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  <id>1168302</id>
  <title><![CDATA[Collected Works: A Journal of Jazz 1954-2001]]></title>
  <isbn><![CDATA[0312270089]]></isbn>
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  <description><![CDATA[Jazz critic for The New Yorker since 1957 and the author of some fifteen books, Whitney Balliett has spent a lifetime listening to and writing about jazz. &quot;All first-rate criticism,&quot; he once wrote in a review, &quot;first defines what we are confronting.&quot; He could as easily have been describing his own work. For nearly half a century, Balliett has been telling us, in his widely acclaimed pitch-perfect prose, what we are confronting when we listen to America's greatest-and perhaps only original-musical form.Collected Works: A Journal of Jazz 1954-2001 is a monumental achievement, capturing the full range and register of the jazz scene, from the very first Newport Jazz Festival to recent performances (in clubs and on CDs) by a rising generation of musicians. Here are definitive portraits of such major figures as Duke Ellington, Dizzy Gillespie, Django Reinhardt, Martha Raye, Buddy Rich, Charles Mingus, Louis Armstrong, Billie Holliday, Art Tatum, Bessie Smith, and Earl Hines-a list that barely scratches the surface. Generations of readers have learned to listen to the music with Balliett's graceful guidance. For five decades he has captured those moments during which jazz history is made. Though Balliett's knowledge is an encyclopedic treasure, he has always written as if he were listening for the first time. Since its beginnings in New Orleans at the turn of the century, jazz has been restlessly and relentlessly evolving. This is an art form based on improvising, experimenting, shapeshifting-a constant work in progress of sounds and tonal shades, from swing and Dixieland, through boogie-woogie, bebop, and hard bop, to the &quot;new thing,&quot; free jazz, abstract jazz, and atonal jazz. Yet, in all its forms, the music is forever sustained by what Balliett calls a &quot;secret emotional center,&quot; an &quot;aural elixir&quot; that &quot;reveals itself when an improvised phrase or an entire solo or even a complete number catches you by surprise.&quot; Balliett's celebrated essays invariably capture the so-called &quot;sound of surprise&quot;-and then share this sound with general readers, music students, jazz lovers, and popular American culture buffs everywhere. As The Los Angeles Times Book Review has observed, &quot;Few people can write as well about anything as Balliett writes about jazz.&quot;]]></description>
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    <id>24438</id>
        <name><![CDATA[Whitney Balliett]]></name>
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      <review>
  <id>33159894</id>
    <user>
    <id>344915</id>
    <name><![CDATA[Jim]]></name>
    <location><![CDATA[Portland, OR]]></location>
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  <title>
    <![CDATA[Collected Works: A Journal of Jazz 1954-2001]]>
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  <average_rating>4.33</average_rating>
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  <description>
    <![CDATA[Jazz critic for The New Yorker since 1957 and the author of some fifteen books, Whitney Balliett has spent a lifetime listening to and writing about jazz. &quot;All first-rate criticism,&quot; he once wrote in a review, &quot;first defines what we are confronting.&quot; He could as easily have been describing his own work. For nearly half a century, Balliett has been telling us, in his widely acclaimed pitch-perfect prose, what we are confronting when we listen to America's greatest-and perhaps only original-musical form.Collected Works: A Journal of Jazz 1954-2001 is a monumental achievement, capturing the full range and register of the jazz scene, from the very first Newport Jazz Festival to recent performances (in clubs and on CDs) by a rising generation of musicians. Here are definitive portraits of such major figures as Duke Ellington, Dizzy Gillespie, Django Reinhardt, Martha Raye, Buddy Rich, Charles Mingus, Louis Armstrong, Billie Holliday, Art Tatum, Bessie Smith, and Earl Hines-a list that barely scratches the surface. Generations of readers have learned to listen to the music with Balliett's graceful guidance. For five decades he has captured those moments during which jazz history is made. Though Balliett's knowledge is an encyclopedic treasure, he has always written as if he were listening for the first time. Since its beginnings in New Orleans at the turn of the century, jazz has been restlessly and relentlessly evolving. This is an art form based on improvising, experimenting, shapeshifting-a constant work in progress of sounds and tonal shades, from swing and Dixieland, through boogie-woogie, bebop, and hard bop, to the &quot;new thing,&quot; free jazz, abstract jazz, and atonal jazz. Yet, in all its forms, the music is forever sustained by what Balliett calls a &quot;secret emotional center,&quot; an &quot;aural elixir&quot; that &quot;reveals itself when an improvised phrase or an entire solo or even a complete number catches you by surprise.&quot; Balliett's celebrated essays invariably capture the so-called &quot;sound of surprise&quot;-and then share this sound with general readers, music students, jazz lovers, and popular American culture buffs everywhere. As The Los Angeles Times Book Review has observed, &quot;Few people can write as well about anything as Balliett writes about jazz.&quot;]]>
  </description>
  <published>2000</published>
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  <read_at>Mon Jan 01 00:00:00 -0800 2007</read_at>
  <date_added>Thu Sep 18 06:06:19 -0700 2008</date_added>
  <date_updated>Thu Sep 18 06:50:45 -0700 2008</date_updated>
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    <body><![CDATA[Balliett is my favorite reviewer of any art because he describes what he experiences rather than just rating it.  He writes about Miles Davis in the 50s: &quot;In a medium tempo blues, say, Davis is capable of creating a pushing, middle-of-the-road lyricism that is a remarkable distillation, rather ...<a href="http://www.goodreads.com/review/show/33159894">more...</a>]]></body>
    
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</review>
      <review>
  <id>2608107</id>
    <user>
    <id>151004</id>
    <name><![CDATA[Michael]]></name>
    <location><![CDATA[Rockville, MD]]></location>
    <link><![CDATA[http://www.goodreads.com/user/show/151004-michael-fitzgerald]]></link>
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  <title>
    <![CDATA[Collected Works: A Journal of Jazz 1954-2001]]>
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    <![CDATA[Jazz critic for The New Yorker since 1957 and the author of some fifteen books, Whitney Balliett has spent a lifetime listening to and writing about jazz. &quot;All first-rate criticism,&quot; he once wrote in a review, &quot;first defines what we are confronting.&quot; He could as easily have been describing his own work. For nearly half a century, Balliett has been telling us, in his widely acclaimed pitch-perfect prose, what we are confronting when we listen to America's greatest-and perhaps only original-musical form.Collected Works: A Journal of Jazz 1954-2001 is a monumental achievement, capturing the full range and register of the jazz scene, from the very first Newport Jazz Festival to recent performances (in clubs and on CDs) by a rising generation of musicians. Here are definitive portraits of such major figures as Duke Ellington, Dizzy Gillespie, Django Reinhardt, Martha Raye, Buddy Rich, Charles Mingus, Louis Armstrong, Billie Holliday, Art Tatum, Bessie Smith, and Earl Hines-a list that barely scratches the surface. Generations of readers have learned to listen to the music with Balliett's graceful guidance. For five decades he has captured those moments during which jazz history is made. Though Balliett's knowledge is an encyclopedic treasure, he has always written as if he were listening for the first time. Since its beginnings in New Orleans at the turn of the century, jazz has been restlessly and relentlessly evolving. This is an art form based on improvising, experimenting, shapeshifting-a constant work in progress of sounds and tonal shades, from swing and Dixieland, through boogie-woogie, bebop, and hard bop, to the &quot;new thing,&quot; free jazz, abstract jazz, and atonal jazz. Yet, in all its forms, the music is forever sustained by what Balliett calls a &quot;secret emotional center,&quot; an &quot;aural elixir&quot; that &quot;reveals itself when an improvised phrase or an entire solo or even a complete number catches you by surprise.&quot; Balliett's celebrated essays invariably capture the so-called &quot;sound of surprise&quot;-and then share this sound with general readers, music students, jazz lovers, and popular American culture buffs everywhere. As The Los Angeles Times Book Review has observed, &quot;Few people can write as well about anything as Balliett writes about jazz.&quot;]]>
  </description>
  <published>2000</published>
</book>

    <rating>4</rating>
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  <read_at>Wed Jan 01 00:00:00 -0800 2003</read_at>
  <date_added>Sun Jul 01 18:47:45 -0700 2007</date_added>
  <date_updated>Sun Jul 01 18:52:02 -0700 2007</date_updated>
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    <body><![CDATA[Frustratingly, this book omits published essays from the time period and also some of the included essays have been re-edited. Would be nicer to have the exact versions that were originally published and W.B. could have included introductions or notes to comment on any changes he would have made. An...<a href="http://www.goodreads.com/review/show/2608107">more...</a>]]></body>
    
  <url><![CDATA[http://www.goodreads.com/review/show/2608107]]></url>
  <link><![CDATA[http://www.goodreads.com/review/show/2608107]]></link>
</review>
      <review>
  <id>7397725</id>
    <user>
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    <name><![CDATA[Dennis]]></name>
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    <![CDATA[Collected Works: A Journal of Jazz 1954-2001]]>
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  <average_rating>4.29</average_rating>
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  <description>
    <![CDATA[Jazz critic for The New Yorker since 1957 and the author of some fifteen books, Whitney Balliett has spent a lifetime listening to and writing about jazz. &quot;All first-rate criticism,&quot; he once wrote in a review, &quot;first defines what we are confronting.&quot; He could as easily have been describing his own work. For nearly half a century, Balliett has been telling us, in his widely acclaimed pitch-perfect prose, what we are confronting when we listen to America's greatest-and perhaps only original-musical form.Collected Works: A Journal of Jazz 1954-2001 is a monumental achievement, capturing the full range and register of the jazz scene, from the very first Newport Jazz Festival to recent performances (in clubs and on CDs) by a rising generation of musicians. Here are definitive portraits of such major figures as Duke Ellington, Dizzy Gillespie, Django Reinhardt, Martha Raye, Buddy Rich, Charles Mingus, Louis Armstrong, Billie Holliday, Art Tatum, Bessie Smith, and Earl Hines-a list that barely scratches the surface. Generations of readers have learned to listen to the music with Balliett's graceful guidance. For five decades he has captured those moments during which jazz history is made. Though Balliett's knowledge is an encyclopedic treasure, he has always written as if he were listening for the first time. Since its beginnings in New Orleans at the turn of the century, jazz has been restlessly and relentlessly evolving. This is an art form based on improvising, experimenting, shapeshifting-a constant work in progress of sounds and tonal shades, from swing and Dixieland, through boogie-woogie, bebop, and hard bop, to the &quot;new thing,&quot; free jazz, abstract jazz, and atonal jazz. Yet, in all its forms, the music is forever sustained by what Balliett calls a &quot;secret emotional center,&quot; an &quot;aural elixir&quot; that &quot;reveals itself when an improvised phrase or an entire solo or even a complete number catches you by surprise.&quot; Balliett's celebrated essays invariably capture the so-called &quot;sound of surprise&quot;-and then share this sound with general readers, music students, jazz lovers, and popular American culture buffs everywhere. As The Los Angeles Times Book Review has observed, &quot;Few people can write as well about anything as Balliett writes about jazz.&quot;]]>
  </description>
  <published>2000</published>
</book>

    <rating>5</rating>
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  <read_at>Thu Jan 01 00:00:00 -0800 2004</read_at>
  <date_added>Sun Oct 07 16:40:52 -0700 2007</date_added>
  <date_updated>Sun Oct 07 16:42:40 -0700 2007</date_updated>
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    <body><![CDATA[ Wonderful collection of reviews and critical pieces from one of the great jazz critics of our time ...Whitney Balliett]]></body>
    
  <url><![CDATA[http://www.goodreads.com/review/show/7397725]]></url>
  <link><![CDATA[http://www.goodreads.com/review/show/7397725]]></link>
</review>
      <review>
  <id>2401806</id>
    <user>
    <id>152205</id>
    <name><![CDATA[Stuart]]></name>
    <location><![CDATA[Chicago, IL]]></location>
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    <![CDATA[Collected Works: A Journal of Jazz 1954-2000]]>
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    <![CDATA[Jazz critic for The New Yorker since 1957 and the author of some fifteen books, Whitney Balliett has spent a lifetime listening to and writing about jazz. &quot;All first-rate criticism,&quot; he once wrote in a review, &quot;first defines what we are confronting.&quot; He could as easily have been describing his own work. For nearly half a century, Balliett has been telling us, in his widely acclaimed pitch-perfect prose, what we are confronting when we listen to America's greatest-and perhaps only original-musical form.Collected Works: A Journal of Jazz 1954-2001 is a monumental achievement, capturing the full range and register of the jazz scene, from the very first Newport Jazz Festival to recent performances (in clubs and on CDs) by a rising generation of musicians. Here are definitive portraits of such major figures as Duke Ellington, Dizzy Gillespie, Django Reinhardt, Martha Raye, Buddy Rich, Charles Mingus, Louis Armstrong, Billie Holliday, Art Tatum, Bessie Smith, and Earl Hines-a list that barely scratches the surface. Generations of readers have learned to listen to the music with Balliett's graceful guidance. For five decades he has captured those moments during which jazz history is made. Though Balliett's knowledge is an encyclopedic treasure, he has always written as if he were listening for the first time. Since its beginnings in New Orleans at the turn of the century, jazz has been restlessly and relentlessly evolving. This is an art form based on improvising, experimenting, shapeshifting-a constant work in progress of sounds and tonal shades, from swing and Dixieland, through boogie-woogie, bebop, and hard bop, to the &quot;new thing,&quot; free jazz, abstract jazz, and atonal jazz. Yet, in all its forms, the music is forever sustained by what Balliett calls a &quot;secret emotional center,&quot; an &quot;aural elixir&quot; that &quot;reveals itself when an improvised phrase or an entire solo or even a complete number catches you by surprise.&quot; Balliett's celebrated essays invariably capture the so-called &quot;sound of surprise&quot;-and then share this sound with general readers, music students, jazz lovers, and popular American culture buffs everywhere. As The Los Angeles Times Book Review has observed, &quot;Few people can write as well about anything as Balliett writes about jazz.&quot;]]>
  </description>
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  <read_at>Wed Jan 01 00:00:00 -0800 2003</read_at>
  <date_added>Tue Jun 26 09:27:54 -0700 2007</date_added>
  <date_updated>Tue Jun 26 09:28:27 -0700 2007</date_updated>
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    <body><![CDATA[doesnt get much better than this when it comes to jazz writing. ]]></body>
    
  <url><![CDATA[http://www.goodreads.com/review/show/2401806]]></url>
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      <review>
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    <name><![CDATA[Dean]]></name>
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  <title>
    <![CDATA[Collected Works: A Journal of Jazz: 1954-1999]]>
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    <![CDATA[As jazz critic for The New Yorker magazine since 1957, and the author of fifteen books, Whitney Balliett has spent a lifetime listening to and writing about jazz. &quot;All first-rate criticism,&quot; he once wrote in a review of someone else's work, &quot;first defines what we are confronting.&quot; He could as easily have been describing his own work.For nearly half a century, Balliett has been telling us, in pitch-perfect prose, what we confront when we listen to America's greatest, and perhaps only truly original, musical form. Collected Works: A Journal of Jazz 1954-2000 is a monumental achievement, capturing the full range and register of the jazz scene, from the first Newport Jazz Festival in 1954 to recent performances by a rising generation of musicians. Here are definitive portraits of such major figures as: Duke Ellington, Dizzy Gillespie, Django Reinhardt, Martha Raye, Buddy Rich, Charles Mingus, Louis Armstrong, Billie Holliday, Art Tatum, Bessie Smith, and Earl Hines-a list that barely scratches the surface. Generations of readers have learned to listen to the music with Balliett's graceful guidance. For five decades he has captured the moments when jazz history was being made. Balliett's knowledge is encyclopedic treasure and yet he has always written as if he were listening for the first time. Since its beginnings in New Orleans at the turn of the century, jazz has been restlessly and relentlessly evolving, improvising, experimenting, shapeshifting, a constant work in progress of sounds and tonal shades, from swing and dixieland, through boogie-woogie, bebop, and hard bop, to the new thing, free jazz, abstract jazz, and atonal jazz. Yet in all its forms, the music is sustained by what Balliett calls a &quot;secret emotional center,&quot; an &quot;aural elixir&quot; that &quot;reveals itself when an improvised phrase or an entire solo or even a complete number catches you by surprise.&quot; Whitney Balliett performs the miracle of capturing the essence of jazz-the &quot;sound of surprise.&quot;]]>
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  <date_added>Tue Dec 01 03:29:18 -0800 2009</date_added>
  <date_updated>Tue Dec 01 03:29:18 -0800 2009</date_updated>
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    <![CDATA[Jazz critic for The New Yorker since 1957 and the author of some fifteen books, Whitney Balliett has spent a lifetime listening to and writing about jazz. &quot;All first-rate criticism,&quot; he once wrote in a review, &quot;first defines what we are confronting.&quot; He could as easily have been describing his own work. For nearly half a century, Balliett has been telling us, in his widely acclaimed pitch-perfect prose, what we are confronting when we listen to America's greatest-and perhaps only original-musical form.Collected Works: A Journal of Jazz 1954-2001 is a monumental achievement, capturing the full range and register of the jazz scene, from the very first Newport Jazz Festival to recent performances (in clubs and on CDs) by a rising generation of musicians. Here are definitive portraits of such major figures as Duke Ellington, Dizzy Gillespie, Django Reinhardt, Martha Raye, Buddy Rich, Charles Mingus, Louis Armstrong, Billie Holliday, Art Tatum, Bessie Smith, and Earl Hines-a list that barely scratches the surface. Generations of readers have learned to listen to the music with Balliett's graceful guidance. For five decades he has captured those moments during which jazz history is made. Though Balliett's knowledge is an encyclopedic treasure, he has always written as if he were listening for the first time. Since its beginnings in New Orleans at the turn of the century, jazz has been restlessly and relentlessly evolving. This is an art form based on improvising, experimenting, shapeshifting-a constant work in progress of sounds and tonal shades, from swing and Dixieland, through boogie-woogie, bebop, and hard bop, to the &quot;new thing,&quot; free jazz, abstract jazz, and atonal jazz. Yet, in all its forms, the music is forever sustained by what Balliett calls a &quot;secret emotional center,&quot; an &quot;aural elixir&quot; that &quot;reveals itself when an improvised phrase or an entire solo or even a complete number catches you by surprise.&quot; Balliett's celebrated essays invariably capture the so-called &quot;sound of surprise&quot;-and then share this sound with general readers, music students, jazz lovers, and popular American culture buffs everywhere. As The Los Angeles Times Book Review has observed, &quot;Few people can write as well about anything as Balliett writes about jazz.&quot;]]>
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    <![CDATA[Collected Works: A Journal of Jazz 1954-2001]]>
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    <![CDATA[Jazz critic for The New Yorker since 1957 and the author of some fifteen books, Whitney Balliett has spent a lifetime listening to and writing about jazz. &quot;All first-rate criticism,&quot; he once wrote in a review, &quot;first defines what we are confronting.&quot; He could as easily have been describing his own work. For nearly half a century, Balliett has been telling us, in his widely acclaimed pitch-perfect prose, what we are confronting when we listen to America's greatest-and perhaps only original-musical form.Collected Works: A Journal of Jazz 1954-2001 is a monumental achievement, capturing the full range and register of the jazz scene, from the very first Newport Jazz Festival to recent performances (in clubs and on CDs) by a rising generation of musicians. Here are definitive portraits of such major figures as Duke Ellington, Dizzy Gillespie, Django Reinhardt, Martha Raye, Buddy Rich, Charles Mingus, Louis Armstrong, Billie Holliday, Art Tatum, Bessie Smith, and Earl Hines-a list that barely scratches the surface. Generations of readers have learned to listen to the music with Balliett's graceful guidance. For five decades he has captured those moments during which jazz history is made. Though Balliett's knowledge is an encyclopedic treasure, he has always written as if he were listening for the first time. Since its beginnings in New Orleans at the turn of the century, jazz has been restlessly and relentlessly evolving. This is an art form based on improvising, experimenting, shapeshifting-a constant work in progress of sounds and tonal shades, from swing and Dixieland, through boogie-woogie, bebop, and hard bop, to the &quot;new thing,&quot; free jazz, abstract jazz, and atonal jazz. Yet, in all its forms, the music is forever sustained by what Balliett calls a &quot;secret emotional center,&quot; an &quot;aural elixir&quot; that &quot;reveals itself when an improvised phrase or an entire solo or even a complete number catches you by surprise.&quot; Balliett's celebrated essays invariably capture the so-called &quot;sound of surprise&quot;-and then share this sound with general readers, music students, jazz lovers, and popular American culture buffs everywhere. As The Los Angeles Times Book Review has observed, &quot;Few people can write as well about anything as Balliett writes about jazz.&quot;]]>
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