Starred Review There have been numerous picture books about jazz and jazz history over the last decade, and by and large, the illustrators have fared better than the writers at capturing the spirit of the music in a way that relates to the young. Those attempting to describe the music in verse have encountered particularly rough sledding, many forced either to rely on wild abstraction (Raschka) or to craft poems so complex they exclude all but the most sophisticated young readers (Wynton Marsalis in his recent Jazz A B Z). Now, finally, the father-son Myers team has put together an absolutely airtight melding of words and pictures that is perfectly accessible to a younger audience. The poems parallel significant stages in the development of jazz, but the historical connection is only tangential; the draw of the poems, as with the music, is rhythm, and Myers captures the rolling cadences of early New Orleans jazz ("Well, good-bye to old Bob Johnson / We'll haul his body slow / There's a white horse a-striding / A sad deacon riding / Six men to lay him low") as well as the staccato sounds of be-bop and beyond ("A shaved reed tongue is crying / In the blood dark studio / Drums add bark and grumble / As a trumpet blares something rude"). And, best of all, Christopher Myers' pictures make those rhythms visual, the curving lines of his figures seeming to move off the page, swinging to the beat. Middle-graders will feel the sound of the words and pictures working together, and younger kids will hear and see that connection when adults share the book with them.

The father-and-son team behind <EMPHASIS TYPE=""ITALIC"">blues journey creates a scintillating paean to jazz. Walter Dean Myers infuses his lines (and the rests between them) with so much savvy syncopation that readers can't help but be swept up in the rhythms. "Stride," for example, narrated by a piano man, captures the spirit of a "band on fire." On a delphinium-purple page, below each line of white type ("I got jump in my feet, and I'm turning up the heat, left hand hauling"), two significant words from that line dance in black script ("jump"/ "feet"), functioning like the chords a jazz pianist uses as percussive punctuation within a tune. Visually, the page's typography evokes long white and short black piano keys. Christopher Myers lays black-inked acetate over brilliant, saturated acrylics. The resulting chiaroscuro conjures the deep shadows and lurid reflections of low-lit after-dark jazz clubs. The artist dynamically enlarges key compositional elements: a massive bass, a long ago drummer's muscular back, and fingers—poised over keys, plucking strings, splayed along a flute. Design sings here, too: Louis Armstrong's spread upends, befitting that jazz giant. A cogent introduction, selective glossary and chronology round out this mesmerizing verbal and visual riff on a uniquely American art form. All ages. <EMPHASIS TYPE=""ITALIC"">(Sept.)

Gr 5-9-Expanding on Blues Journey (Holiday House, 2003), this talented father and son have produced new poetry and paintings to explore a wider repertoire of jazz forms. An introduction provides historical and technical background, briefly touching on influences, improvisation, rhythm, and race. Spreads then pulsate with the bold, acrylic-and-ink figures and distorted perspectives that interpret the multiple moods and styles set forth in the text. The poems begin "Along the Nile" with a drumbeat and conclude with the heat of a Bourbon Street band. The Myerses experiment aurally and visually with the forms themselves; thus, "Stride" alternates long, fast-paced lines in a white font with two-word percussive phrases in black, calling to mind a period piano score. "Be-bop" unleashes a relentlessly rhyming patter in black, punctuated by a blue cursive font that "screams." The 15 selections also celebrate vocals, various instrumental combinations, a funeral procession, and Louis Armstrong; New Orleans as spirit and place is woven throughout. The expressionistic figures are surrounded by high-contrast colors in which the visible brushstrokes curve around their subjects, creating an aura that almost suggests sound waves. Wynton Marsalis's Jazz A B Z (Candlewick, 2005) offers an interesting comparison and complement: varied poetic forms and stylized, posterlike visuals present the lives of jazz musicians. Interaction with each inspired title informs the other and awakens interest in listening.-Wendy Lukehart, Washington DC Public Library Copyright 2006 Reed Business Information.

In this extended jam session, historical moments, great jazz musicians, and the various forms and instruments of the genre each take a turn on stage. In his black ink and acrylic paintings Christopher Myers both follows his father's lead and suggests rhythms and moods of his own. As with blues journey, readers will find music coming irresistibly into their heads. Timeline. Glos.

A cycle of 15 poems and vivid, expressive paintings celebrate that most American genre of music: jazz. Myers pere presents readers with poems that sing like their subject, the drumming of African rhythms leading into a celebration of Louis Armstrong, an evocation of stride piano, a recreation of a New Orleans jazz funeral and a three-part improvisation among bass, piano and horn. A script-like display type appears sparingly, guiding readers to the sound of jazz embedded in the poems' syncopated rhythms. Myers fils uses bold colors and lines straight from the muralists of the '30s to create his illustrations, dramatic foreshortening and exaggerated angles a visual complement to the pulsing sounds being celebrated. It's a very different look and treatment from that given to their earlier blues journey (2003), although equally successful at giving readers a visceral sense of its musical subject. A lengthy introduction, glossary and timeline give background to the whole. This offering stands as a welcome addition to the literature of jazz: In a genre all too often done poorly for children, it stands out as one of the few excellent treatments. (Picture book/poetry. 8+)