The Jazz Years: earwitness to an era

by Leonard Feather

Leonard Feather's autobiography is also the story of jazz over the last half-century. Since arriving in New York from London in 1935, he has managed to distinguish himself as a producer, composer, pianist, and one of the music's most acute critics. He was one of the first to champion the innovations of bebop in the pages of Esquire and Downbeat, also an ardent campaigner against racial barriers, and a friend to dozens of musicians. There are stories here about Feather's relationship with Louis Armstrong, Billie Holiday, Dinah Washington, Dizzy Gillespie, George Shearing, Joe Williams, Toshiko Akiyoshi, and many others. Filled with information about the recording business and the tricky art of criticism, this earwitness account of a lifetime in jazz caps a career that has been dedicated to the best that American culture has to offer.

Genres: Music

310 pages, Paperback

First published December 1, 1986

About the author

Leonard Geoffrey Feather was a British-American musician, composer, record producer, music journalist and radio broadcaster. He began working in radio broadcasting in the U.K. during the 1930s, and wrote a regular column for the British magazine 'Radio Times' during those years as well, titled "Tempo di Jazz". After working as a record producer in both the U.K. and U.S., he moved in 1939 to New York City; he later moved to Los Angeles during the early 1960s. Leonard Feather was co-editor (with Barry Ulanov) of the U.S. music business magazine 'Metronome' for many years, until it ceased publication in 1961. He also served as chief jazz critic for the Los Angeles Times until his death.

Reviews

[Tom · Rating 4 out of 5]

I've read articles and LP album notes by Leonard Feather for years, he knows jazz from every angle and writes well. This book deals mostly with the evolution of musical styles and artists of the 1930s through the 1950s. I enjoyed learning more about the pre-WWII times and and about Feather's role if setting up recording dates, writing songs and using his reporter's/reviewer's license to advocate for changes in the music industry regarding fair recording/publishing contracts, integration of bands and other issues. I recommend this book for anyone with an interest in jazz. Many of the author's stories appear somewhat self-serving but he had his hands in all aspects of jazz and knew practically everyone related to jazz between 1935 to 1990.

[Barefoot Danger · Rating 4 out of 5]

Nice vignettes about the early days of jazz.