No comments about Lucille Clifton: Her Life and Letters (Women Writers of Color).

1 comments about Coming Home to China.

1. Yi-Fu Tuan is a towering figure in cultural geography -- so towering that he rises above the discipline's ceiling and is visible and inspiring as a writer/philosopher to a far broader audience of academics and "lay" readers. You certainly don't need to be a geographer to admire this book for its constant stream of observations and commentary on modern China reflecting Tuan's distinctive sensibility and preoccupations with home and place. Dr. Tuan wrote the book shortly after returning to Wisconsin from his visit to China, which he had not visited in over 60 years. The work is immediate and fresh, not re-worked into thick academic prose. It's a real gift for fans of Dr. Tuan.

No comments about To Alcatraz, Death Row, and Back: Memories of an East LA Outlaw.

1 comments about Der: A True Story.

1. Der is a work of immense importance for those who wish to comprehend the history of the Hmong people; how they fought along side America and why they live here now. It is a facinating read that lends accurate insights into the Hmong culture and history. Parts of the book made me laugh, cry, or sit in silent awe of the amazing community of people and one particular man called Der.
   
   This reviewer has learned important cultural awareness insights from reading DER that no classromm would have taught me or teaches. I would invite Professors who teach Hmong history to read this work. It is my opinion as a cross cultural speaker and author,that this is an important work for those interested in accurate historical truths from the people who live it.

5 comments about Just for a Thrill: Lil Hardin Armstrong, First Lady of Jazz.

1. Lil Armstrong has got to be the most amazing woman in American music history.

   From reading this book, I learned things about jazz history that I did not know. I never realized how dependent Louis Armstrong was on his wife for his success. Not only did she write his early songs, she shaped him into the world-class performer that he became in later years.

   I was also surprised to learn how sleazy the music busness was in those days. The author does an excellent job of documenting the birth of jazz in an atmosphere of crime and racial intolerance. Lil was victimized her entire life. Especially despicable is a certain man who took advantage of her good nature and her artistic talent. What he did to Lil is awful.

   If you are not moved by this story, you are not human.

   Great book....so when is the movie coming out?




2. This ranks among the most shallow, factually incorrect jazz biographies I have read. As someone who knew Lil Armsrong well, I was struck by how far off the mark this alleged portrait of her is. The author hasn't a clue when it comes to Lil's personality, the fabric of her life, and her place in jazz. Lil deserves better than this hack job, which I gave one star because none is not an option.



3. As a lifelong jazz researcher, I was indeed thrilled when I discovered the first attempt at a Lil Hardin-Armstrong bio, but I must say that this one was a disappointment. Resources for jazz research are richer than they have ever been and jazz history books are finally starting to rise to the level of quality scholarship. but that is not evident here. The author seems to have assembled much of the previously published information on Lil, drawn some odd conclusions (exposing a lack of knowledge of early jazz music) and left it at that. Lil was a significant presence in the 1920's Chicago scene and in the life of her second husband, Louis; she was a fine composer and an above-average instrumentalist. She most certainly did not, as the author suggests, write out Louis' magnificent introduction to West End Blues!
   There is also a strange, and somewhat unfair characterization of Louis Armstrong in this book. While much is made of Louis' infidelities, little or nothing is mentioned of Lil's (which have been documented elsewhere). Such inconsistencies damage the credibility of the book.
   I love Lil Armstrong's music, and I wish that there was a better biography of her out there. She certainly deserves better!



4. James L. Dickerson focuses upon Lillian 'Lil' Hardin as a
   highly educated, multi-talented, and prestigious individual from
   stardom in the early part of the Twentieth Century--when it was
   not "cool" to be both a black female and a vocalist/instrumental-
   ist--to her last recording. The biographer depicts Lil as one who
   was willing to neglect opportunities that would foster her own
   additional success in order to promote her husband, Louis Arm-
   strong in his musical endeavors as a soloist and instrumentalist.

   The conflicts in management, the shifts from city to city, and
   the rocky marriage, which eventually involved "the other woman,"
   took a toll on the relationship between Lil and Louis. However,
   as Dickerson vividly emphasizes, Lil never lost her love for her
   musical soulmate, with whom she nurtured their only child--jazz.




5. Just For A Thrill: Lil Hardin Armstrong, First Lady Of Jazz by James L. Dickerson is the energetic, informative and compelling biography of Lillian "Lil" Hardin (1898-1971), one of the most sought-after female jazz pianists in Chicago in her day and the wife of Louis Armstrong until their divorce in 1938. Lil Hardin's impressive musical career, trailblazing achievements and exciting love of music are all recorded in this first-class biography. Just For A Thrill is a welcome and enthusiastically recommended contribution to the growing library of biographies and memoirs of the men and women who significantly contributed to the development of jazz -- America's unique contribution to the world of music.

1 comments about Dona Tules: Santa Fe's Courtesan and Gambler.

1. The author seems to have found documents amounting to almost all we'll ever know about Tules. Was she important in the transfer of power in 1846? We still don't know, but do know she was friendly with the Yankees and in a position to be helpful. The author seems to over-rate the wealth coming from a placer gold find and miss the fact that Santa Fe Trail wealth was emerging from deep within Mexico. I'm a little disappointed that the author second guesses Josiah Gregg, our most reliable reporter on the Santa Fe Trail. But, now at least we know she was Tules because she was slender as a reed. Not perfect, but helpful and interesting.

No comments about The Borderlands of Culture: Américo Paredes and the Transnational Imaginary (New Americanists).

5 comments about Dance Of The Infidels: A Portrait Of Bud Powell.

1. Heartfelt and sincere, Dance of the Infidels is Francis Paudras' affectionate tribute to Bud Powell, the modern jazz icon who spent much of his final years in Paris. Paudras traces his relationship with Powell, which began with his adolescent infatuation and idolization of Powell and his genius. Most of the book deals with Powell's time in Paris during which Paudras befriended Powell and actually took him into his home and provided a family for his idol.
   
   Dance is most compelling when Paudras recounts anecdotes from their time together. He dwells at length on Powell's childlike qualities, his need for constant care. Though he takes considerable pains to diagnose Powell and to correct what he sees as misunderstandings of Powell's mental condition, Paudras is mostly content to let Powell's actions speak for themselves. The book is indeed a testament to the power of one person to nurture another through an untiring devotion to not only a fellow human being but also to music and the passions it awakens.
   
   Unfortunately, what makes the book such a rewarding read also highlights some of its weaknesses. Paudras practically deifies Powell. Paudras is quick to soften the harshness of Powell's detractors by portraying them as insensitive to his genius--especially when they are part of the American critical establishment. Paudras feels that only he and "the devoted little band of French fans" are truly able to appreciate Powell's gifts. As a result, Paudras seems content to describe Powell's playing with superlatives and hyperbole rather than apply the critical skills and vocabulary of even the amateur musician that Paudras claims to be.
   
   Nonetheless, this book remains necessary reading for all jazz fans, or even music lovers in general who have sensed the sublime powers of music. Balanced with a more straightforward bio, Dance is a necessary part in building an understanding of the complex figure of Bud Powell.



2. The relationship between jazz piano genius Bud Powell and maybe
   anybody's best friend-of all time-is really only marginally portrayed in the 1986 Oscar-nominated movie,'Round Midnight'-one of my handful of all-time favorites.The film was dedicated to
   Lester Young and Bud Powell-and the great saxophonist Dexter Gordon portrayed the burnt out musician Dale Turner.The film is
   based on 'Dance of the Infidels' by Francis Paudras about his incredible relationship with Powell-one of the handful of defining jazz pianists,ever-and even among jazz musicians,nobody
   ever had a more troubled life;Powell died at 42 in 1966 and there is no question that he'd have died sooner if not for Paudras's efforts.At 62,Paudras committed suicide in France in 1997.It's not easy to find a sadder book-and in terms of race relations-nobody tops Francis Paudras.R.I.P.



3. "Dance of the Infidels" is an account of jazz pianist Bud Powell ( 1924-66 ) written by his friend and onetime caretaker Francis Paudras. There are a number of reasons why it makes fascinating reading ( virtually mandatory for hardcore jazz fans ); prospective readers should, however, be aware the book focuses more on Powell's personality than it spends time detailing his groundbreaking role as bebop pioneer. Then again, given the notorious and shadowy caricature with which Powell *the legend* has been saddled ( helping to perpetuate his stigmatization, even posthumously ), the focus on Powell *the person* can only be counted a blessing. Above all, this reviewer was struck by their extraordinary friendship, all the more impressive considering the trying circumstances in which they often found themselves.
   
   Paudras makes no attempt to render events in a self-consciously hip tone nor does he attempt to analyze Powell's music in theoretical terms. If occasionally he waxes effusive, he is far from slavishly uncritical or wedded to one particular party line concerning Powell's problems. For instance, while it is well known that the pianist suffered from a brutal beating he received ( from a policeman ) in 1945, which led to physical and mental breakdowns, Paudras also relates the strained relationship Powell had with an emotionally distant father, his marital/relationship strife, the barbaric treatment at the hands of doctors and various medical "professionals" ( administering shock treatments and dangerous drugs ) and from the very beginning of his career, the whole unsavory underworld ( gangsters, club owners and mercenary agents ) atmosphere in which he plied his trade. Trials and tribulations of this nature challenged the hardiest of men; for Bud Powell, unusually sensitive, they turned out to be nothing less than catastrophic. Powell, apart from playing music ( or getting drunk ), seemed to live most fully in the retreat of his mind, a remote and often haunted place. It was therefore no small measure of mercy that Paudras entered his life, first as a fan and later as friend ( "brother", as Powell himself referred to him towards the end ), allowing the older man to reveal himself ( in tones of poignant solemnity or raucous humor ) as he had to few others.
   
   Another virtue: the author, no neophyte, is a diehard jazz fan who knows the music and its history quite well. His inside perspective, after years of living with Powell ( 1959-64), gives evidence of a certain smiling ( but never smug ) awareness of various myths and peculiarities propagated in the jazz subculture. From a purely musical point of view, he is quite convincing in defending Bud Powell from the received wisdom many critics regurgitate to this day; lionizing his output from 1947-53 while denigrating his later work. While the recordings from 47-53 do indeed remain the gold standard, listeners should, in evaluating his later output, rely on the only evidence that really counts, *recordings*; and in using them as criteria, Powell is often found in great form ( e.g., "Live at Lausanne", "Bouncin' with Bud', etc ). Furthermore, in asking for "consistency", critics overlook the fact that Powell, as much as any musician in jazz history, took risks. In the circumstances he found himself, Powell's digital equipment may have been less than reliable but the integrity of his expression ( ultimately what matters most in music ) never dimmed. Indeed, *no* musician played with more intensity than Bud Powell.
   
   In the future, writers will focus more extensively on Bud Powell's music; fittingly so, for such a pioneering musician. But as far as Bud Powell *the person* is concerned, it is unlikely we will ever find an account more sympathetic or revealing than that rendered by his ( now deceased ) "brother", Francis Paudras.



4. Francis Paudras was an aspiring jazz pianist who idolized and steeped himself in the music of Bud Powell. Rather suddenly he found himself in the position of caretaker and personal friend of his musical idol. Powell's circumstances were tragically sad. Barely competent to care for himself at this point in his life he was being verbally and certainly financially abused by a horror of a woman named Buttercup. Largely abandoned by his American friends Powell was living in deplorable conditions when Paudras and he became acquainted. Paudras' devotion to his new friend is a remarkable example of human compassion and love toward another human being. Through his efforts Bud Powell was able to experience some joy in his final years although the shadow of his tragic past was always close at hand. Powell's musical accomplishments are legendary and Paudras' writes with passion and understanding of the depth of Powell's talents and of his incredibly far-reaching influence on so many jazz musicians.
   This book combines a warm human interest story, albeit with tragic elements, with an examination fo Powell's musical career that results in one of the finest jazz profiles ever published. Highly recommended to anyone remotely interested in jazz. For fans of Powell it is indispensible reading.



5. Obviously any serious Bud fan will have to read this, being one of only a handful of books devoted to the genius. That being said I ended getting much more out of the read besides examining a period in a musician's life. Even if this book were not about one of my favorite musicians I still would recommend it highly and would call it one of the more interesting reads I have had. (I read it about 6 months ago.)
   This book also becomes, inadvertently I believe, a study into human personality. Bud had numerous mental problems, many of which were pigeonholed as manic-depressive or schizophrenic. But the author's fly on the wall psychology savant observations (many obviously from journal entries) show that these diagnoses are simple and barely scratch the surface of the behavior of Bud Powell.
   I think about this book often particularly when I am considering what makes a person a person. Before I read this book I thought I had an idea, but after reading it I am not so sure. It also led me to read more direct analyses of personality by Lucan and Piaget.
   Bud begins the book in horrible shape, mental & physical, completely reliant on someone who cares nothing for his well being. He is unkempt and rarely speaks. You wonder how he could have reached the age he has with so few of the skills which are required for human survival.
   When the author begins to interact with Bud it is almost always wordless, with the author describing Bud's input with non-verbal actions. How "looking into his eyes I could tell how Bud felt."
   I was very skeptical believing perhaps the author's worship of Bud were clouding his judgment about Bud. Maybe the author wanted to communicate with Bud so bad he was sub-consciencely creating Bud's side of the conversation.
   This hero worship by the author made certain that there was a bias to anything in the book, but a careful reader can still infer what actually took place.(It is nowhere near as revisionist as Miles Davis' autobiography.) And after reading the book I honestly believe that Mr. Paudras would never intentionally lie about anything to do with Bud Powell
   As the action of the book proceeds you realize there must be something happening to Bud because of the healthy changes occurring and the gains Bud makes. Bud begins to perform again, gets healthier, and begins to take more control of his life. But major barriers still remain. Often he will only communicate with Francis. It went as far as when someone would ask Bud a question he would ignore it until Francis repeated the question to Bud and then Bud would only answer Francis. Also, Bud was greatly affected by even the smallest portion of alcohol, which would haunt him for the remainder of his life.
   By the end of the book I was engrossed. There is even a heart-wrenching climax that was more affecting than most novels I have read. The denouement is too powerful to describe. (I am choosing my words carefully as not to give away anything)
   There is a measurable action by Bud which makes me doubt the assessments that he was merely a child with a prodigal gift allowing him to never mature. Apparently, Bud would write poems to go along with most of his songs. Most have been lost. The poem by Bud included in the book is so lucent and shows a startling awareness that I was left contemplating why Bud behaved the way he did. Francis spent so much time with him it could not have been and act. Also, Bud hurt himself by acting this way that you have to believe he would have stopped if he could.
   This book has helped make Bud's amazing art even more poignant for me. I believe every person has trouble relating to the world around him or her. To me, Bud music is about expressing these difficulties. Somehow trying to reconcile the sublime beauty of the world with the horrible darkness it also contains.
   Although, my belief in heaven is dubious at best, if I could pick two people who deserve to be there it is Bud Powell & Francis Paudras.
   My final comments are about the fate of the author who recently committed suicide. After getting to know a side of him through his book. (And I do believe the seeds of his demise are hinted at in the reading particularly in the last scenes.) It also opens up a whole slew of questions about when is life worth living, and is there any reward for those who love and bring goodness to the world when all they seem to receive is senseless pain.
   As you can tell I have thought about this book considerably so if you have any insights you'd like to share please drop me a line at derek_weisel@hotmail.com. Thanks. DW.

5 comments about Boogie Man: The Adventures of John Lee Hooker in the American Twentieth Century.

1. I found this book to be insightful and well produced from beginning to end. I found the anecdotal material from family, friends, and peers to be very entertaining and useful. The portrait that is portrayed of John Lee Hooker is
   personal and with admiration. There were key elements which led to a better understanding of the artist and his development.
   
   I was talking to someone at a blues festival whom confided that their favorite John Lee Hooker song was The Healer. This is pretty typical. It's the collective social memory that remembers the latest thing you've done, not the most significant and not the first. This book is chock full of important details in this artist's career and life. From his humble beginnings in Mississippi to Memphis to Ohio to Detroit and eventually to San Francisco.
   
   To ignore the mention of the author over the subject would be a gross oversight. Charles Shaar Murray is a gifted and insightful author. He makes this encyclopedic biopic a fast entertaining read. Murray's talent isn't in the gathering of information, anyone can do that, rather, it's his insightful and respectful
   portrait painting with words.



2. I am a fan of John Lee Hooker and his music. I will always remember seeing him in a live concert in San Diego. This small, slightly built man had a voice as deep as the ocean and a distinctive guitar style that was instantly recognizable. So, I eagerly picked up his biography, anticipating a great read. Although there is extensive biographical info presented here, there's too much jive to make it work. The author's style is distracting and in places it seriously derails the story. And I'm left with the overall impression that far too much of the book is filler, not solid story. And that's a shame. Hooker's story and life were compelling enough that no fluff is needed.



3. I have to confess I nearly put the book down for good after the first 50 or so pages. It read like a sociology paper! Boring. But once the writer started into Hookers life it picked up and became quite enjoyable. I especially enjoyed the interviews with friends and family. It did give me an insight into his life. And having met him years ago in a club, I can agree that he was an incredibly sociable and friendly man. Totally unique. There will never be another just like him.



4. I wouldn't recommend this book unless you are looking for a sleeping aid. The few parts that are about John Lee Hooker are good, but there is just too much bull that has little to do with the subject. Too wordy and too hard a read.



5. When someone does that other book, I trust their research will be more thorough. Murray goes on for a long paragraph about Hooker's birth year. A quick simple search of the 1920 Census, available years before this book was published, showed John Lee was seven then. Murray doesn't even give 1913 among the 4 years he listed. For our few pages about Hooker in Dedicated Dads: Stepfathers of Famous People (available amazon.com), our author found some interesting anecdotes on a CD liner--Murray missed them, too. And I agree that Murray went on and on and injected himself too much.

5 comments about Burnt Bread and Chutney: Growing Up Between Cultures - A Memoir of an Indian Jewish Childhood (Ballantine Reader's Circle).

1. A very different take on growing up Jewish in the United States. You won't find the usual lox and bagels stories here.



2. This is a very interesting book! Talk about your culture clash and your family secrets! Like many children of mixed cultural backgrounds, Carmit found it a bit difficult to fit into either. But it was more difficult because she was a minority within a minority, a dark-skinned, South Asian who "didn't look Jewish", and an Indian whose family had a different religion and different traditions from the Hindu majority. As a child, her grandmother makes her promise that she will always return to the Bene Israel, and she does.
   
   Her family history, too, set her apart. Her grandmother was betrothed to a man who turned out to be an alcoholic. This put an end to the engagement, but it also made her grandmother practically unmarriageable. Until her sister's husband offered to take her as his second wife. He treated her and her daughter very differently from the way he behaved towards his first wife, being abusive, forcing her to live in poverty while her sister lived in luxury. The family's condescension towards Nana-bai and her descendents continued into the author's generation.
   
   While I wasn't terribly impressed with the author's writing style (I thought she jumped around a lot, among other things), the book is well worth reading for an understanding of the difficulties of growing up in a multi-cultural household, of being "odd girl out", as well as to learn a little bit about this small, perhaps dying, segment of Judaism. I would, in fact, have liked to have learned more about Bene Israel, its history, how its practices differ from mainstream Judaism, but I guess that would be another book!



3. horrible, self-involved memoir, supposedly about growing up Indian Jewish American, but really about me me me. Nasty family skeleton I didn't want to know about from grandmother's generation. I didn't finish and threw it out - something I never ever do. I didn't even want to give it to the library.



4. The book itself was very unappealing to me and the text is rather bland. Overall the book was just not as well written as it could have been, sometimes contradicting and overworked. I would not recommend this book. Readers Beware.



5. This book was a wonderful read, and introduced me to the overlooked Indian Jews. Her descriptions of living in virtually a dual lifestyle were very vivid and educational to say the least. I look forward to more releases by Carmit Delman.