From Publishers Weekly
Jazz genius Davis once said, "Don't you try to make me into a nice guy." Yale professor Szwed neither sentimentalizes nor attacks his subject in this impressive biography, concentrating instead on the fascinating contradictions that led to Davis's artistic greatness. The son of a successful dentist in Illinois, Davis (1926-1991) showed talent for the trumpet early and followed his vision despite disapproval from his mother. He attended Juilliard, married a girl from the wrong side of the tracks and joined Charlie Parker's group, struggling to find his style and overcome feelings of inadequacy against Parker's exhilarating brilliance. While pointing out Davis's love for altering chord progressions and his skill at sketching arrangements in literally seconds, Szwed tracks a life that eventually spiraled out of control. Unsparing accounts of the musician's cocaine and alcohol addiction transcend Davis's life and become a larger portrait of the traps that destroyed so many jazzmen. Davis's love affairs with Juliette Greco and Cicely Tyson grippingly illuminate the narcissism, sexual hunger and violence that made lasting relationships impossible. Szwed offers crisply detailed backstories to such masterpieces as Sketches of Spain, Round About Midnight and Miles Ahead. His prose has a musical pulse, and he highlights the most significant element of Davis's soul: "he told every woman he became involved with that music always came first, before family, children, lovers, friends." Davis's music has been called a "divine disease," and this in-depth study clarifies the nature of that compulsive, satisfying malady in a way that will enlighten listeners and musicians.
Copyright 2002 Reed Business Information, Inc.
From School Library Journal
Adult/High School-Szwed opens his work on this music legend with a warning to readers not to expect him to tell the man's full story. Indeed, this is not an introduction to Davis, and the book requires a fair degree of understanding of either jazz or the fundamentals of music. It's easy to come away with the impression that the cruelty with which Davis could treat himself and others was merely the price of genius, an argument that isn't addressed directly. For all this, though, the volume does deliver on what it sets out to do, which is to examine why Davis has been such a powerful and ubiquitous figure in the world of music. Szwed shows how his subject's art developed, examining both his evolving styles and the smaller, specific changes in the writing and playing of particular pieces by Davis and his bands. The author also illuminates the ways in which popular music developed during the second half of the 20th century. Those interested in the topic or in the process of musical creation in general will find this title well worth reading.
Ted Westervelt, Library of Congress, Washington, DCCopyright 2003 Reed Business Information, Inc.