English literature.
This collection of Robin Hood material is comprehensive, many stories I had never heard are here, and if you are looking to really learn about the literary sources for Robin Hood this is great (that is the publisher's purpose). This is not a children's storybook however. Much of the language is in the older forms of English, and even as an adult I sometimes wrestled with the language to understand it.
All that to say, that as a Robin Hood fan, I am thrilled with this book.

This book contains recipies from 1820's to 1920'

We took a trip to Michigan in the mid 1990's. I saw this book and wanted it badly, but was short on money. After I did not get it, I was so upset that I called the store a few weeks after our vacation ended and they did not know what I was talking about. They finally found the book and I was able to buy it via phone. Signed copy, no less!

What a fun and interesting book. Over 1300 recipes are collected here from historical sources, captured as originally written. There is a delightful intro which gives insight into the authors' perspective. A few recipes have been modified for modern kitchens, but most of them are left as they were.

Names and dates of the contributors are included in case you have a relative in there- you will know it!

Here is the table of contents, since little information is given here about the book.

Intro
Snacks
Stews, Soups, & Salads
Pickles & Preserves
Jams, Jellies, & Marmalades
Eggs & Cheese
Vegetables, Nuts, Grains, & Pasta
Meat
Fowl & Fish
Game
Within the Beast
Bread, Rolls, Pancakes, & Waffles
Cakes, Pies, & Other Sweets
Beverages
Measuring Tables, Oven Temperatures, Hints, & Suggestions
Sources
Historical Index
Index

The text is easy to read, nice font, and has a smattering of vintage pictures included. Sometimes recipes will have remarks from the cook included, which is delightful.

The hints and suggestions are fun to read too- they are also vintage.

The authors also have included comments if they have tried a recipe and found it to be particularly fun or interesting.

There is a recipe for Watermelon Cake, but it is a fascimile, not actual watermelon as an ingredient.

The recipes include everything from huckleberries to split pea pie crust and most of them are delicious. The book is hard bound and stays open well for cooking from too. Nice binding so far.

If you enjoy going to a 19th century type living museum and find yourself fascinated by the cooks in the old kitchens and what they are doing, this is a must have book for you.

I highly recommend it for the historical and cooking value of the book. It transports me back in time every time I read it.

I liked this book and will be using it this coming school year with my 5th grade students. It is an excellent book that focuses on self esteem, persistence, and acceptance of others with handicaps. However, it appears to be confusing for the fifth grade reading level. The advanced vocabulary and lack of flow because of the use of letters within the text makes me believe the reading level is probably at about eighth grade (12-14 years old). For younger students, it could be used with the teacher reading it to the students.

I love this cookbook. It has great recipes. The recipes don't call for ingredients that are difficult to purchase in our area. I recommend this book.