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Murder and All That Jazz edited by Robert J. Randisi Signet Mystery 260 pages ISBN 0451213335
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This collection of 13 short stories by some of the new century's top mystery writers, explores the thematic connection between noir and blues-based musical forms. The book is not exclusively noir, but its dark stories are the best. The anthology also tests a personal theory that musicians have an affinity with rhythm and mood that serves them well when they turn to the art of writing. Craig Holden, the author of the opening piece, has no history of musicianship listed in his bio, but "The P&G Ivory Cut-Whiskey Massacre" is a taut noir of gangland war and revenge in the genre's run-em-down, shoot-em-up tradition. Other than being set in the Jazz Age, the story has no direct connection to the theme of the book, but why hold that against a good yarn? Depending on your point of view, Murder and All That Jazz either suffers or enjoys an affinity for another time. You'll find no Acid Jazz or free-form here. John Harvey's "Drummer Unknown" though invoking the big names of the London scene during the 1950's, is from the point of view of a not-quite-successful musician clinging desperately to the life. The music is clearly inspirational, but there's little nostalgia for the corruption, official and otherwise that came with life on the edge. Likewise, drummer Bill Moody's "Child's Play" is an unsentimental piece about an older musician discovering too late the missing component to the talent that almost made him famous. Both these stories move with a natural rhythm, easing readers directly into their musical environments rather than leaving readers, like fans, watching from the auditorium floor. If Michael Connelly toodles a flute that fact isn't listed in his bio. Nevertheless he skillfully brings his readers into the world of police detective Harry Bosch, who's resolution to a mysterious death in a pawn shop burglary is no more productive than his restoration of a prized instrument to its ancient owner. "Christmas Even" is a thoughtful response to the nostalgia that motivates much of the current interest in jazz. Other strong showings include Ed Gorman's "Muse" and "The Shoeshine Man's Regrets" by Laura Lippman. Perhaps the darkest story is Peter Robinson's "The Magic of Your Touch", a neat twist on the Blues' soul-selling mythology. As for whether musicians automatically make good writers, that remains an unsubstantiated theory. What is certain is that Murder and All That Jazz is well worth a spin across the rec-room floor for any noir enthusiast.
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