Free Ebook American Music Is, by Nat Hentoff
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American Music Is, by Nat Hentoff
Free Ebook American Music Is, by Nat Hentoff
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Writing in a passionate and streetwise style all his own, Nat Hentoff transports us into the diverse worlds of musicians that hold one thing in common: America. In over sixty pieces Hentoff has assembled a mosaic that creates a vivid picture of the music scene as it leaps into the twenty-first century. From sweeping surveys of the roots of American music to vivid assessments of individual performers (including John Coltrane, Billie Holiday, Joe Williams, Doc Pomus, Duke Ellington, Willie Nelson, and many more) Hentoff demonstrates once again why he is lauded as "a critic par excellence" (Publishers Weekly). American Music Is compiles the best of his essays into a potent reader, collecting his most illuminating writing on a broad range of topics. For those who love jazz, blues, country, gospel, or folk, American Music Is provides eloquent and powerful insights. For those who love all of them, it is required reading.
- Sales Rank: #3448462 in Books
- Published on: 2004-03
- Released on: 2004-03-31
- Original language: English
- Number of items: 1
- Dimensions: 9.00" h x .77" w x 6.00" l, 1.00 pounds
- Binding: Paperback
- 352 pages
From Publishers Weekly
Few of today’s music critics can recall chatting with jazz legends like Louis, Billie or Duke in their dressing rooms, and the rarity of hearing about those experiences may be the single greatest pleasure of reading a Hentoff column. The "jazz master" has been reviewing the American music scene for half a century and brings that wealth of experience to the 60 recent columns gathered here. Although he devotes the lion’s share of pages to his first love, jazz, he also covers the pioneers of blues, country and folk, delving into the experiences and rhythms of Willie Nelson, Charlie Parker and Bob Dylan, among many others. Aside from a pithy autobiographical introduction to the ensemble, the author does not situate the columns—there are no publication dates or names. Despite this lack of context, fans will savor Hentoff’s robust prose and his original window onto the world of American music.
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
From Booklist
Jazz critics of two generations weigh in with a career retrospective from the younger one, a collection of recent pieces by the older.
Davis says the 25 years he has been writing about jazz have been a period of artistic and popular decline that he blames on "the entrenched tastes of the jazz faithful"--a statement the first part of which will draw the ire of young avant-garde enthusiasts while the second rouses the wrath of the elders whose patronage keeps mainstream jazz alive. Davis obviously isn't afraid to make waves but deserves to be read because, like the late Martin Williams, he writes about music for nonmusicians without substituting purple prose for audibly verifiable description and because, like venerable New Yorker jazz writer Whitney Balliett, he communicates musicians' personalities pungently and believably. In this collection, he does both for the music and the persons of figures ranging from old Sonny Rollins to young Don Byron, from young traditionalist Wynton Marsalis to old avant-gardist Charles Gayle. His critical acumen shines brightly, too, in the three pieces on musical theater and the commentaries on movies and comedians that conclude the book.
Before becoming everybody's favorite civil libertarian, Hentoff was a jazz critic, whose Jazz Life (1961) introduced the music to many baby boomers. Lately proclaimed the first nonmusician jazz master by the National Endowment for the Arts, he now writes on jazz not for erstwhile haunts Down Beat and the Village Voice but, judging from the provenances of most of his new book's contents, for the Wall Street Journal. In line with the Journal's status as a newspaper, these pieces are news-story short and, in line with the journal's market orientation, contain consumer guidance to recordings, books, and music organizations. Most focus on particular musicians, though some are topic driven, such as "Testosterone Is Not a Musical Instrument," on the continuing resistance to women in jazz except as singers and pianists. Unfaithful followers of Hentoff on music may be surprised, but very pleasantly, by the pieces on his other "American Music" passion, hard country--by the likes of Willie Nelson, Merle Haggard, and Delbert McClinton. Ray Olson
Copyright © American Library Association. All rights reserved
Review
"Thank God for Nat, who places the soul of the musician above that of his art."
Most helpful customer reviews
3 of 4 people found the following review helpful.
Short and Sentimental
By afbg02
After reading several dozen Nat Hentoff liner notes over the past few years, I've come to recognize his name before those of a few sidemen on those very same recordings. As a relative newcomer to jazz, Mr. Hentoff's insights have often helped me gain insight into some of the more challenging recordings on my shelf. One favorite quotation comes from the liner notes to Don Cherry's "Complete Communion". Mr. Hentoff writes, "Listen again to the whirling pulsations within pulsations within pulsations. The beat is now in fact more natural, more like breathing, changing as the emotions change, intersecting with individual internalizations of time, and all within an overall sharing of this time and this place." Great stuff.
It is, therefore, with some regret that I can't give this book 5 stars. I dove into "American Music Is" and found a collection of nostalgic vignettes. The book is full of brief insights into some of the greatest names of American music, touching on the blues and country music with an overall focus on jazz, of course. Many of these ideas are interesting and all the more compelling given their source. Often, Mr. Hentoff knew these artists. He was there with them in the dressing rooms and bars where they played. I was frustrated, however, at the lack of depth to the development of the arguments. Just as my curiosity was piqued, it was time to move on to another, unrelated story. I suppose I should have expected as much, as the book is a compilation of short pieces written for other publications. Nonetheless, I was disappointed. I think it is the somewhat cursory nature of Mr. Hentoff's musings that make this book unessential in the Jazz literary canon.
0 of 0 people found the following review helpful.
Great writing marred by sloppy editing
By SaxmanAlex
I love Nat Hentoff. He was there for all of jazz history from the 1930s on, but sometimes he or his editors are sloppy with details. These are from his newspaper columns, for the most part, so there is some unfortunate duplication, but the biggest jar comes from misspelling proper names. Texas Swing band leader Bob Wills is twice spelled Bob Willis, and clarinetist Bob Wilbur is spelled Bob Wilbert. Still, Nat's spirit shines through.
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