The View from Within: Jazz Writings, 1948-1987

by Orrin Keepnews

Orrin Keepnews has a rare double perspective on jazz. He has been writing about this music for four decades, and for almost that long he has been one of its most active and highly regarded record producers. He has won three Grammy Awards (one as producer, and two for album notes), was founder of two legendary jazz labels of the '50s and '60s (Riverside and Milestone), was managing editor of The Record Changer magazine, and has written countless album notes as well as articles for Down Beat, Saturday Review, and Keyboard. He has worked in the studio with and written about such jazz giants as McCoy Tyner, Cannonball Adderley, Bill Evans, and Thelonious Monk.
Chronicling this double life, The View from Within brings together a wide range of writings, including early interviews and commentary for The Record Changer; biographical sketches of Jelly Roll Morton, Art Tatum, and Charlie Parker; album notes, essays, and booklets (including the two Grammy winners); and discerning appreciations of such artists as Bill Evans, Wes Montgomery, and Johnny Griffin. Keepnews writes with special warmth about Thelonious Monk, whom he calls "quite possibly the most important artist I have been associated with." There is also a fine tribute to Lenny Bruce (as well as a scathing review of a Bruce biography), and an intriguing chapter entitled "What I Do For A Living," which includes several pieces that tackle the tricky job of describing exactly what a record producer does. Each chapter is preceded by an introductory section establishing its background and context.
What emerges is a vivid portrait of jazz in the years since the war and, equally important, the evolution of a jazz sensibility, tracing the author's transformation from a young jazz traditionalist into an active supporter and indeed one of the leading forces in modern jazz.

Genres: Music, Jazz

258 pages, Hardcover

First published September 8, 1988

Reviews

[Brian Scarbrough · Rating 5 out of 5]

I've always enjoyed reading Orrin Keepnews' liner notes, both from his days at Riverside and later resissues on Columbia. He had a way of making the recording sound interesting without beating you over the head with praise for the artist just to try to sell a record. That he worked so closely with one of my favorite artists, Thelonious Monk, didn't hurt. This book is a collection of his writings, both for magazines and liner notes, from throughout his career. Definitely a worthy read for a jazz fan.

[Bob · Rating 4 out of 5]

A very good, deep dive into jazz and jazz recording history from the 1940s through the mid-1980s, by one of the foremost producers and reviewers of "be-bop" jazz. Primarily a collection of his own reviews and album notes from both live and recorded sessions of many of the jazz greats, updated with commentary and reflections on the times and the musicians. An excellent slice of jazz history.

[Rich · Rating 4 out of 5]

Very interesting stuff from a guy who produced recording sessions with Monk, Bill Evans, Cannonball Adderly and many others. Keepnews gives an insider's perspective on media and the general zeitgeist surrounding jazz in the '50s and '60s. He went from being an editor and trad-jazz enthusiast (read: pre-bebop '30s and '40s) to running his own label and producing some of the most creative jazz artists in the '60s and '70s. Offers some great anecdotes from interactions with specific musicians and clubs. I just wish there were more.

Keepnews spends a lot of time meticulously recounting specific recording dates with Monk and Evans and few others, from his days at Riverside Records. One particularly interesting section details the "discovery" and meteoric rise of Wes Montgomery as a jazz giant. Other essays touch on Keepnews' frustrations with how jazz was written about by clueless reviewers and "critics" in publications at the time. Being so far removed from these (that is, some 40-50 years later), Keepnews' crusade against these writers feels a little dated. Ultimately, Keepnews sticks to his credo on writing about jazz: give factual context surrounding the people and circumstances, and don't focus on trying to turn sounds into words on a page.

One thing is certain: Keepnews had his finger on the pulse of jazz--from club to studio to public reception--for several decades. While not a musician himself, this guy certainly knows what he is talking about, and anyone curious about such things would be wise to take notice of this book.

I believe this book is now out of print but used hardcover copies can be found cheaply on the Internet.