Book Reviews

Mary Lou Williams was not only the most important female musician in jazz history; she was a major force in the music’s development. For the past two decades, Deanna Witkowski has researched Williams’ life and music. Thomas Cunniffe reviews Witkowski’s new book on Williams’ life, and her new CD which features Williams’ music.

When drummer Joe La Barbera was hired as the newest member of the Bill Evans trio in January 1979, he knew that Evans had a long-standing addiction to drugs. Evans died of his addiction just 19 months later, while La Barbera was still with the band. The triumphs and tribulations of that final edition of the Evans trio (with Marc Johnson on bass) are the subjects of La Barbera’s frank and touching memoir, “Times Remembered: The Final Years of the Bill Evans Trio” (University of North Texas Press). Thomas Cunniffe offers his reactions to the memoir in this month’s Book Review.

Idolized by fellow musicians but ignored by traditional jazz critics, Michael Brecker proved time and again that he was a worthy member of the great jazz tenor legacy. Bill Milkowski, who knew Brecker and understood his importance at the time, has written a new biography “Ode to a Tenor Titan” which documents Brecker’s astounding talent and achievements. Thomas Cunniffe offers his reactions in this month’s Book Review.

Known amongst his colleagues as “Rickipedia”, Ricky Riccardi is the go-to man for all things pertaining to Louis Armstrong. His first Armstrong biography, “What a Wonderful World” reappraised the jazz icon’s later years (1947-1971). His newest addition is “Heart Full of Rhythm”, which discusses Armstrong’s equally-misunderstood big band era (1929-1947). Thomas Cunniffe’s review of the new book notes that Riccardi has grown as an author and historian since the earlier volume, and that while he has not lost his enthusiasm for his subject, his arguments are guided by scholarship rather than jingoism.

Seen any good jazz films lately? This month’s book review features two new volumes on jazz’s sometimes uneasy alliance with the screen. Thomas Cunniffe examines Kevin Whitehead’s “Play the Way You Feel” and James A. Harrod’s “Stars of Jazz”.

2020 marks the 100th anniversary of Dave Brubeck’s birth. British journalist Philip Clark has written a new biography–written in a non-linear style–which corrects old misconceptions and adds new perspectives to the life and work of this American jazz icon. Thomas Cunniffe offers his reactions in this month’s Book Review.

As we enter the 20th year of the 21st century, two new books focus on jazz in the new millennium. In this Book Review, Thomas Cunniffe notes that neither Bill Beuttler’s “Make it New” nor Abby Mendelson’s “Spirit to Spirit” are perfect books, but they may well become valuable resources for further scholars.

Dave Brubeck frequently related the story that the businessmen at Columbia Records fought against the release of “Time Out”, feeling it would be a commercial flop. Fortunately, Brubeck had an important supporter in Columbia’s president, Goddard Lieberson. When the album was released and sales went through the roof, Brubeck was accused of going commercial! A new monograph by Stephen A. Crist examines the history and legacy of Brubeck’s signature album. Thomas Cunniffe reviews the book.

“It takes a village to raise a jazz musician, and one reason Detroit has produced so many front-rank players is that the villagers are as hip as they come.” This sentence from Mark Stryker’s new book “Jazz from Detroit” is an apt summary of the city’s contribution to jazz. In this month’s Book Review, Thomas Cunniffe explores Stryker’s history, which traces the Motor City jazz scene from the bebop era to the present day.

While universities do a credible job of training young jazz musicians for successful careers, the one course usually missing from the curriculum might be the most beneficial: “The Road 101”. Elisabeth Lohninger comes to the rescue with “Singer’s Survival Guide to Touring”, a comprehensive guide to life on the road. In his book review, Thomas Cunniffe notes that while the book is designed for vocalists, much of the information is equally applicable to instrumentalists.