- Taschenbuch: 880 Seiten
- Verlag: St. Martin's Press; Auflage: Reprint (April 2002)
- Sprache: Englisch
- ISBN-10: 0312270089
- ISBN-13: 978-0312270087
- Größe und/oder Gewicht: 23,4 x 15,7 x 5,1 cm
- Amazon Bestseller-Rang: Nr. 722.434 in Englische Bücher (Siehe Top 100 in Englische Bücher)
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From Booklist
Balliett has earned the title of one of America's preeminent, and certainly prolific, jazz critics. Since 1954 he has penned literally hundreds of album and concert reviews, musician profiles, book reviews, and other critical essays on jazz music for the New Yorker magazine. This anthology brings them all together under one cover, and it is an illuminating if not also daunting collection of work. The table of contents does not list each essay, but groups hundreds of pages of material together by decade, five entries in all. It is a very accessible and worthwhile body of work for jazz novices and aficionados alike. Years of writing for a general audience sharpened Balliett's impressionistic writing style, which manages to convey the excitement and nuances of jazz music to the uninitiated without compromising his critical ear. Balliett remained an impartial critic and embraced the mainstream and avant-garde alike. Key players--John Coltrane, Ornette Coleman, Miles Davis, Duke Ellington, Charles Mingus--reappear consistently throughout the volume as Balliett dutifully charted the ebbs and flows of their careers. Collected Works is a tremendous reference guide to the diverse and vibrant school of music collectively known as jazz. Ted Leventhal
Copyright © American Library Association. All rights reserved -- Dieser Text bezieht sich auf eine vergriffene oder nicht verfügbare Ausgabe dieses Titels.
Copyright © American Library Association. All rights reserved -- Dieser Text bezieht sich auf eine vergriffene oder nicht verfügbare Ausgabe dieses Titels.
From Library Journal
Balliett, known for his contributions to the Saturday Review and The New Yorker, is one of a handful of jazz experts who can adroitly deal with every jazz style from New Orleans and Dixieland through bebop and 1960s avant-garde jazz to today's popular jazz artists like Wynton Marsalis. The present volume, massive in scope, draws together many of Balliett's best pieces, ranging from brief performance reviews to in-depth analyses of various artists' musical approaches. Perhaps the most impressive aspect of this outstanding collection is the author's ability to communicate each musician's style in a way that is both understandable and meaningful to the musician, the jazz aficionado, and the lay reader alike. Equally important are Balliett's insightful comments on the place of jazz and jazz personalities in film and television and his analysis of tendencies in the work of other writers on the genre. Highly recommended for public and academic libraries, this book will assuredly also find a place on the shelves of many jazz fans in their homes.DJames E. Perone, Mount Union Coll., Alliance, OH
Copyright 2000 Reed Business Information, Inc. -- Dieser Text bezieht sich auf eine vergriffene oder nicht verfügbare Ausgabe dieses Titels.
Copyright 2000 Reed Business Information, Inc. -- Dieser Text bezieht sich auf eine vergriffene oder nicht verfügbare Ausgabe dieses Titels.
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39 von 40 Kunden fanden die folgende Rezension hilfreich
A National Treasure
22. Dezember 2000
Format:Gebundene Ausgabe
OK, Whitney Balliett never got into Miles Davis's electric stuff. So he's a Moldy Fig. To quote Miles, "So What?" For my money, he's still the greatest observer of the modern jazz scene. What makes him great is the accuracy of his observation: No other jazz critic ("Notes and Tones" was written by Art Taylor, a drummer) has been as generous as Balliett at letting the musicians speak for themselves. Reading his reviews, you often forget he's there. That never happens with Stanley Crouch, now does it? I don't like to think about how old Balliett is, nor do I like to think about what jazz criticism will be like without him. By the way: Balliett is not an exclusionary writer. You do not need a Hip Merit Badge to read and enjoy his work. He's a national treasure. Recognize his greatness while he's still here to enjoy it!
6 von 6 Kunden fanden die folgende Rezension hilfreich
Unfortunate title to essential jazz journalism
21. Juli 2006
Format:Taschenbuch
Whitney Balliett is one of my favorite jazz writers (along with Dan Morgenstern and Ira Gitler), and I've enjoyed reading his pieces in The New Yorker since the 1960s. In the introduction to this book Balliett says he chose the title COLLECTED WORKS because "I like its ring"; that's a bit unfortunate because it gives the wrong impression. These are not his "collected works" but rather, as he again says in the introduction, "a distillation of many of the reviews and critical pieces that I have written about jazz." If you saved most of the original articles as I did, you would have a fairly decent sized pile of pieces that are not included here; perhaps even worse, you would notice that many of the articles appear in the book in truncated form (perhaps that's where the "distillation" comes in). One of the reasons I bought the book was because from its title and size (almost 900 pages) I thought I could take the Collected part literally, and I'd be able to free up some file cabinet space by discarding the original magazine articles. No way. I know this is a personal issue (mainly), but buyers should be aware of what they're getting (or not getting) here.
That being said, what you do get is absolutely worth having. Balliett knows the music as well as anyone and describes what he hears clearly and directly. He writes about the entire spectrum of jazz, from the earliest years of the music up into the avant-garde. Besides being deeply appreciative of the jazz masters (Armstrong, Morton, Ellington, Basie, Parker, Rollins, Coleman, to name just a handful) he writes about hundreds of musicians, good, bad, indifferent (but mainly good) who made it onto the jazz scene. He is particularly fond of good drummers (being a drummer himself). Reading The New Yorker you could be almost assured of getting Balliett's perspective on important jazz happenings in (particularly) the NYC area every couple of weeks or so. It was a wonderful steady diet of superb jazz journalism and criticism. It's great to have what's been included between book covers now, and hopefully what's missing gets published in book form some day, too. I really could use that file space.
That being said, what you do get is absolutely worth having. Balliett knows the music as well as anyone and describes what he hears clearly and directly. He writes about the entire spectrum of jazz, from the earliest years of the music up into the avant-garde. Besides being deeply appreciative of the jazz masters (Armstrong, Morton, Ellington, Basie, Parker, Rollins, Coleman, to name just a handful) he writes about hundreds of musicians, good, bad, indifferent (but mainly good) who made it onto the jazz scene. He is particularly fond of good drummers (being a drummer himself). Reading The New Yorker you could be almost assured of getting Balliett's perspective on important jazz happenings in (particularly) the NYC area every couple of weeks or so. It was a wonderful steady diet of superb jazz journalism and criticism. It's great to have what's been included between book covers now, and hopefully what's missing gets published in book form some day, too. I really could use that file space.
3 von 3 Kunden fanden die folgende Rezension hilfreich
Wonderful Book on Jazz
13. Februar 2006
Format:Gebundene Ausgabe
I grew up reading Whitney Balliett's pieces in The New Yorker and in anthologies. This book is the motherload--collecting a huge amount of his written jazz work in one place (excluding his wonderful profiles, which are available elsewhere). The work is an insightful and opinionated march through jazz history, written as the history unfolds. Since these acounts were written as players worked, aged and passed on, one gets a real sense of continuity and development in the music and in the people who played it. A must for any jazz fan.
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