ReviewsNominated for the 2012 Association for Recorded Sound Collections Awards for Excellence in Historical Recorded Sound Research
This is a powerful and insightful book with an outstanding breadth of musical and critical erudition.
Chris Searle, Morning Star
The most ambitious attempt at a history of this music and period to date.
The Wire, February 2013
A must-read for anyone interested in British jazz, and a thoughtful assessment of a radical period in British history.
Mike Hobart, Financial Times
The definitive history of British Jazz in the '60s. A survey that's both erudite and right on.
His primary information sources are 70 (yes, really!) of his own first hand interviews with musicians and associates. The fact that Heining is dealing largely with his... musicianly peer group... brings with it a sense of involvement in a text which, though densely-packed, is compellingly articulate. Substantive and scholarly, is also Trad Dads, Dirty Boppers and Free Fusioneers is also an enjoyable and rewarding read.
Roger Thomas, Jazz UK 103, November 2012
Heining deserves much credit for this epic tome exploring British jazz in one of its most exciting, if exasperating, eras. [He] has undertaken very thorough research: he has interviewed countless musicians, while his own spry style keeps you charmed. Trad Dads is a special contribution to jazz writing.
Heining's magnum opus is a mammoth undertaking. It's a richly erudite book – a formidable oeuvre with a dense text punctuated by some black and white photos and resplendent with a succession of illustrious names that will send readers scurrying to check their music collections.
Russell Newmark, The Beat
This is a quite remarkable book.
The Jazz Rag, Winter/Spring 2013
The text is erudite, well-researched and politically charged. It would be no exaggeration to suggest that this book is simply essential for anyone even remotely interested in British jazz.
Roger Farbey, iancarrsnucleus.net
In this engaging book from Equinox, Duncan Heining sets out to locate the development of British jazz between 1960 and 1975 within the broader social, political, economic and cultural contexts in which it operated. More importantly, the book shines light on much music that has suffered neglect in recent years and yet remains rich, intriguing and often frankly wonderful.
This book is certainly one that fills a gap in the historical literature on jazz in Britain, by focusing on British jazz (that is, jazz played by native British or immigrant musicians) during a time of substantial political, socioeconomic and cultural change.
Jazz Research Journal