Pressed for All Time

October 1, 2016

Pennsylvania State English professor and former Pulse! writer Jarrett presents an intimate look at the little-known history of jazz production, from cutting sides in the 1930s, with wax and acetate masters, to the advent of multitrack recordings in the 1960s to present-day digital recording. The author saved material from phone interviews with record producers over 25 years, resulting in 57 different people discussing such details as how artists were discovered, where albums were recorded, why different tracks were added, whether a song was recorded in one take, and where mics were placed. The book is organized by chronological release dates into four broad categories: Cutting Sides 1936-1949, Rolling Tape 1950-1966, Laying Down Tracks 1967-1990, and Recording to Hard Drive 1991-present. VERDICT Though the information is highly anecdotal, and the text a little choppy, Jarrett's volume successfully details the untold narrative of jazz production from the perspective of those with an astounding array of technical skills and artistic background, who coaxed iconic recordings out of the giants of jazz. Jazz fans and record buffs will relish poring over these accounts of how their favorite records were made.--Erin O. Romanyshyn, Frances Morrison Central Lib., Saskatoon, Sask.

Copyright 2016 Library Journal, LLC Used with permission.

October 15, 2016
What does a jazz record producer, as different, say, from an artists-and-repertory man or a sound engineer, actually do? This album-by-album recounting of the creation of more than 200 classic jazz albums (all with jacket covers included) focuses specifically on the producer's role in the process. In the course of the many interviews conducted by author Jarrett, such producers as George Avakian, Milt Gabler, Orrin Keepnews, Teo Macero, and Creed Taylor describe their many functions. The book is less about the music itself and more about the recording business and its complex and changing technology (splicing, multitracking, miking, even cover design). Jarrett, a knowledgeable academic and jazz fan, doesn't exactly simplify recording technology here, but he does make the operation of the music industry clearer and much more interesting. The producers were very open in speaking with him, and if they aren't as cool as jazz artists, with whom they are close, they are connoisseurs, and articulate ones at that. What they have to say will prove illuminating for everyone who loves jazz.(Reprinted with permission of Booklist, copyright 2016, American Library Association.)