Book Reviews

Afro-Cuban Jazz
by Scott Yanow
Miller Freeman ISBN 0-87930-619-X (2001); 224 pp.; $17.95

Music journalist Scott Yanow presents readers with an introduction to the form and artists involved in the specific sub-genre known as Afro-Cuban Jazz. Its release couldn't have been better timed. People are still talking about Ken Burns' documentary Jazz — especially its shortcomings. Certainly, little attention was paid in that series to this subject. The presentation of material is not dissimilar to that found in series such as The Rough Guide in that there is at least one essay of overview, entries on specific artists and bands, rated listings of recordings, and a few interviews with particular artists.

Yanow offers a painstakingly wrought definition of what constitutes Afro-Cuban jazz. What is more interesting is that he goes to a lot of trouble to explain and justify his inclusions and exclusions from this volume. It seems a rather bold step to wholly exclude, for example, those artists associated with the Brazilian-jazz fusion movement. Although "salsa" is excluded, Celia Cruz, however, is included by virtue of her association with Tito Puente et al.
What is also structured oddly is the suggested-listening listings. These are interspersed in the text rather than appearing at the conclusion of an entry. While it may be nice to see which recordings are recommended for a particular period in an artist's career, it would also be nice to have those all listed together to more readily compare Yanow's ratings of the body of work.

Yanow is right: There is a huge hole in English-language materials on this subject. He does an admirable job of presenting an accessible overview of Afro-Cuban jazz in this volume. — Linda Dailey Paulson (Ventura, CA)

Rollin' and Tumblin': The Postwar Blues Guitarists
Jas Obrecht, editor
Miller Freeman Books ISBN 0-87930-613-0 (2000); 453 pp.; $19.95

This book is an absolute must for electric-blues fans, drawing on interviews and articles that appeared in Guitar Player, Living Blues, and other magazines. It covers two dozen guitarists ranging from obvious choices like Muddy Waters and B.B. King to obscure figures like Saunders King and Jody Williams. The real value of the book is probably the amount of light shed on the in-between players whose histories most blues fans know only from the scanty information provided in liner notes. For instance, I went straight to the chapter about Guitar Slim and was rewarded with many vivid anecdotes about this larger-than-life character. Others might start with T-Bone Walker, Hubert Sumlin, or Freddie King, according to taste.

A few of the subjects indulge in the familiar tendency to blow their own horns and come off the worse for it, but others have interview styles as individualistic as their music. The Jimmy Reed interview is absolutely sublime. Readers may tire of being told in one introductory passage after another that the subject was a huge influence on Eric Clapton, Duane Allman, Stevie Ray Vaughan, etc. — which is like saying that Beethoven was an influence on Mantovani — but given that these articles were written at different times for magazines that weren't always specialized, they hold up in book form surprisingly well. One could also take issue with some minor points; including Freddie King in the Chicago rather than the Texas section overstates the extent to which his style was influenced by his Windy City brethren, for instance. But such caveats are unimportant. What is important is the chance to get to know as human beings so many guitarists known and loved for their great music. An outstanding work that fills a gaping void. — Duck Baker (Richmond, CA)

The Acoustic
Guitar Guide
by Larry Sandberg
A Cappella ISBN 1-55652-418-8 (2000); 268 pp; $19.95

Although an acoustic guitar is a superficially simple piece of equipment, its internal complexity, precision construction, and aural sophistication belie its relatively humble appearance. In an updated version of a classic, guitarist Larry Sandberg delves fearlessly into the innards of the acoustic guitar, discussing subjects as arcane and mysterious as bracing, glues, and the various grains of wood used in the construction of fine guitars. His encyclopedic book also provides a brief history of the guitar, discussion of the products of the main manufacturers, and tons of tips on buying, maintaining, and optimizing the sound of your guitar. Although this book doesn't tell you how to play your guitar, it does provide a wealth of tips about the instrument for the aspiring or established guitarist. Sandberg writes clearly, avoids unnecessary jargon, and illustrates this fine book with hundreds of photos and drawings. — Michael Parrish (Downers Grove, IL)

Bossa Nova: The Story of the Brazilian Music That Seduced the World
by Ruy Castro
A Cappella ISBN1-55652-409-9 (2000; first pub. 1990); 352 pp.; $26

This book purports to be based on interviews and historic accounts, but the darn thing reads like a novel. It's an absorbing look at Brazilian culture in the 1950s and 1960s, as well as the various influences responsible for creating and shaping bossa nova.

With so many names and places often bandied about, it is at times an overload of information, but all the people, places and events in some way added to the development of this music — even if it was an introduction in a Rio fan club or a description of some artist's hometown.

Castro does give vital information about some of the big names in Brazilian music, but he also introduces a galaxy of lesser-known stars. Or at least artists and groups lesser known to those on the neighboring continent. The book includes maps showing the locations of some of the many venues mentioned throughout, as well as photographs. This is a must-read for those enthralled with Brazilian music of any era. — Linda Dailey Paulson (Ventura, CA)