Reviews for Manual for the semistructured clinical interview for children and adolescents

The average rating for Manual for the semistructured clinical interview for children and adolescents based on 2 reviews is 3 stars.

Review # 1 was written on 2020-09-19 00:00:00 Marksman Peralta If you don’t know Nat, you don’t have much of jazz’s history at the ready. Nat died less than two years ago, at age 91. He wrote about jazz and did his best to keep the genre in front of the public, first in the Village Voice and later in the Wall Street Journal. This book focuses on a handful of jazz greats and brings others in to tell a more complete story of how jazz arrived at the 1970s, fractured, complex and (for those still listening to it, rather than rock) relevant to what was happening in the world. Having said that, I will note that Hentoff did not limit himself to writing about the music but (in other books and articles) wrote about Vietnam, presidential politics, individual freedom, social rights and justice. In this book, he teases some great observations out of his interactions with musicians. This is where Hentoff excels because there is no chasm of understanding between them and him. They speak the same language; they share many of the same values; to him they are people and friends, not just jazz musicians. This book gives us some amazing insights into Ellington, Armstrong, Parker, Billie Holiday, Miles Davis, Coltrane, Mingus, Cecil Taylor, Gato Barbieri and Teddy Wilson. Here’s a sample from his Wilson piece: “…Tatum was essentially a solo pianist, not a rhythm-section player. Fats Waller and Count Basie, on the other hand, were rhythm-section pianists, but they didn’t have Teddy Wilson’s sense of inner voices. He always had a definite, clear melodic line going on top and a powerful but controlled rhythm line on the bottom. Between top and bottom, however, there was so much going on --- harmonic colorations and continually inventive countermelodies. In one sense, the essence of what he was doing was contrapuntal, but those inner voices never detracted from the principal melody or got in the way of the swinging.” Among the things that did not impress me were the less than stellar photographs used. Though the photographer, Bob Parent, is one of the greats, most of the few photos scattered through the book are more stock than illustrative. Parent had developed a special technique of shooting inside clubs without using flash that captured some extraordinary expressions on the musicians. That was what I had hoped for. Also, Hentoff is much better at explaining jazz than predicting where it is going. For instance, he enthusiastically notes that big band swing is on the rise and may compete with the “young crowd’s love of rock music.” 3.5* but it will stay on my shelf

Review # 2 was written on 2011-11-05 00:00:00 Michael Melody III The most valuable aspect of this book was being able to read what jazz musicians had to say about each other and accounts of how they interacted. Sometimes I felt that Hentoff's writing was a little overinflated -- what does "searingly influential" mean, for example? -- but for the most part it was spot on. I confess to skipping the chapters on Gato Barbieri and Cecil Taylor, simply because I know very little about their music.