BOOK REVIEWS
HELP! The Beatles, Duke Ellington, and the Magic of Collaboration
Thomas Brothers
This book about Ellington and the Beatles on the surface is about musical collaboration but a key theme is the denigration of Ellington. Of course, Ellington collaborated with his musicians. In some cases, he made their ideas into rich orchestral music in ways that they could not have achieved. The downgrading of Ellington follows on from the Terry Teachout book on Ellington and is merely a rehash of the Teachout conclusions. David Hajdu wrote a well researched book detailing the work of Billy Strayhorn who some thought had not been awarded what he deserved.
Throughout the Brothers’ book the criticisms of Ellington are relentless, portraying him as a kind of musical shyster, even referring to him ‘a failed tunesmith’... continue reading
Thomas Brothers
This book about Ellington and the Beatles on the surface is about musical collaboration but a key theme is the denigration of Ellington. Of course, Ellington collaborated with his musicians. In some cases, he made their ideas into rich orchestral music in ways that they could not have achieved. The downgrading of Ellington follows on from the Terry Teachout book on Ellington and is merely a rehash of the Teachout conclusions. David Hajdu wrote a well researched book detailing the work of Billy Strayhorn who some thought had not been awarded what he deserved.
Throughout the Brothers’ book the criticisms of Ellington are relentless, portraying him as a kind of musical shyster, even referring to him ‘a failed tunesmith’... continue reading
THE GODFATHER OF BRITISH JAZZ: The Life & Music Of Stan Tracey
By Clark Tracey
Equinox Publishing
Stan Tracey and his music played a massive part in the development of British jazz from from the late forties tight up until his death in December 2013. In fact there could be a strong argument for saying that many of the significant developments in the music in the Britain had the pianist's involvement somewhere along the line. If nearly everyone has heard Under Milk Wood, it is often forgotten that Stan was also heavily involved with the freer areas of the music playing frequently with saxophonists Evan Parker, John Surman and Mike Osborne, and the fascinating duets with fellow pianist Keith Tippett... continue reading
By Clark Tracey
Equinox Publishing
Stan Tracey and his music played a massive part in the development of British jazz from from the late forties tight up until his death in December 2013. In fact there could be a strong argument for saying that many of the significant developments in the music in the Britain had the pianist's involvement somewhere along the line. If nearly everyone has heard Under Milk Wood, it is often forgotten that Stan was also heavily involved with the freer areas of the music playing frequently with saxophonists Evan Parker, John Surman and Mike Osborne, and the fascinating duets with fellow pianist Keith Tippett... continue reading
MOSAICS - The Life and Works of Graham Collier
by Duncan Heining
Equinox Publishing ISBN 978 1 78179 263 6
Duncan Heining deserves praise for taking on a book about Graham Collier. Collier, never the most charismatic figure in UK jazz, was in the shadows of Mike Westbrook, Mike Gibbs and Stan Tracey. Nevertheless, Heining incisively delineates the complexities of this important figure in UK Jazz who in Heining’s words ‘swam against the tide’.
Collier, Heining points out, always considered himself to be an outsider, always felt unappreciated. He was northern, working-class, homosexual, driven by an inferiority complex that fuelled his work.
A strong feature of the book is honesty. Heining is at times seemingly ambivalent about his subject; he sees clearly and enables us to see the flaws, insecurities and the virtues of Collier... continue reading
by Duncan Heining
Equinox Publishing ISBN 978 1 78179 263 6
Duncan Heining deserves praise for taking on a book about Graham Collier. Collier, never the most charismatic figure in UK jazz, was in the shadows of Mike Westbrook, Mike Gibbs and Stan Tracey. Nevertheless, Heining incisively delineates the complexities of this important figure in UK Jazz who in Heining’s words ‘swam against the tide’.
Collier, Heining points out, always considered himself to be an outsider, always felt unappreciated. He was northern, working-class, homosexual, driven by an inferiority complex that fuelled his work.
A strong feature of the book is honesty. Heining is at times seemingly ambivalent about his subject; he sees clearly and enables us to see the flaws, insecurities and the virtues of Collier... continue reading
NORMAN GRANZ - The Man Who Used Jazz For Justice
by Tad Hershorn
University of California Press
This book is important not because it is well written; it is important because Norman Granz was one of the most significant people in jazz. He did not play but the music he created through his record labels will live as long as jazz. The labels: Verve, Pablo, Clef and Norgran were his way of showcasing the jazz artists that he admired. A giant sound gallery of jazz: Louis Armstrong, Ella Fitzgerald, Count Basie, Louie Bellson, Benny Carter, Buck Clayton, Buddy DeFranco, Roy Eldridge, Herb Ellis, Tal Farlow, Stan Getz, Art Tatum, Dizzy Gillespie, Lionel Hampton, Coleman Hawkins, Johnny Hodges, Billie Holiday, Illinois Jacquet, Hank Jones, Gene Krupa, Anita O’Day, Charlie Parker, Joe Pass, Oscar Peterson, Flip Phillips, Bud Powell, Buddy Rich, Slim Gaillard, Ben Webster and Lester Young.
Granz treated the musicians as artists who were equal to classical musicians. He paid them well and treated them with the respect due to great artists. He booked them into the best venues and they lived in the best hotels.
Granz was political from the outset and he remained so. One of his first concerts was set up at Billy Berg’s club in Los Angeles. Granz insisted that the whites-only policy was removed before he would use the club. Later in his career he refused to use casinos and clubs in Las Vegas. Granz argued that it was wrong to have musicians playing at a venue when the same musicians could not enter through the front door or enjoy the facilities of the club. Granz made them change...continue reading
by Tad Hershorn
University of California Press
This book is important not because it is well written; it is important because Norman Granz was one of the most significant people in jazz. He did not play but the music he created through his record labels will live as long as jazz. The labels: Verve, Pablo, Clef and Norgran were his way of showcasing the jazz artists that he admired. A giant sound gallery of jazz: Louis Armstrong, Ella Fitzgerald, Count Basie, Louie Bellson, Benny Carter, Buck Clayton, Buddy DeFranco, Roy Eldridge, Herb Ellis, Tal Farlow, Stan Getz, Art Tatum, Dizzy Gillespie, Lionel Hampton, Coleman Hawkins, Johnny Hodges, Billie Holiday, Illinois Jacquet, Hank Jones, Gene Krupa, Anita O’Day, Charlie Parker, Joe Pass, Oscar Peterson, Flip Phillips, Bud Powell, Buddy Rich, Slim Gaillard, Ben Webster and Lester Young.
Granz treated the musicians as artists who were equal to classical musicians. He paid them well and treated them with the respect due to great artists. He booked them into the best venues and they lived in the best hotels.
Granz was political from the outset and he remained so. One of his first concerts was set up at Billy Berg’s club in Los Angeles. Granz insisted that the whites-only policy was removed before he would use the club. Later in his career he refused to use casinos and clubs in Las Vegas. Granz argued that it was wrong to have musicians playing at a venue when the same musicians could not enter through the front door or enjoy the facilities of the club. Granz made them change...continue reading
Music to Silence to Music - A Biography of Henry Grimes
by Barbara Frenz with a Foreword by Sonny Rollins
Northway Publications
As this review is being written, Henry Grimes is celebrating his 80th birthday in Manhattan with friends, family and some of the many musicians with whom he has shared a stage over the years, and Barbara Frenz important and timely biography provides a detailed and deeply human record of his astonishing career and creativity.
By the mid-1960s, Henry Grimes had established a reputation as one of the finest bass players in a new generation of musicians in America. His reputation was built early, and on the coupling of a world class and innovative technique (which was further honed in his studies at the Julliard School to be flexible and expansive), and an unparalleled and abundant natural creativity...continue reading
by Barbara Frenz with a Foreword by Sonny Rollins
Northway Publications
As this review is being written, Henry Grimes is celebrating his 80th birthday in Manhattan with friends, family and some of the many musicians with whom he has shared a stage over the years, and Barbara Frenz important and timely biography provides a detailed and deeply human record of his astonishing career and creativity.
By the mid-1960s, Henry Grimes had established a reputation as one of the finest bass players in a new generation of musicians in America. His reputation was built early, and on the coupling of a world class and innovative technique (which was further honed in his studies at the Julliard School to be flexible and expansive), and an unparalleled and abundant natural creativity...continue reading
THE LONG SHADOW OF THE LITTLE GIANT
The Life, Work and Legacy of Tubby Hayes
By Simon Spillett
Published by Equinox
It wasn’t Birdland or The Village Gate or the Five Spot. It was: The Hopbine; The Dancing Slipper Nottingham; The Hope and Anchor; The Bulls Head at Barnes; The Flamingo; The Dog and Fox, Wimbledon; The Greenman, Blackheath; Dopey Dick’s Jazzhouse, Hampstead; The Little Theatre in Rochester...continue reading
The Life, Work and Legacy of Tubby Hayes
By Simon Spillett
Published by Equinox
It wasn’t Birdland or The Village Gate or the Five Spot. It was: The Hopbine; The Dancing Slipper Nottingham; The Hope and Anchor; The Bulls Head at Barnes; The Flamingo; The Dog and Fox, Wimbledon; The Greenman, Blackheath; Dopey Dick’s Jazzhouse, Hampstead; The Little Theatre in Rochester...continue reading
Listen To This - MILES DAVIS & BITCHES BREW
Victor Svorinich
Publisher: University Press of Mississippi
If you can't tell your Sly Stone from your Sharon Stone or James Brown from Gordon Brown this is not the book for you. it is more rock funk orientated than the usual jazz books...continue reading
Victor Svorinich
Publisher: University Press of Mississippi
If you can't tell your Sly Stone from your Sharon Stone or James Brown from Gordon Brown this is not the book for you. it is more rock funk orientated than the usual jazz books...continue reading
CARLA BLEY (AMERICAN COMPOSERS)
Amy C Beal
Hardcover: 120 pages
Publisher: University of Illinois Press (25 Jan 2012)
Click on the cover to read review.
Amy C Beal
Hardcover: 120 pages
Publisher: University of Illinois Press (25 Jan 2012)
Click on the cover to read review.
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SUGAR FREE SAXOPHONE – The Life and Music
of Jackie McLean
WORKOUT - The Music of Hank Mobley Both books by Derek Ansell Click the covers to read our reviews |
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ALL THIS AND SLOWLY DETERIORATING FAST - The Memoirs of a Geriatric Jazz
Buff
By Jim Godbolt
Publisher: Proper Music Publishing Limited
This book is very much a reworking of Jim Godbolt’s previously published work or as the author states a new slant on old material, nothing wrong with that as long as the original material was interesting enough to warrant a second helping.
The author again covers his experiences in the music business and although it is interesting he does not include any further material that was not covered in his earlier work “All this and 10%”.
His ailments and prejudices are covered in some detail for which he has our sympathy it does not make for light reading. His falling out with a certain Jazz Journal columnist is referred to a number of times but we are never told what was the cause of the initial dispute, but the again do we really6 care, it was probably some minor thing which grew over time.
As editor and main contributor to the in house magazine of the Ronnie Scott Club (Jazz at Ronnie Scott’s) it is surprising that his knowledge of the main participants are given greater coverage. It is acknowledged that the author’s interest in jazz leans towards the more traditional side but he must have picked up some details of the modern players that would have been of interest to the reader.
For readers who have not sampled his earlier work there is much to be enjoyed and being the size of a CD it is handy to carry around in the pocket, there is also a CD included which covers the author’s interest in the music.
Some of the tracks are of historical significance rather than standout jazz performances. The Lil Armstrong track “Safely locked up in my heart” which has an interesting vocal by Lil herself and a cracking trombone solo by J.C. Higginbottom. The Humphrey Lyttelton track with guest Sidney Bechet from 1949 is one not to be missed. There’s an early George Melly with Mick Mulligan which demonstrates how much he improved over the years, particularly his diction.
The Tony Crombie / Ronnie Scott Quintet is one to savour with Ronnie Scott just taking 5the honours from Tubby Hayes and a marvellous piano solo from Terry Shannon at the piano. The final track with the Duke Ellington playing “Dance of the Floreadores” from The Nutcracker Suite reminds us how good it was.
It could have benefited having a good editor as there are a number of repetitions often on a joining pages but they do not detract too much from the enjoyment.
Reviewed by Roy Booth
By Jim Godbolt
Publisher: Proper Music Publishing Limited
This book is very much a reworking of Jim Godbolt’s previously published work or as the author states a new slant on old material, nothing wrong with that as long as the original material was interesting enough to warrant a second helping.
The author again covers his experiences in the music business and although it is interesting he does not include any further material that was not covered in his earlier work “All this and 10%”.
His ailments and prejudices are covered in some detail for which he has our sympathy it does not make for light reading. His falling out with a certain Jazz Journal columnist is referred to a number of times but we are never told what was the cause of the initial dispute, but the again do we really6 care, it was probably some minor thing which grew over time.
As editor and main contributor to the in house magazine of the Ronnie Scott Club (Jazz at Ronnie Scott’s) it is surprising that his knowledge of the main participants are given greater coverage. It is acknowledged that the author’s interest in jazz leans towards the more traditional side but he must have picked up some details of the modern players that would have been of interest to the reader.
For readers who have not sampled his earlier work there is much to be enjoyed and being the size of a CD it is handy to carry around in the pocket, there is also a CD included which covers the author’s interest in the music.
Some of the tracks are of historical significance rather than standout jazz performances. The Lil Armstrong track “Safely locked up in my heart” which has an interesting vocal by Lil herself and a cracking trombone solo by J.C. Higginbottom. The Humphrey Lyttelton track with guest Sidney Bechet from 1949 is one not to be missed. There’s an early George Melly with Mick Mulligan which demonstrates how much he improved over the years, particularly his diction.
The Tony Crombie / Ronnie Scott Quintet is one to savour with Ronnie Scott just taking 5the honours from Tubby Hayes and a marvellous piano solo from Terry Shannon at the piano. The final track with the Duke Ellington playing “Dance of the Floreadores” from The Nutcracker Suite reminds us how good it was.
It could have benefited having a good editor as there are a number of repetitions often on a joining pages but they do not detract too much from the enjoyment.
Reviewed by Roy Booth
Duke: A Life of Duke Ellington
Author: Terry Teachout
Published by The Robson Press
Duke Ellington is one of the most important people in jazz so a biography should be an important event leading readers to a deeper understanding of the artist. Unfortunately, Terry Teachout does not like Duke Ellington. As a biographer he does not have to, indeed it might make a better read if the author
searches out the details or traits and incidents that will back his bias. The bias in this book is without convincing evidence. It starts from the first sentence. “He was the most chronic of procrastinators, a man who never did today what he could put off until next month, or next year. He left letters unanswered, contracts unsigned, watches unworn, and longtime companions unwed, and the only thing harder than getting him out of bed in the afternoon was getting him to finish writing a new
piece of music in time for the premiere.” Does that sound like a guy who was one of the most prolific composers and who was still composing on his death bed?
So who is Terry Teachout? He has written a book on Louis Armstrong. He claims to have been
a bass player in his youth but his main claim to fame is that he is the drama critic of the Wall Street Journal.
Teachout is at pains in the early part of the book to question Ellington’s legitimacy as a composer. Quote after quote is mentioned usually from classical music critics who want to criticise Ellington’s output. The usual complaint is that Ellington’s writing is not like a classical composer’s. Teachout delights in suggesting that many of Ellington’s pieces were virtually stolen from members of his own band. The truth is that Ellington was an innovator. He was working in a totally different way from the playwrights and composers that Teachout is used to. The Ellington band was like a continuous travelling workshop. Think of Mike Leigh and the way that he gathers actors together to jointly create a play or a film. If Ellington heard a phrase or idea in the solo of one of his musicians he would use it and probably incorporate it into ideas he was working on.
There are grumbles from musicians but no one seriously suggests that Ellington lifted large parts of his output from his musicians. None of the musicians who complained ever went on to compose works of their own. The world that Ellington inhabited took composing credits in very
different ways. Ellington’s agent Irving Mills has his name on many of Ellington’s pieces in spite of the fact that he wrote nothing. It can be
assumed that Ellington probably thought that if he employed a musician he was entitled to anything that was produced when they were on the
payroll.
Teachout does explain how Ellington chose his musicians and in many ways that is the key to Ellington's success. Ellington chose individualists: Rex Stewart, Tricky Sam Nanton, Cootie Williams were men whose ways of playing would have horrified teachers n the conservatories. The blend of those idiosyncratic tones gave the band its unique sound.
With more than one eye on sales, Ellington’s sexual exploits are revealed at some length. Teachout ensures that we know that Ellington had many many casual affairs and was completely unfaithful to the main women in his life.
Ellington’s composing and arranging partner Billy Strayhorn is pulled in by Teachout to denigrate Ellington. Teachout wants us to believe that Ellington was unfair to Strayhorn. One picture of Strayhorn in the book has the following caption “The brilliantly gifted, unapologetically gay composer of “Lush Life” and “Take the ‘A’ Train” shunned the spotlight of publicity but was never able to come to terms with his capricious mentor’s reluctance to give him full credit for his work.”
What was Ellington supposed to do? He supported Strayhorn in some style throughout most his life. At every concert Ellington praised Strayhorn. The grief that Ellington felt after Strayhorn’s early death in 1967 was sincere. Ellington recorded an album almost immediately dedicated to the music of Strayhorn. Every concert finished with a piece by Strayhorn.
The two men were very different. Strayhorn was gay in an era that did not approve. Strayhorn preferred to stay in New York because he did not enjoy life on the road. He was private and did not have Ellington’s flair for publicity.
Probably the main criticism of the book is that it tells us little that is new. It recycles old tales. Even worse it recycles old opinions. For many years received opinion was that Ellington’s best band was the one that he had in the 1940s. This was the band that had Ben Webster, Johnny Hodges, Rex Stewart, Sonny Greer, Ray Nance and Tricky Sam Nanton. It was a great group but critics have come round to thinking that may be the band of the late fifties with Quentin Jackson, Clark Terry, Shorty Baker, Sam Woodyard and Paul Gonsalves was just as good. The
band of the sixties that engaged in the State Department tours of the Far East and South America also has its critical supporters. Teachout argues that Ellington reached a peak in 1940 and then declined for the next thirty years!
There are wonderful works written in the 1960s completely different from anything in the earlier years: 'The Far East Suite', 'Togo Brava Suite', 'The Afro Eurasian Eclipse'. The band worked harder as they travelled the world. The amount of travelling that the band did in its later years was prodigious. They worked for most of the year on one nighters and residencies. Ellington lost recording contracts but he still recorded the band for his stockpile. Albums are still being compiled from that trove forty years later.
Teachout is not a good guide to Ellington. It is far better to read “Duke Ellington's America” by Harvey G Cohen. Even better, if you can find a copy, read "Duke Ellington: A Listener's Guide" by GE Lambert”. Lambert just concentrates exclusively on what is important about Ellington…… the music.
Reviewed by Jack Kenny
Published by The Robson Press
Duke Ellington is one of the most important people in jazz so a biography should be an important event leading readers to a deeper understanding of the artist. Unfortunately, Terry Teachout does not like Duke Ellington. As a biographer he does not have to, indeed it might make a better read if the author
searches out the details or traits and incidents that will back his bias. The bias in this book is without convincing evidence. It starts from the first sentence. “He was the most chronic of procrastinators, a man who never did today what he could put off until next month, or next year. He left letters unanswered, contracts unsigned, watches unworn, and longtime companions unwed, and the only thing harder than getting him out of bed in the afternoon was getting him to finish writing a new
piece of music in time for the premiere.” Does that sound like a guy who was one of the most prolific composers and who was still composing on his death bed?
So who is Terry Teachout? He has written a book on Louis Armstrong. He claims to have been
a bass player in his youth but his main claim to fame is that he is the drama critic of the Wall Street Journal.
Teachout is at pains in the early part of the book to question Ellington’s legitimacy as a composer. Quote after quote is mentioned usually from classical music critics who want to criticise Ellington’s output. The usual complaint is that Ellington’s writing is not like a classical composer’s. Teachout delights in suggesting that many of Ellington’s pieces were virtually stolen from members of his own band. The truth is that Ellington was an innovator. He was working in a totally different way from the playwrights and composers that Teachout is used to. The Ellington band was like a continuous travelling workshop. Think of Mike Leigh and the way that he gathers actors together to jointly create a play or a film. If Ellington heard a phrase or idea in the solo of one of his musicians he would use it and probably incorporate it into ideas he was working on.
There are grumbles from musicians but no one seriously suggests that Ellington lifted large parts of his output from his musicians. None of the musicians who complained ever went on to compose works of their own. The world that Ellington inhabited took composing credits in very
different ways. Ellington’s agent Irving Mills has his name on many of Ellington’s pieces in spite of the fact that he wrote nothing. It can be
assumed that Ellington probably thought that if he employed a musician he was entitled to anything that was produced when they were on the
payroll.
Teachout does explain how Ellington chose his musicians and in many ways that is the key to Ellington's success. Ellington chose individualists: Rex Stewart, Tricky Sam Nanton, Cootie Williams were men whose ways of playing would have horrified teachers n the conservatories. The blend of those idiosyncratic tones gave the band its unique sound.
With more than one eye on sales, Ellington’s sexual exploits are revealed at some length. Teachout ensures that we know that Ellington had many many casual affairs and was completely unfaithful to the main women in his life.
Ellington’s composing and arranging partner Billy Strayhorn is pulled in by Teachout to denigrate Ellington. Teachout wants us to believe that Ellington was unfair to Strayhorn. One picture of Strayhorn in the book has the following caption “The brilliantly gifted, unapologetically gay composer of “Lush Life” and “Take the ‘A’ Train” shunned the spotlight of publicity but was never able to come to terms with his capricious mentor’s reluctance to give him full credit for his work.”
What was Ellington supposed to do? He supported Strayhorn in some style throughout most his life. At every concert Ellington praised Strayhorn. The grief that Ellington felt after Strayhorn’s early death in 1967 was sincere. Ellington recorded an album almost immediately dedicated to the music of Strayhorn. Every concert finished with a piece by Strayhorn.
The two men were very different. Strayhorn was gay in an era that did not approve. Strayhorn preferred to stay in New York because he did not enjoy life on the road. He was private and did not have Ellington’s flair for publicity.
Probably the main criticism of the book is that it tells us little that is new. It recycles old tales. Even worse it recycles old opinions. For many years received opinion was that Ellington’s best band was the one that he had in the 1940s. This was the band that had Ben Webster, Johnny Hodges, Rex Stewart, Sonny Greer, Ray Nance and Tricky Sam Nanton. It was a great group but critics have come round to thinking that may be the band of the late fifties with Quentin Jackson, Clark Terry, Shorty Baker, Sam Woodyard and Paul Gonsalves was just as good. The
band of the sixties that engaged in the State Department tours of the Far East and South America also has its critical supporters. Teachout argues that Ellington reached a peak in 1940 and then declined for the next thirty years!
There are wonderful works written in the 1960s completely different from anything in the earlier years: 'The Far East Suite', 'Togo Brava Suite', 'The Afro Eurasian Eclipse'. The band worked harder as they travelled the world. The amount of travelling that the band did in its later years was prodigious. They worked for most of the year on one nighters and residencies. Ellington lost recording contracts but he still recorded the band for his stockpile. Albums are still being compiled from that trove forty years later.
Teachout is not a good guide to Ellington. It is far better to read “Duke Ellington's America” by Harvey G Cohen. Even better, if you can find a copy, read "Duke Ellington: A Listener's Guide" by GE Lambert”. Lambert just concentrates exclusively on what is important about Ellington…… the music.
Reviewed by Jack Kenny
MILES & JO: LOVE STORY IN BLUE
MILES & JO: Love Story In Blue
by Jo Gelbard
Published by AuthorHouse
The inevitable question when presented with this book is ‘do we really need another book about Miles Davis?’, and when the finished article is as good a read and full of insight as this, then the answer is a most emphatic yes.
When the book arrived in the post from New York I was not quite sure what to expect, and a cursory glance perhaps asked more questions than it answered. Why did Gelbard wait twenty years after Miles’ death before writing her book? What did she hope to achieve upon publication? And perhaps if these questions were not addressed directly, then reading this compelling story it has shed a new perspective upon the trumpeter’s last years and his interest in his art, and indeed this particular artist.
The book is autobiographical in so much as Gelbard not just recounts her time with Miles, but also intersperses elements about her life prior to their meeting. This serves not just as additional information about the factual side of her life but also helps to explain how and why, as a married woman with a young child, that she found herself in a tumultuous and at times violent relationship with one of the twentieth century’s greatest musicians.
Gelbard’s writing style is succinct and matter of fact, with pauses that seem to crop up as if examining herself what she has just written and analysing her reasons for doing so. This brings an honesty and humility to the book as Gelbard tells of her affection for Davis, and how this ultimately grew into a deep love that lasted from their chance encounter in 1984 (as neighbours living in the same building) to Miles’ death in 1991.
by Jo Gelbard
Published by AuthorHouse
The inevitable question when presented with this book is ‘do we really need another book about Miles Davis?’, and when the finished article is as good a read and full of insight as this, then the answer is a most emphatic yes.
When the book arrived in the post from New York I was not quite sure what to expect, and a cursory glance perhaps asked more questions than it answered. Why did Gelbard wait twenty years after Miles’ death before writing her book? What did she hope to achieve upon publication? And perhaps if these questions were not addressed directly, then reading this compelling story it has shed a new perspective upon the trumpeter’s last years and his interest in his art, and indeed this particular artist.
The book is autobiographical in so much as Gelbard not just recounts her time with Miles, but also intersperses elements about her life prior to their meeting. This serves not just as additional information about the factual side of her life but also helps to explain how and why, as a married woman with a young child, that she found herself in a tumultuous and at times violent relationship with one of the twentieth century’s greatest musicians.
Gelbard’s writing style is succinct and matter of fact, with pauses that seem to crop up as if examining herself what she has just written and analysing her reasons for doing so. This brings an honesty and humility to the book as Gelbard tells of her affection for Davis, and how this ultimately grew into a deep love that lasted from their chance encounter in 1984 (as neighbours living in the same building) to Miles’ death in 1991.
She examines the relationship from their initial meeting to their developing friendship and their mutual interest as artists, and subsequent collaborative work and exhibitions, to the realisation that her feelings were growing much stronger and that her world was about to change dramatically if she continued the association.
The infamous Davis temperament inevitably showed itself, and Gelbard addresses this in a manner that does not condone his violent behaviour or ask for sympathy as the victim of such abuse. Nor does she try to defend the man she loves, but tries to rationalise it as if to gain a better understanding of this herself after the passing of time.
There is no bitterness or rancour to be found, even when after Davis’ death his family banned her from the funeral. Her interest in Miles’ was not for his public persona or achievements, and somewhat endearingly she would call him by his middle name, Dewey, when they were together. As if by doing so Miles the famous jazz musician could be kept out of their very intimate and personal relationship. And because of this, and despite events and pressures from the outside world, perhaps Jo Gelbard, out all of Miles’ numerous girlfriends, was the only one who loved him for being himself and not from any advantages that their association with him might bring.
An enlightening and ultimately enjoyable book that celebrates the music and art of Miles Davis through the eyes of a woman who risked everything to be with him, and by doing so discovered herself in the process.
MILES & JO: Love Story In Blue by Jo Gelbard is available from AuthorHouse, or you can purchase online from Amazon.
Reviewed by Nick Lea
Top of Page
The infamous Davis temperament inevitably showed itself, and Gelbard addresses this in a manner that does not condone his violent behaviour or ask for sympathy as the victim of such abuse. Nor does she try to defend the man she loves, but tries to rationalise it as if to gain a better understanding of this herself after the passing of time.
There is no bitterness or rancour to be found, even when after Davis’ death his family banned her from the funeral. Her interest in Miles’ was not for his public persona or achievements, and somewhat endearingly she would call him by his middle name, Dewey, when they were together. As if by doing so Miles the famous jazz musician could be kept out of their very intimate and personal relationship. And because of this, and despite events and pressures from the outside world, perhaps Jo Gelbard, out all of Miles’ numerous girlfriends, was the only one who loved him for being himself and not from any advantages that their association with him might bring.
An enlightening and ultimately enjoyable book that celebrates the music and art of Miles Davis through the eyes of a woman who risked everything to be with him, and by doing so discovered herself in the process.
MILES & JO: Love Story In Blue by Jo Gelbard is available from AuthorHouse, or you can purchase online from Amazon.
Reviewed by Nick Lea
Top of Page
