Description: An illustrated selection from the extensive writings of two intrepid jazz collectors and researchers, Derek Coller and the late Bert Whyatt (1920-2013). The compilation records the lives and music of the unsung 'White Jazzmen of Chicago' from the 1920s onwards. A small percentage of all those who played jazz in Chicago, a long and proud tradition
Brief description: Derek Coller (born 1926) was 15 when he saw the Glenn Miller orchestra in the film Sun Valley Serenade, instantly becoming a swing fan and then an avid jazz follower. He edited the SEAC Jazz News in1946/47 and The Discophile from 1948 until 1958. In their early years he and Bert Whyatt cooperated on regular discographical columns, first in Jazz Music, and then in VJM (Vintage Jazz Mart). His published bio-discographies include: Jess Stacy: The Quiet Man of Jazz, Jazzology Press (1997); Clarinet Marmalade: The Life and Music of Tony Parenti, Jazzology Press (2003); Strictly A Musician: Dick Cary, Dick Cary Music Company (2012); and Superstride: Johnny Guarnieri, Jazzology Press (due 2018)
Review Quotes:
'... an excellent read, where you get to know a bit more about these musicians, their lifestyles, and families.' Pete Lay, Just Jazz, August 2018
' ... it is the foot soldiers of jazz that often have interesting career stories and deserve to have them told. Indeed, one has always been impressed by the sheer assiduity [of those] pursuing these often recalcitrant musicians, corresponding with survivors, tracking down interviewees on Stateside visits and simply persisting. .... 'Chicago Jazz' is imbued with the missionary zeal of the two collaborators and is a valuable addition to the literature.' Peter Vacher, Jazzwise, August 2018
'Before you read another word: if you know the remarkable work of Derek Coller and the late Bert Whyatt, you can skip to the bottom for details on how to buy it: you won't need me to convince you of its worth. ... If you'd told me a few years ago that I would hold a book with a detailed portrait of the pianist Jack Gardner in it, or a reference to tenorist Joe Masek, I would have thought that impossible. ... I have taken so long to review this book because of its irresistible nature. When I received it in the mail, I left it visible in my apartment, and when I passed by it, I would stop to read a few pages: its distracting force was just that powerful. I apologize to Derek and to the shade of Bert for being so tardy, but if you are in the least curious about Chicago jazz - from the teens to the Seventies - you will find [this] fascinating, quotable, and invaluable.' Michael Steinman, jazzlives, August 2018.