Books like The Mandorla Letters

This book is remarkable for Lewis’s unique profile, which combines status as a major contributor to, as well as a critic of, creative improvised African-American music. It tells of the Association for the Advancement of Creative Music (AACM), an organization focused on freely improvised music, which is unique for having wedded aesthetic innovation with the struggle for social justice.

New Musical Figurations is a profile of AACM composer Anthony Braxton. One of the best-known AACM musicians, Braxton is also one of the most influential: while writing hundreds of compositions and touring the world with his many ensembles, he has also found time to teach some of the best composers and improvisers of the twenty-first century, including Taylor Ho Bynum, Mary Halvorson, Steve Lehman, and Tyshawn Sorey. Braxton continues to compose and perform today, and New Musical Figurations explores the ideas and philosophies that motivate his creative practices and draw new generations of listeners to his music.

In The Freedom Principle, Chicago music critic John Litweiler examines the AACM’s connections to the experimental styles of jazz that emerged in the late 1950s and early 1960s. Figures such as Ornette Coleman and John Coltrane were important early influences on the AACM, and Litweiler shows how their work became the foundation for the even more radical advances of AACM composers and improvisers. The Freedom Principle is also replete with wonderful stories from the AACM’s first two decades, including Henry Threadgill’s account of how he created the hubkaphone, a percussion instrument made from salvaged hubcaps.

Naomi Beckwith and Dieter Roelstraete’s book shares its title with the book described above, but its subject is completely different. Instead of focusing on the AACM’s music, this book centers on visual art related to the AACM, including paintings, sculptures, and installations created by AACM members such as Muhal Richard Abrams, Douglas Ewart, and Roscoe Mitchell. Published in conjunction with a major exhibit at Chicago’s Museum of Contemporary Art, Beckwith and Roelstraete’s book is a visual feast and a tribute to the AACM’s boundless creativity.

Space Is the Place opened so many windows for me into a world of esoteric spirituality fused with mind-blowing musical and theatrical creativity. John Szwed was a member of my PhD dissertation committee, although it was pretty hard to track him down, and he was wrapping up this book as I finished my own. I’d seen Sun Ra at my college and thought of the Arkestra as a kind of spaced-out novelty act, not knowing anything about Ra’s history: his celestial epiphanies; his long immersion in big-band jazz, including his stint with the great Fletcher Henderson; the cadre of stellar musicians he recruited and molded for the Arkestra; his entrepreneurial streak. When I turned to the study of music and spirituality, Szwed’s biography became an indispensable source. Afrofuturism has become a very hot topic in contemporary cultural studies, and there’s no better way into its arcane mysteries than through this… show more.

I feel as though this book isn’t widely known. The plot is quite bizarre and surreal–a man falls in love with a woman who is growing a water lily in her lung.

The novel’s theme of grief stood out to me, and I feel it was perfectly illustrated by Collin’s desperate attempts to keep his wife alive. It is evident that Vian used Jean-Paul Sartre’s existentialist philosophy as inspiration for this novel.

I love this book because it provides many musical examples from the author’s own voluminous repertoire. The examples illustrate various arranging techniques, presented in condensed concert scores for ease of sight-reading. I love the relaxed, conversational tone of the book, which illustrates the musical techniques in the music itself without resorting to academic lists and charts.

I love the way Sammy presents the material in an informal, easy-going manner which has the effect of making the reader feel like they’re sitting in a room with the author listening to music, while various techniques and styles are illustrated from within the music.

A book about the creation and meaning of the one jazz album that every music fan seems to own, Miles Davis’s meditative and miraculous 1959 masterpiece Kind of Blue—and how it connects to a whole lot more. Loudly trumpeted on its back cover as the record that “influenced the whole course of late twentieth-century music,” The Blue Moment takes the album as a starting point and expands ever outwards to trace its wider roots, contexts, echoes, correspondences, undercurrents, and legacies. It’s quite a ride: from Bauhaus to Brian Eno; from the existential modernism of Antonioni to the minimalism of La Monte Young; from Picasso’s Blue Period to the aesthetics of esteemed German record label ECM. For me, not all of the links and associations, some of which are tenuous at best, stand up. Yet Williams is one of music writing’s most elegant chroniclers and insightful thinkers, and The… show more.

Mingus reveals a life so foreign to my own upbringing—uninhibited, dangerous, angry, crude, at once vulnerable and invulnerable—that I was shocked by this book as a teenage jazz head.

I found his autobiography intimidating, much the way his music shoved me out of my comfort zone. In Mingus’s prose, there is no mistaking the cadences, dissonance, and strange beauty that characterize his formidable body of musical work.

I’ve never bought into the trope that one has to suffer for one’s art but I believed Mingus when he said, “I'm trying to play the truth of what I am."

When I began my book I’d been out of graduate school for 25 years. I read deeply to see what I’d missed and discovered what is now called cultural history. It seems to me that a great deal of it is written to a template rather than directly from the facts as discovered. Even though DeVeaux comes out of the academic world, I get no such sense from Bop. It’s brilliant. Immaculately researched and nicely written, it addresses the extraordinary transition of Black music from entertainment-driven (however artful) to art (however entertaining). It’s an important story, and DeVeaux tells it beautifully.