The Chicago Blog

Today's New York Times is running a piece on author George E. Lewis's new book, A Power Stronger Than Itself: The AACM and American Experimental Music—the authoritative historical account of one of America's most influential avant-garde jazz collectives. Founded in 1965, many icons of the avant garde, musicians like Anthony Braxton and Leo Wadada Smith, have joined its ranks. And many of them continue to play as members of the collective today. The NYT article includes information on several upcoming events in NYC including a special book release concert happening next Friday (May 9th) at the Community Church of New York. From the NYT:

The Association for the Advancement of Creative Musicians, [is] an organization that has fostered some of the most vital American avant-garde music of the last 40 years.

Though noncommercial, often pointedly conceptual and unabashedly arcane, this music has had a profound influence over the years on several generations of experimental musicians worldwide.

The scene plays out vividly in A Power Stronger Than Itself: The A.A.C.M. and Experimental Music, an important book by the trombonist-composer-scholar George Lewis due out from the University of Chicago Press this month. Reconstructing that inaugural meeting from audio tapes, Mr. Lewis conveys not only Mr. Abrams's aim but also the vigorous debate begun by his notion of "original music." (Whose music? How original?) From the start, its clear, the association expressed its firm ideals partly through collective discourse.

Next Friday night another sort of discourse will unfold at the Community Church of New York in Murray Hill, when the association convenes a panel discussion with a handful of its current members, including Mr. Lewis, the multireedist Henry Threadgill and the pianist and vocalist Amina Claudine Myers. The conversation will precede a concert featuring Mr. Lewis and Mr. Abrams in an improvising trio with the trumpeter Wadada Leo Smith.

You can read the full article on the NYT website, or see an excerpt from the book. To find out more about the show navigate to the AACM's New York chapter website.

Archived in Black Studies | Books for the News | Chicago | History | Music
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New in Paperback—Piero Melograni here offers a wholly readable account of Mozart’s remarkable life and times. This masterful biography proceeds from the young Mozart’s earliest years as a wunderkind—the child prodigy who traveled with his family to perform concerts throughout Europe—to his formative years in Vienna, where he absorbed the artistic and intellectual spirit of the Enlightenment, to his deathbed, his unfinished Requiem, and the mystery that still surrounds his burial.

Read the press release.

Also read an excerpt.

Archived in History | Music | Press Releases
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In 1965 a group of Chicago musicians dedicated to exploring the frontiers of American jazz banded together to create the Association for the Advancement of Creative Musicians—one of the most radical and influential musical collectives in the history of the genre. Now, author George E. Lewis has chronicled the definitive history of the movement in, A Power Stronger Than Itself: The AACM and American Experimental Music, a book music critic Peter Margasak praises in today's Chicago Reader for "[going] deeper into the formation and development of the AACM than any previous history, and as a formal acknowledgment of the group's enormous importance and influence…."

Margasak's article continues:

In the early 60s the marketplace was indifferent or hostile to creative jazz, and the AACM was the first sustained musician-run group to support it, producing legendary artists like Anthony Braxton, the Art Ensemble of Chicago, and Henry Threadgill. The organization remains active today, led by reedist Douglas Ewart and flutist Nicole Mitchell, and its members still display the fierce determination and brilliant creativity that made its name a seal of quality.

And on Tuesday, April 15, 4:15 pm you'll have a chance to see some of the AACM's brilliant creativity yourself if you head down to the Chicago Cultural Center's Cassidy Theater where the author along with some of AACM's current members will deliver a live performance and discussion of "the history of the AACM and strategies independent artists can use to form similar collectives."

The book is officially slated for release next month, but in the meantime, you can read the rest of the Reader article online, or see an excerpt from the book.

Time Out magazine also weighs in with an article published in their most recent issue. You can find it online here.

Archived in Black Studies | Chicago | History | Music | Reviews | Sociology
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Adding to the long list of positive reviews of Philip Gossett's new book Divas and Scholars: Performing Italian Opera, in this month's Literary Reviewcritic Patrick O'Connor rains his praise on Gossett's extraordinary study of the Italian opera. O'Connor writes:

[Divas and Scholars is] a very personal and wide-ranging study of the great nineteenth-century Italian composers, and the problems and challenges facing those who decide to study their music beyond the available printed scores.… The depth and scope of Gossett's book, on which he has been working for over twenty years, makes it one that will be of immense value to anyone approaching the subject of opera in the so-called age of bel-canto. Although the minute detail of some of the individual music examples he chooses may be beyond even the informed opera aficionado, he writes so clearly, and with such vigor, that the arguments about transpositions, cuts, translations and interpolations, take on something of the feel of detective work.

And indeed Gossett's work is both extensive enough to enthrall aficionados of Italian opera and passionate enough to captivate newcomers seeking a reliable introduction to it—in all its incomparable grandeur and timeless allure.

Read an excerpt.

Archived in Music | Reviews
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In commemoration of the 50th anniversary of the death of conductor Arturo Toscanini, WFMT's Critical Thinking with Andrew Patner will feature a two part conversation with Harvey Sachs, editor of The Letters of Arturo Toscanini, which we recently published in paperback. The first show airs on February 26 at 10:00 pm central time and the second on March 5 at the same time. If you're in the Chicago area be sure to catch the show, if you're not, WFMT offers streaming audio, but you'll have to subscribe to listen.

Fifty years after his death, Arturo Toscanini is still considered one of the greatest conductors in history, and probably the most influential. His letters, expertly collected, translated, and edited in The Letters of Arturo Toscanini, will give readers a new depth of insight into his life and work. As Sachs puts it, they "reveal above all else a man whose psychological perceptions in general and self-knowledge in particular were much more acute than most people have thought likely." They are sure to enthrall anyone interested in learning more about one of the great lives of the twentieth century.

Read an excerpt.

Archived in Author Essays, Interviews, and Excerpts | Biography | Music
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Tonight—Monday, January 8—at 10 p.m. 98.7 WFMT Radio's Critical Thinking with Andrew Patner will present the first of two programs with University of Chicago musicologist Philip Gossett discussing his new book Divas and Scholars: Performing Italian Opera, illustrating his points on bel canto opera performance with musical extracts. The second program will air Monday, January 15, at 10 p.m.

Divas and Scholars is a dazzling and beguiling account of how opera comes to the stage, filled with Philip Gossett's personal experiences of triumphant—and even failed—performances and suffused with his towering and tonic passion for music. Writing as a fan, a musician, and a scholar, Gossett, the world's leading authority on the performance of Italian opera, brings colorfully to life the problems, and occasionally the scandals, that attend the production of some of our most favorite operas.

Read an excerpt.

Archived in Author Events | Music
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In reviewing Blowing Hot and Cool: Jazz and its Critics for the December 17 issue of the Independent, jazz columnist Sholto Byrnes argues that "in the first century of jazz's existence, it's the critics who have articulated the arguments about where jazz is from, who it belongs to and where its boundaries lie. [The critics] have been its historians and its definers." And as the first academic exploration into the legacy of these critics and their powerful role in defining jazz, Byrnes' review acknowledges John Gennari's Blowin' Hot and Cool as an essential contribution to the history of the music. Byrnes writes:

[Blowin' Hot and Cool] is a valuable book, and a fascinating one, ranging from the the important role played by the critic John Hammond in promoting Benny Goodman and Bessie Smith in the 1930s, to the epic battles fought over the 'Young Lions' movement in the 1980's.

An original and comprehensive approach to jazz history, Gennari's book will be appreciated by anyone wanting to know more about how modern culture has come to see one of America's greatest musical traditions.

Read an excerpt along with a soundtrack the author outlined to go with the book.

Archived in Music | Reviews | Sociology
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Wolfgang Amadeus Mozart is, of course, one of the most enduringly popular and celebrated composers to have ever lived. With this year marking the 250th anniversary of his birth his compositions remain some of the most frequently interpreted by orchestras worldwide. But what accounts for the perennial popularity of his work? Writing for Opera News Todd B. Sollis praises Pierro Melograni's Wolfgang Amadeus Mozart: A Biography for its keen insight into the enduring presence of Mozart's music. Sollis writes:

"Never able to secure the kind of well paid permanent court post that many of his contemporaries obtained—Mozart turned to the resources offered him by the consumer market. Melograni argues that in the process Mozart became the sublime composer we know.… Melograni demonstrates persuasively how the [burgeoning 18th C. public of consumers] furnishes the composer with 'new stimuli,' assures his greater liberty, and opens the way to modernity in ways that enable him to occupy center stage on the musical scene even two and a half centuries after his [birth]."

Expertly analyzing Mozart's genius and the social environment that allowed it to thrive, Melograni's biography will be welcomed by anyone wanting a deeper understanding of one of the greatest artists ever known.

Read an excerpt from the book.

Archived in Biography | Music | Reviews
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Frankly, we don't know what the late, great Chicago newspaperman Mike Royko thought about Verdi, Rossini, Puccini, or any of the other icons of Italian opera. (We'll look through his collected columns.) But in a review of Philip Gossett's Divas and Scholars: Performing Italian Opera Marc Geelhoed from Time Out magazine draws a direct comparison between Gossett' s first-hand account of the opera and Royko's famously shrewd journalism. Geelhoed writes:

Mike Royko had an instinctive love for the theory of how the deal went down, but what mattered most was seeing first hand how the theory played out in the real world. Musicologist Philip Gossett has spent his career at the University of Chicago, but his scholarship resides in the Royko school of street-smart reporting. Gossett isn't content to leave a groaning shelf of unread books as his legacy; he's gotten out into the Opera house and made a difference in the performing world. With Rossini's operas in particular, opera houses have relied on Gossett's expertise to coach singers and assist conductors with regard to style before a production opens. Opera lovers of all levels of musical knowledge should rejoice that his recollections are now available for their perusal.

Enlivening his history with reports from his own experiences with major opera companies at venues ranging from the Metropolitan and Santa Fe Operas to the Rossini Opera Festival at Pesaro, Divas and Scholars will enthrall both aficionados of Italian opera and newcomers seeking a reliable introduction to it—in all its incomparable grandeur and timeless allure.

Read an excerpt.

Archived in Music | Reviews
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CBGB, the legendary New York night club that spawned some of the most colorful icons of the punk genre—Patti Smith, Blondie, the Ramones—closed last Sunday, the end of an era in American music. Though the music may no longer be as loud as it was during the club's heyday in the mid-seventies, the powerful influence of the club and the culture that surrounded it continues to permeate nearly every form of popular music today; even the more sophisticated echelons of the avant-garde. A listen to the hipster stylings of contemporary chamber musicians the Kronos Quartet is enough to demonstrate the profound ways that the world of modern art has enthusiastically assimilated the forms and conventions of punk rock.

The collision between low-brow pop artists and the artistic avant-garde was the subject of Bernard Gendron's 2002 book Between Montmartre and the Mudd Club: Popular Music and the Avant-Garde. When we published Gendron's book we posted an excerpt to our Web site focused on the first wave of punk that crested on CBGB's dilapidated stage. The excerpt is an excellent introduction to the early history of CBGB, bands like the Ramones and Talking Heads, and the pop and/or art sensibilities that echoed through their music.

Archived in Commentary | Music
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A recent review by virtuoso pianist and music critic Charles Rosen has much to say about Philip Gossett's latest work, Divas and Scholars: Performing Italian Opera. Rosen writes for the New York Review of Books:

"To my knowledge, there is no other book like it. No one else has treated an important genre of half a century in its social and political setting, its stylistic development, together with a detailed history of its dissemination and performance … Along with occasional indulgence in what the author calls 'that backstage gossip indigenous to the opera house,' all this is accomplished in a prose style sensible, often original, provocative, learned, technical but lucid, and always entertaining—and, most remarkably, in only 603 succinct pages."

The review continues: "The achievement was possible not only because Gossett is our leading authority on nineteenth-century Italian opera and the principle figure in establishing the new editions of Rossini and Verdi, but also because he has been actively engaged for some years as a consultant to productions of operas in Italy and America, advising on the problems created by the multiple versions that exist for most of these operas as they were rewritten for different singers in different cities, and also on the lost art of adding ornamentation to the vocal parts."

Filled with Philip Gossett’s personal experiences of triumphant—and even failed—performances and suffused with his towering and tonic passion for music, Divas and Scholars is a dazzling and beguiling account of how opera comes to the stage.

Read an excerpt.

Archived in Music | Reviews
Posted by TXM at 06:34 AM | Permalink | Comments (0)

A recent review in The Nation of John Gennari's Blowin' Hot and Cool: Jazz and its Critics opens by recounting a fistfight between the legendary jazz bassist Charles Mingus and the critic Amiri Baraka—an image that vividly demonstrates the historically troubled relationship between the musicians that play the music and the critics who write about them. The review points out that short of such scuffles, the musicians have rarely had the chance to turn the tables on their critical contemporaries. Enter John Gennari's latest book Blowin' Hot and Cool, a book that "does for jazz musicians what most of them were unable to do for themselves," critique the critics. David Yaffe writes for The Nation:

"The overall achievement of Gennari's thoughtful, original and impressive book [is in recognizing that] jazz is not only in need of serious criticism, it is in need of serious criticism of its criticism.… The first sustained scholarly book exclusively about jazz criticism—and, not least, about the passions that have driven and surrounded it—Blowin' Hot and Cool is thorough, absorbing and original, an obsessive study of obsessives that will circumvent the need for any other."

Touching upon nearly a century of the evolving scene of American jazz music, Gennari's incisive book deconstructs the influential role the critics have played in defining the significance of the genre. Written with "an impressive scholarly command" of the material, Blowin' Hot and Cool is an essential corrective to the historical account of jazz music in American culture.

Read an excerpt and an outlined soundtrack to the book.

Archived in History | Music | Reviews
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The Library Journal recently ran a prepublication review of Piero Melograni's new book Wolfgang Amadeus Mozart: A Biography commending Melograni's work as both insightful and apropos. From the review:

"Melograni, an Italian historian who writes principally on nonmusical topics of the 20th century, has made a valuable contribution to the crowded field of Mozart studies published this year, the 250th anniversary of Mozart's birth. The author draws extensively from letters and notes of the Mozart family, and thus his conversational, chronological account of the composer's life is unusually rich in detail."

The review also cites Melograni's engaging commentary on the historical events he recounts, making of particular note Melograni's provocative "case for the removal of the Requiem from the Mozart canon, [which argues] that this masterpiece is mainly the work of others and is not up to par with Mozart's final works."

Written with a gifted historian's flair for narrative and unencumbered by specialized analyses of Mozart's music, Melograni's is the most vivid and enjoyable biography available.
At a time when music lovers around the world are paying honor to Mozart and his legacy, Wolfgang Amadeus Mozart will be welcomed by his enthusiasts—or anyone wishing to peer into the mind of one of the greatest composers ever known.

Archived in Biography | Music | Reviews
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Philip Gossett is the world's leading expert on performing Italian opera. Conductors from Riccardo Muti to Bruno Bartoletti, and singers from Marilyn Horne to Renée Fleming, consult him on how to get the works of composers like Verdi and Rossini right. This magesterial book, the capstone to Gossett's storied career and the culmination of his decades-long experience, brings colorfully to life the challenges, and occasionally even the scandals, that attend the production of the world's most favorite operas. Gossett here weds incomparable expertise with his own triumphant experiences producing such celebrated and beloved works as La traviatta, La boheme, and Rigoletto. Part musical history and part back-stage-pass, Divas and Scholars will not only enthrall aficionados of Italian opera but also newcomers seeking a more reliable introduction to it.

Read the press release. We also have an excerpt.

Archived in Music | Press Releases
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Whether you love them or hate them, critics have helped to influence and, indeed, define the jazz genre. In the August edition of the Literary Review William Palmer argues "that true, improvised jazz has always been a minority taste, and, without critics and promoters like John Hammond and Norman Granz, much of what we prize as real jazz would never have been recorded." Thus Palmer is quick to rain praise on John Gennari's Blowin' Hot and Cool: Jazz and its Critics which chronicles how these writers have affected how we listen to and how we understand jazz.

In Blowin' Hot and Cool, John Gennari provides a definitive history of jazz criticism from the 1920s to the present. The music itself is prominent in his account, as are the musicians—from Louis Armstrong and Duke Ellington to Charlie Parker, John Coltrane, Roscoe Mitchell, and beyond. But the work takes its shape from fascinating stories of the tradition's key critics—Leonard Feather, Martin Williams, Whitney Balliett, Dan Morgenstern, Gary Giddins, and Stanley Crouch, among many others. Gennari is the first to show the many ways these critics have mediated the relationship between the musicians and the audience—not merely as writers, but in many cases as producers, broadcasters, concert organizers, and public intellectuals as well.

Read an excerpt from the book or have a look at the soundtrack Gennari compiled to accompany his work.

Archived in Music | Reviews
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A review of John Gennari's Blowin' Hot and Cool in this month's issue of The Wire commends the book, calling Gennari's in-depth look at the history of jazz criticism "superb," "nuanced," and "insightful." The review focuses on Gennari's penetrating argument that jazz criticism has not only played an essential role in documenting the jazz tradition but, to a large extent, has been responsible for creating that tradition. Yet most interesting about The Wire review is its acknowledgment of Gennari's work as his own addendum to that tradition— his attempt to "write his academic self" into the "problematic history" of jazz criticism which he describes. If The Wire article is any indication, Gennari's work will continue to make an impact in circles beyond the walls of the academy. From The Wire:

[Gennari] focuses on what he calls jazz's "superstructure"—its critics essentially, but also some of its businessmen—to analyze what a much related story says, or almost says, about about racial and cultural politics in the American 20th century.… An account of Leonard Feather's 1935 encounter with John Hammond sets up key themes of distance, engagement, and responsibility. Gennari has the pair at the Savoy in Harlem to hear Teddy Hill, pushing past the dancers to stand, concentrating and motionless, in the front of the stage. [This] image of the critics, part of yet seperate from the crowd, advertising their own aesthetic perogative, recurs throughout the book.…

Read an excerpt from the book. Gennari has also outlined a soundtrack for the book.

Archived in Music | Reviews
Posted by TXM at 08:25 AM | Permalink | Comments (0)

The July 28, 2006, issue of Financial Times ran a review of John Gennari's Blowin' Hot and Cool: Jazz and its Critics in which resident jazz critic Mike Hobart doesn't hesitate to rain praise on Gennari's latest work:

This is a book about jazz in which the music is in the background, for John Gennari's main concern is a critique of jazz criticism from the 1930's to the present. Densley researched, broadly partisan and compiled with a wry sense of humor, Blowin' Hot and Cool still manages to reveal much about jazz, and more about the lives of its musicians than many recent hagiographies.…

His account opens in the 1930's, with two patrician figures of great infulence: John Hammond and his English acolyte, Leonard Feather. Negotiating a racially segregated world of thrill seekers, jitterbugs, and the communist party's popular fronts, they fought for racial integration and jazz as an art, yet fell out over the authenticity of modern jazz. In the process they discovered Count Basie and Billie Holiday, recorded Bessie Smith, and persuaded Benny Goodman to drop schmaltz.

Our excerpt from the first chapter talks more about Feather and Hammond. Gennari also outlined a soundtrack for the book.

Archived in History | Literature | Music | Reviews
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Library Journal recently praised John Gennari's Blowin' Hot and Cool: Jazz and Its Critics: "Gennari…performs something magical: he manages to make the role and history of the jazz critic interesting. Finely written [and] thought-provoking.… This is an essential purchase for any comprehensive jazz collection. Highly recommended."

In the illustrious and richly documented history of American jazz, no figure has been more controversial than the jazz critic. Jazz critics can be revered or reviled—often both—but they should not be ignored. And while the tradition of jazz has been covered from seemingly every angle, nobody has ever turned the pen back on itself to chronicle the many writers who have helped define how we listen to and how we understand jazz. That is, of course, until now. In Blowin' Hot and Cool, John Gennari provides a definitive history of jazz criticism from the 1920s to the present.

Read an excerpt and a soundtrack for the book.

Archived in History | Literature | Music | Reviews
Posted by at 11:38 AM | Permalink | Comments (0)

Whether they're writing about art, food, movies, or music, critics have always been received with both awe and ire by their readers and by their subjects. This is also true in the world of jazz where the critic is responsible for putting into words an experience that is, more often that not, wordless. Yet their influence on the shape of the jazz tradition and the careers of the musicians is undeniable. It is also an aspect of the story of jazz which has before now been neglected in most accounts of its history. With Blowin' Hot & Cool John Gennari corrects this oversight in a profound way by offering the first comprehensive overview of the critics' role in the story of jazz over the course of the past seventy-five years. Read the press release.

Read an excerpt about Leonard Feather and John Hammond; also see an outlined soundtrack to accompany the book.

Archived in History | Literature | Music | Press Releases
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The London Review of Books recently praised Robert Kehew's Lark in the Morning: The Verses of the Troubadours, a Bilingual Edition. Barbara Newman wrote, "Only formal verse, respecting the troubadours' metrical innovations and their prodigious achievements in sonority and rhyme, can hope to convey both their individual voices and their collecive charm. It is here that Robert Kehew's anthology, Lark in the Morning, succeeds so brilliantly."

Although the troubadours flourished at the height of the Middle Ages in southern France, their songs of romantic love, with pleasing melodies and intricate stanzaic patterns, have inspired poets and song writers ever since, from Dante to Chaucer, from Renaissance sonneteers to the Romantics, and from Verlaine and Rimbaud to modern rock lyricists. Yet despite the incontrovertible influence of the troubadours on the development of both poetry and music in the West, there existed no comprehensive anthology of troubadour lyrics that respected the verse form of the originals until now. Lark in the Morning honors the meter, word play, punning, and sound effects in the troubadours' works while celebrating the often playful, bawdy, and biting nature of the material.

Archived in History | Literature | Music | Reviews
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The Journal of American History recently reviewed William Howland Kenney's Jazz on the River: "The history of how riverboat entertainment venues shaped the evolution of jazz receives long-overdue analysis in this thorough and sensitive study.… By locating jazz 'on the river,' Kenney draws a picture of the Jazz Age that shifts attention from the nightclubs and dance halls of major cities, broadening the social and occupational histories of the first four decades of jazz performance. His portrait of aspiring musicians who used the river to enhance their social mobility also brings a new dimension to our understanding of the Great Migration. For Kenney, the shifting racial and cultural tensions communicated through jazz resound as jazzmen riff on the ever-shifting currents of these great heartland rivers."

In Jazz on the River, William Howland Kenney brings to life the vibrant history of this music and its seduction of the men and women along America's inland waterways. Here for the first time readers can learn about the lives and music of the levee roustabouts promoting riverboat jazz and their relationships with such great early jazz adventurers as Louis Armstrong, Fate Marable, Warren "Baby" Dodds, and Jess Stacy.

Read an excerpt.

Archived in History | Music | Reviews
Posted by at 02:31 PM | Permalink | Comments (0)

"The romance, the misery and the music of migration are all captured in William Howland Kenney's Jazz on the River, a book that narrates a history that couldn't be captured merely by doting on scratchy records, tattered scores and old reviews. It was commonly known that jazz was born in New Orleans and made its way up the Mississippi, but until Kenney no one had investigated the makers of the boats and the conditions of the musicians who worked on them. And no study before this one ever charted that northern migration so that we can appreciate the artists and how their musical communities were formed, giving us new ways to appreciate the Pittsburgh of Billy Strayhorn, Art Blakey, and Mary Lou Williams, the St. Louis of Miles Davis…. [U]ntil Kenney's book we never got to feel what…the riverboat gig was actually like. What we get in this book, with lucid prose and meticulous research, is a geographical and cultural context for the figures who would eventually become canonical, providing a vital new backdrop for music and anecdotes that had seemed well trodden…. As for actually placing jazz in its historical and cultural context in America, Kenney is among the scholars who have…with a scholar's mission to bring the music into a geographical, economic and social investigation of what was going on around it…."—David Yaffe, The Nation. Read the review.

Read an excerpt.

Archived in Music | Reviews
Posted by at 11:30 AM | Permalink | Comments (1)