Onomatopoeic words will challenge readers and delight listeners . . . Rogers’ hip, playfully cartoonish spreads pop with clever visual allusions to jazz tunes and players. Loud and clear, the creators show how tuning into everyday sounds can inspire music. Clap, clap, CLAP!
—Kirkus Reviews (starred review)
This exuberant articulation of sounds both subtle and grandiose is sure to inspire closer listening and creative responses.
—School Library Journal (starred review)
Warm up those vocal chops and get ready for the swingingest read-aloud of the year.
—Booklist (starred review)
Narrated by a young African American boy, the story takes us through the music he hears in his typical day, such as from the noises he makes buttering his bread, hearing someone run from the bath all wet, a dripping tap, etc. He also includes, through alternating pages, the noises from many vehicles and, of course, a good selection of musical instruments. The playful onomatopoetic words Marsalis used for the sounds will entice children to continue reading the book over and over again. Additionally, the book is a good learning tool for music students to familiarize them with different instruments and the kind of sounds each makes. While most of the people depicted, which are not many in total, are black, Rogers also includes other races. His pictures are also fun, adding to the musical feel, a playful and entertaining disruption from static and silence. Reviewer: Heidi Quist
Children's Literature - Heidi Quist
PreS-Gr 1—Who better to lead children in a celebration of sound than jazz virtuoso Wynton Marsalis? From the "tluck…tlock" of a dripping faucet and the "Chrrick chrrrick" of toast being buttered to the noises of trucks, drums, and washboards, the musician gives voice to the sounds enveloping an African American boy throughout the day. The setting, established by the wrought iron balconies on the title page and furthered in contextual clues, is the birthplace of jazz (and Marsalis)-New Orleans. The retro style of the instruments on the endpapers will immediately connect readers familiar with Langston Hughes's First Book of Jazz (Watts, 1955) to Cliff Roberts's jaunty and decorative designs in that landmark introduction, adding another layer of appreciation. Rogers's lively ink and digital illustrations, with strong black lines; a controlled palette; visual quotes from Roberts; and intent, closed-eyed musicians, echo and continue the rhythmic exploration. The font conveying the sounds sashays and slithers around the images; printed in orange, it varies in size and weight to indicate volume. In one dynamic spread, four "Pizzicato violinists plick-pluck licks," with the one farthest away playing the softest (smallest) "tlick!" Floating against a white background, pictures and text read well from a distance; they practically call out for sharing with a group of eager noisemakers. The penultimate image is the boy with a horn, bringing to mind another famous New Orleans native. This exuberant articulation of sounds both subtle and grandiose is sure to inspire closer listening and creative responses.—Wendy Lukehart, Washington DC Public Library
Marsalis and Rogers, who collaborated on the scintillating
Jazz ABZ (2005), reunite for this sonic celebration for the younger crowd. Marsalis contributes 10 three-line verses that crackle with invented sound words. Most verses link a couple of everyday sounds with one made by a musical instrument: "Big trucks on the highway RRRRUMBLE. / Hunger makes my tummy GRrruMBle. / The big bass drum goes "Bum! Brrrum! BRRRUMBLE!!!!" Rogers' digitally colored ink drawings depict a New Orleans setting. The narrator, an African-American boy in white high-tops, exudes curiosity and cool ( and plays trumpet). Those onomatopoeic words, elegantly red-dressed in Caslon 540 Italic, will challenge readers and delight listeners. Marsalis' choices seem just right: "Chrrrick chrrrick chrrrick chrrrick--buttering my toast." An upright bass emits "Doom, Doom, Doom, Blap! Doom, Doom, Slap!" Rogers' hip, playfully cartoonish spreads pop with clever visual allusions to jazz tunes and players. Hand-lettered lyrics to a popular funeral song blow out of a church band's instruments; indeed, the tuba's bell forms the "O" for "O[h] didn't he ramble." An ambulance's side reads "U.M.M.G. Ambulance," a brilliant reference to the Billy Strayhorn tune whose titular acronym means "Upper Manhattan Medical Group." The final spread rounds up a cacophony of sounds, from "Squeak" and "Schuk-chuk" to "BAP!" Loud and clear, the creators show how tuning into everyday sounds can inspire music. Clap, clap, CLAP! (Picture Book. 3-7)