This Sunday, in the New York Times Sunday Book Review, rock author and critic Anthony DeCurtis writes a glowing review of Anatomy of a Song. Anthony DeCurtis, whose biography of Lou Reed is out next year, is a big deal and so is the NYT's Sunday Book Review. I was practically in tears when I read it. Something hits you when someone you respect gets what you've done. You can read his review here.
Media roundup: Here's my radio appearance on Canada's CBC this week and here's Joseph Bottum's lovely review for The Washington Free Beacon. There were about a dozen more, but you get the idea.
Still don't have your copy? Buy Anatomy of a Song for yourself or as a holiday gift by going here in the U.S., here in the U.K. or here in Canada. Thanks for your support!
Jukebox. If you want to listen for free to all 45 songs while you read Anatomy of a Song, go to my Spotify jukebox here.
This week in The Wall Street Journal, my Anatomy of a Song column on the Band's "The Weight" (go here). I interviewed songwriter Robbie Robertson (above) at length on the composing and recording of the rock and soul standard.
Also in the WSJ, I interviewed actor Michael Keaton for my "House Call" column in the Mansion section (go here). Mister Rogers played a big role in Michael's youth, as did jazz pianist Johnny Costa.
And in the WSJ's Review section, my interview with bestselling novelist Jonathan Lethem for the "Playlist" column in the Review section on his favorite song—Stevie Wonder's I Wish (go here).
Trombonist Clifton Anderson is hoping to raise $15,000 so he can record, package and market his next album. I love the sound of Clifton's horn, so I hope you'll listen to his video that explains what he's trying to do. Most of all, Clifton is a great guy and his music is important. His video follows, but please go here to donate (just click the "back it" button)...
Speaking of the Band, Chris Cowles sent along a link to rare images from The Last Waltz concert in San Francisco on Nov. 25, 1976. The concert paid tribute to the Winterland Ballroom, which was closing. The concert was filmed by Martin Scorcese for the famed The Last Waltz documentary (go here) [photo above of Joni Mitchell and Neil Young].
Sco! Ian Mackenzie sent along a link to a concert by guitarist John Scofield in Sweden with the Blue House Jazz Orchestra, the big band of the Stockholm Concert Hall...
Art's Blues. In The Fabulous Dorseys, the 1947 bio-pic of Tommy and Jimmy Dorsey, musicians get together to jam on Art's Blues. And what a group of musicians it was: Ziggy Elman (tp), Tommy Dorsey (tb), Jimmy Dorsey (clar), Charlie Barnet (ts), George Van Eps (g), Art Tatum (p), Stuart Foster (bass) and Ray Bauduc (d). Here's the clip...
Photo correction. A couple of weeks ago, I featured a photo of Lester Young with Mose Allison and other musicians. I misidentified the artist on the far left. It wasn't pianist George Wallington but drummer Ronnie Free. Thanks to Bob McKeon, a Phoenix, Ariz., drummer, who set me straight:
"In reference to the photo, the musician on the far left is Ronnie Free. This photograph was taken by Dizzy Gillespie (Courtesy of Dale Coleman). I quote from the book, The Jazz Loft Project, by Sam Stephenson (photographs and tapes of W. Eugene Smith from 821 Sixth Avenue 1957-1965):
"On the afternoon of August 11, 1958, Ronnie Free received word that musicians were to congregate the next morning in front of a brownstone on 126th Street in Harlem for a historic group portrait. The photograph was to be published in an upcoming Esquire magazine issue devoted to jazz. On August 12 (Ronnie) Free rolled out of bed and headed up to 106th Street, where he met his friend and occasional bandmate pianist Mose Allison. The two men walked up the designated address, but when they arrived, photographer Art Kane had already snapped the now famous shot of 57 assembled musicians on the steps and sidewalk. As the musicians dispersed on that 'great day,' Free and Allison mingled on the sidewalk. Dizzy Gillespie took this picture."
Uh-Oh. Margy Bloom sent along the following video featuring the 1959 hit Uh-Oh by the Nutty Squirrels, a novelty vocal group five shades hipper than Alvin and the Chipmunks. The Nutty Squirrels featured Don Elliott (vocals, trumpet, vibraphone), Alexander Burland (vocals), Cannonball Adderley (alto sax), Bobby Jaspar (flute), and Sam Most (clarinet)...
What the heck. Spanky and Our Gang was a sixties doppelgänger band of the Mamas & the Papas. Here's the group in 1968 singing their hit I'd Like to Get to Know You, which, incidentally, was produced by Bob Dorough...
Oddball album cover of the week.
Wow, what to make of this one for a Quincy Jones album released in Sweden? First of all, the "boy" isn't in the tree. His head is merely glued to it.
