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The musical adventure of a lifetime. The most exciting book on music in years. A book of treasure, a book of discovery, a book to open your ears to new worlds of pleasure. Doing for music what Patricia Schultz--author of the phenomenal 1,000 Places to See Before You Die--does for travel, Tom Moon recommends 1,000 recordings guaranteed to give listeners the joy, the mystery, the revelation, the sheer fun of great music. This is a book both broad and deep, drawing from the diverse worlds of classical, jazz, rock, pop, blues, country, folk, musicals, hip-hop, world, opera, soundtracks, and more. It's arranged alphabetically by artist to create the kind of unexpected juxtapositions that break down genre bias and broaden listeners' horizons-- it makes every listener a seeker, actively pursuing new artists and new sounds, and reconfirming the greatness of the classics. Flanking J. S. Bach and his six entries, for example, are the little-known R&B singer Baby Huey and the '80s Rastafarian hard-core punk band Bad Brains. Farther down the list: The Band, Samuel Barber, Cecelia Bartoli, Count Basie, and Afropop star Waldemer Bastos. Each entry is passionately written, with expert listening notes, fascinating anecdotes, and the occasional perfect quote--"Your collection could be filled with nothing but music from Ray Charles," said Tom Waits, "and you'd have a completely balanced diet." Every entry identifies key tracks, additional works by the artist, and where to go next. And in the back, indexes and playlists for different moods and occasions.… (altro)
This is fantastic, within the bounds of how fantastic a work like this can be. Tom Moon is very well-seasoned, and of course I immediately jumped to the types of music I know best - opera, folk, classical - and found that I agreed with almost all of his choices. Sometimes he may challenge me (the LuPone "Sweeney Todd" over the Lansbury?) but rarely did I disagree (the right Wagners, the ideal "Porgy and Bess", a great "Pelleas", and so on). More to the point, by providing a range of suggestions with each album, he effectively expands the book's scope to 3 or 4,000 recordings, and allows you to delve more.
Of course no-one will agree with all of his choices, or with best recordings by an artist or composer, but that's the perils of making a decision. Moon here has shown an open-mindedness to music genres that has me keen to explore everything I've missed. There's a Spotify playlist, which I think is official, to go with it.
If there's a flaw for me, it's that I think he could use an introduction. Maybe 40 pages: a 15-page history of music, and then 2-3 pages on each genre, just the most basic of primers. This is, of course, an absurd proposition on some level. How can anyone explain a genre so quickly, and how do we teach how to "read" music in this way? Problem is: I think it's necessary. As an opera lover, I agree with all of Moon's choices (even if I could fill a book on 1,000 opera recordings alone) but many of these are moderate-to-advanced level, not for amateurs. These are the best recordings, but they may not be obvious to a newcomer to opera. Particularly works like "Pelleas" or "Wozzeck". Even an attempt at explaining some of the major evolutions of the artform, and things to listen for, may have been good. For me, with genres I'm completely uncertain of (e.g. rock) I would have appreciated the same. But, this is the age of the internet, so I'm sure I will find someone's blog to guide me. A ( )
There’s a lot of music in here. I mostly appreciated the jazz entries. When reading about artists I am very familiar with, I mostly disagreed with his choices of the best album to represent the artist. Ry Cooder, The Meters, Cannonball Adderley and Aaron Neville are four that I remember disagreeing with. ( )
1000 essays on exceptional recordings. Those that I have listened to have hyponotized me John Adams' setting of Emily Dickinson's "Because I Could Not Stop for Death" from his "Harmonium". The review are well-developed, often contain a photo of the artist and end with a data sidebar, which includes one of my favorite categories--"Next Stop". My next stop was the major minimalist, Steve Reich, whose "Different Trains" blew me away with the sound collage of clips from track and depot. Especially powerful was the war-time European train--heading, I imagined, for Dachau. Lest the book seem weighted on the heavy side, its first entry (they are alphabetical) is Abba's "Gold". The articles are very redable and Moon comes off as a fine person with intelligence and artistic sensibility.
1000 essays on exceptional recordings. Those that I have listened to have hyponotized me John Adams' setting of Emily Dickinson's "Because I Could Not Stop for Death" from his "Harmonium". The review are well-developed, often contain a photo of the artist and end with a data sidebar, which includes one of my favorite categories--"Next Stop". My next stop was the major minimalist, Steve Reich, whose "Different Trains" blew me away with the sound collage of clips from track and depot. Especially powerful was the war-time European train--heading, I imagined, for Dachau. Lest the book seem weighted on the heavy side, its first entry (they are alphabetical) is Abba's "Gold". The articles are very redable and Moon comes off as a fine person with intelligence and artistic sensibility.
I challenge anyone to find a more intelligent and diverse guide to good "musics" (as opposed to "music" = western classical tradition + popular appendages). Any takers? ( )
The musical adventure of a lifetime. The most exciting book on music in years. A book of treasure, a book of discovery, a book to open your ears to new worlds of pleasure. Doing for music what Patricia Schultz--author of the phenomenal 1,000 Places to See Before You Die--does for travel, Tom Moon recommends 1,000 recordings guaranteed to give listeners the joy, the mystery, the revelation, the sheer fun of great music. This is a book both broad and deep, drawing from the diverse worlds of classical, jazz, rock, pop, blues, country, folk, musicals, hip-hop, world, opera, soundtracks, and more. It's arranged alphabetically by artist to create the kind of unexpected juxtapositions that break down genre bias and broaden listeners' horizons-- it makes every listener a seeker, actively pursuing new artists and new sounds, and reconfirming the greatness of the classics. Flanking J. S. Bach and his six entries, for example, are the little-known R&B singer Baby Huey and the '80s Rastafarian hard-core punk band Bad Brains. Farther down the list: The Band, Samuel Barber, Cecelia Bartoli, Count Basie, and Afropop star Waldemer Bastos. Each entry is passionately written, with expert listening notes, fascinating anecdotes, and the occasional perfect quote--"Your collection could be filled with nothing but music from Ray Charles," said Tom Waits, "and you'd have a completely balanced diet." Every entry identifies key tracks, additional works by the artist, and where to go next. And in the back, indexes and playlists for different moods and occasions.
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Of course no-one will agree with all of his choices, or with best recordings by an artist or composer, but that's the perils of making a decision. Moon here has shown an open-mindedness to music genres that has me keen to explore everything I've missed. There's a Spotify playlist, which I think is official, to go with it.
If there's a flaw for me, it's that I think he could use an introduction. Maybe 40 pages: a 15-page history of music, and then 2-3 pages on each genre, just the most basic of primers. This is, of course, an absurd proposition on some level. How can anyone explain a genre so quickly, and how do we teach how to "read" music in this way? Problem is: I think it's necessary. As an opera lover, I agree with all of Moon's choices (even if I could fill a book on 1,000 opera recordings alone) but many of these are moderate-to-advanced level, not for amateurs. These are the best recordings, but they may not be obvious to a newcomer to opera. Particularly works like "Pelleas" or "Wozzeck". Even an attempt at explaining some of the major evolutions of the artform, and things to listen for, may have been good. For me, with genres I'm completely uncertain of (e.g. rock) I would have appreciated the same. But, this is the age of the internet, so I'm sure I will find someone's blog to guide me. A (