Earning stratospheric style points, Goodell (Andiamo, Weasel!, p. 1130, etc.) portrays a pair of high-stepping feline dancers who’d drive Astaire and Rogers to the sidelines. It’s love at first twirl when tiger-striped Red meets elegant Ginger at the titular “boogie-woogie juke joint.” “They jitterbugged and cut a rug. / They did the waltz and samba. / Their cat-trot was exceptional, / Magnificent! ¡Caramba!” On they sweep, to wow audiences from Broadway to Vegas, on the silver screen, in Paris, Brazil, and Havana. In each setting, not only are they posed with joyful expressions and irresistible exuberance in mid-fling, but their clothes are magnficent: elegant tuxes or deceptively casual dress for him, splendid ruffles, liquescent silks, and luxurious furs for her. Paired to a toe-tapping rhyme from Appelt (Poems from Home Room, p.1214, etc.), this happily-ever-after terpsichorean triumph will leave readers of any age breathless. (Picture book. 7-9)
Pub Date: Oct. 1, 2002
ISBN: 0-15-201980-4
Page Count: 32
Publisher: Harcourt
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Sept. 1, 2002
Having put together a band with renowned cousin Duck Ellington and singer “Bee” Holiday, Rooster’s chances sure look...
Winning actually isn’t everything, as jazz-happy Rooster learns when he goes up against the legendary likes of Mules Davis and Ella Finchgerald at the barnyard talent show.
Having put together a band with renowned cousin Duck Ellington and singer “Bee” Holiday, Rooster’s chances sure look good—particularly after his “ ‘Hen from Ipanema’ [makes] / the barnyard chickies swoon.”—but in the end the competition is just too stiff. No matter: A compliment from cool Mules and the conviction that he still has the world’s best band soon puts the strut back in his stride. Alexander’s versifying isn’t always in tune (“So, he went to see his cousin, / a pianist of great fame…”), and despite his moniker Rooster plays an electric bass in Bower’s canted country scenes. Children are unlikely to get most of the jokes liberally sprinkled through the text, of course, so the adults sharing it with them should be ready to consult the backmatter, which consists of closing notes on jazz’s instruments, history and best-known musicians.Pub Date: Sept. 1, 2011
ISBN: 978-1-58536-688-0
Page Count: 32
Publisher: Sleeping Bear Press
Review Posted Online: July 19, 2011
Kirkus Reviews Issue: Aug. 1, 2011
Bishop’s spectacular photographs of the tiny red-eyed tree frog defeat an incidental text from Cowley (Singing Down the Rain, 1997, etc.). The frog, only two inches long, is enormous in this title; it appears along with other nocturnal residents of the rain forests of Central America, including the iguana, ant, katydid, caterpillar, and moth. In a final section, Cowley explains how small the frog is and aspects of its life cycle. The main text, however, is an afterthought to dramatic events in the photos, e.g., “But the red-eyed tree frog has been asleep all day. It wakes up hungry. What will it eat? Here is an iguana. Frogs do not eat iguanas.” Accompanying an astonishing photograph of the tree frog leaping away from a boa snake are three lines (“The snake flicks its tongue. It tastes frog in the air. Look out, frog!”) that neither advance nor complement the action. The layout employs pale and deep green pages and typeface, and large jewel-like photographs in which green and red dominate. The combination of such visually sophisticated pages and simplistic captions make this a top-heavy, unsatisfying title. (Picture book. 7-9)
Pub Date: March 1, 1999
ISBN: 0-590-87175-7
Page Count: 32
Publisher: Scholastic
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Jan. 1, 1999
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