“Corbett has honed in on some of the most intriguing music happening today and his discussion is never less than lively, intelligent, and politically concerned.” — Ben Watson, The Wire
“[A] frequently revealing, frequently frustrating book, and it's different from the usual collections of jazz journalism for two reasons. The first reason is Corbett's wide range of interests. . . . The other special quality of Extended Play is its pure, clear focus on creativity.” — John Litweiler, Chicago Tribune
"Fascinating and at times brilliant, Extended Play addresses a number of issues that circle around ‘music’ in ways that are new and stimulating, and explores them with wit, intelligence, and sophistication. Corbett is an important thinker, as well as a good journalist—a rare combination." — John Szwed, John Musser Professor of African and Afro-American studies, American studies, Music, and Anthropology, Yale University
"One of the most important aspects of Corbett’s trawl along the musical fringe is that it denies the genre definitions that usually constrain music books—this is not a book about jazz or rock or art music but about all of them. It is precisely this which enables him to address the broad questions about the effect of technology, globalization, etc. on our sense of what it is to make and listen to music. An outstanding work—lucidly written, well organized, engaged, and intelligent. It is certainly one of the most stimulating books on music I've read in the last couple of years." — Simon Frith, author of Sound Effects and Music for Pleasure
"Yes, contemporary musical creativity is alive and well and well-celebrated in this valuable book. Great music that often has audiences of three people is here discussed along with great music that has audiences of thousands." — Michael Snow, film, sound, and visual artist, and editor of a collection of essays, Music/Sound
"Fascinating and at times brilliant, Extended Play addresses a number of issues that circle around ‘music’ in ways that are new and stimulating, and explores them with wit, intelligence, and sophistication. Corbett is an important thinker, as well as a good journalist—a rare combination." — John Szwed, John Musser Professor of African and Afro-American studies, American studies, Music, and Anthropology, Yale University
"One of the most important aspects of Corbett’s trawl along the musical fringe is that it denies the genre definitions that usually constrain music books—this is not a book about jazz or rock or art music but about all of them. It is precisely this which enables him to address the broad questions about the effect of technology, globalization, etc. on our sense of what it is to make and listen to music. An outstanding work—lucidly written, well organized, engaged, and intelligent. It is certainly one of the most stimulating books on music I've read in the last couple of years." — Simon Frith, author of Sound Effects and Music for Pleasure
"Yes, contemporary musical creativity is alive and well and well-celebrated in this valuable book. Great music that often has audiences of three people is here discussed along with great music that has audiences of thousands." — Michael Snow, film, sound, and visual artist, and editor of a collection of essays, Music/Sound