This is Whitney Balliett's long-awaited "big book." In it are all
the jazz profiles he has written for "The New Yorker" during the
past 24 years. These include his famous early portraits of Pee Wee
Russell, Red Allen, Earl Hines, and Mary Lou Williams, done when
these giants were in full flower; his recent reconstructions of the
lives of such legends as Art Tatum, Coleman Hawkins, Jack
Teagarden, Zoot Sims, and Dave Tough; His quick but indelible
glimpses into the daily (or nocturnal) lives of Duke Ellington and
Charles Mingus; and his vivid pictures of such on-the-scene masters
as Red Norvo, Ornette Coleman, Buddy Rich, Elvin Jones, Art Farmer,
Michael Moore, and Tommy Flanagan. Also included are such lesser
known but invaluable players as Art Hodes, Jabbo Smith, Joe Wilder,
Warne Marsh, Gene Bertoncini, Joe Bushkin, and Marie Marcus.
All these profiles make the reader feel, as one observer has
pointed out, that he is "sitting with Balliett and his subject and
listening in." The book can be taken as a kind of history of jazz,
as well as a biographical encylopedia of many of its most important
performers. It can also be regarded as a model of American prose.
Robert Dawidoff said of Whitney Balliett"s most recent book, "Jelly
Roll, Jabbo and Fats," that "few people write as well about
anything as Balliett writes about jazz." And the late Philip Larkin
wrote in 1982 of the "transcendence of Balliett's prose."
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