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Reviews
‘Perchard's descriptions of Morgan’s playing are both technically astute and accessible, but the real strength of this book lies in its awareness of contexts. He has spoken to an impressive number of people who knew Morgan or shared his background. The whole trajectory [of Morgan’s life] ... is handled with impressive confidence. It's clichéd praise, but my first act on finishing the book was to dig out a slew of old Blue Notes’. ‘Through a wealth of research and incisive anecdote from his band members and close associates, Morgan emerges as an intriguing, multi-layered figure. [A] very accomplished biography’. ‘Fascinating … this is an impressive achievement. It manages the rare combination of original interviews by Morgan’s colleagues and friends with both political/social/cultural awareness and obvious musical knowledge, yet without labouring the details … even honouring its subject with flashes of sardonic humour. So whichever aspect of Morgan you’re most familiar with, you stand to learn a lot more from this biography’. ‘Perchard's great strength is his ability to blend together elements of Morgan’s life, incorporating numerous interview excerpts (many of which he conducted himself) and perceptive analysis of Morgan’s recordings ... Recommended’. ‘an excellent musical biography’. ‘Excellent ... [combines] fresh interviews with Morgan’s family and fellow musicians with as much information as can be gleaned from the jazz press. [Perchard] is also especially good on Morgan’s music, analytical but not so technical as to lose most readers’. ‘The publication that best filled a gap this year’. 'This is a remarkable book and an outstanding contribution to jazz literature. The author is an English university teacher but this is no dry academic study … It should be emphasised that although Morgan provides the book’s central thread the social, cultural and musical overview provided so generously is of relevance to many of his black contemporaries as well … [an] invaluable and a very impressive achievement indeed.' 'Tom Perchard’s book deserves to become a primary source in the documentation of Morgan’s career … Perchard navigates between Morgan’s music, its political and social context, its implications for the development of jazz and the minutiae of its creation and points of reference with natural expertise, transforming what could have been a staccato fusillade of interconnected facts into a flowing and compelling narrative. This is supported by some excellent first-hand interview material involving Michael Cuscuna, Andrew Cyrille and many more of the music’s A-list movers and shakers, the collation of which is itself commendable. The comprehensive bibliography and proper index that actually works are both most welcome, while the generous footnotes suggest whole new lines of enquiry rather than being glorified parentheses. Dust off and play your copy of The Sidewinder, then enjoy this book.' **** 'An outstanding achievement… [Perchard] shows himself to be a close listener and a tough-minded critic who can write vividly about the music.' 'This is a remarkable book and an outstanding contribution to jazz literature.' 'First-rate jazz scholarship.' 'Perchard doesn’t focus on the sensational parts of Morgan’s life but skilfully dissects his music, and gives it a fitting social context.' **** '… an extraordinary achievement … a very full account of Morgan’s musical development per se does feature and key recordings such as The Sidewinder, Cornbread and Search for the New Land are given due musicological consideration. However, it is precisely because these aspects are set within such a detailed historical context that the book is so remarkable. Subtitled ‘His Life, Music and Culture’, it is exactly that, not just life and music as most biographies are, but a substantial jazz history too and as such can be highly recommended.' 'A very good book.' 'Perchard seems to have found a magical balance between narration of the facts, fitting in direct testimonies from Morgan’s many friends and colleagues (the list of interviewees goes from Amiri Baraka to Reggie Workman, via Benny Golson, Billy Harper and many others) and the continuing dialectic with the artistic, social and political context which Morgan found himself in. It is amazing how effectively the author treats for example the cruder (and therefore more appetising to the facile hagiographies put out by some publishers) aspects of Morgan’s life, from his heavy relationship with drugs to the tragic finale at Slugs Bar at the hand (and gun) of his girlfriend. Perchard never overdoes what isn’t essential; but he does risk saying things which are usually omitted or delicately concealed … a must!'
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