Book Review - Ben Aaronovitch's Moon Over Soho
Published by: Gollancz
Publication Date: March 1st, 2011
Format: Paperback, 375 Pages
Rating: ★★★★★
To Buy (different edition than one reviewed)
A body is just a body unless something uncanny happened to it. Cyrus Wilkinson apparently dropped dead of a heart attack while playing with his jazz quartet. He wasn't the first and he won't be the last jazz musician to die in such a fashion. But his body is different. As PC Peter Grant examines the body he sees why he was brought in. Or should that be hears why. Because he hears the strains to the song "Body and Soul." Despite outward appearances, this man died by magic. And the song is the key. Which means instead of turning to his boss, DCI Thomas Nightingale, he's turning to his dad. "Lord" Grant was a legend in his time. That's when he was able to play and not crippled by his addiction. It has always broken his father's heart that Peter just doesn't like jazz, but he is more than happy to spend time with Peter looking for the exact version of "Body and Soul" that Cyrus Wilkinson's body was emitting. This version has a little swing, a little something special, and it was played by one Ken "Snakehips" Johnson who died in the Blitz when a bomb hit the Café de Paris in Soho. Which leads Peter into the heart of Soho. He's sure that Cyrus Wilkinson's death wasn't the first and won't be the last. Someone is draining the life force out these talented musicians like some sort of jazz vampire, and yes, he realizes that he should have probably thought of a better name, but it's too late to change it now. With Nightingale recuperating from his recent gunshot wound and Lesley on medical leave in Brightlingsea, Peter is on this case by himself, until he picks up the remaining members of Cyrus Wilkinson's quartet as his own Irregulars who view him as a descendant of royalty. But really, the "Lord" is just a moniker gifted to his father by Ray Charles. But then there's also Simone. Simone was living with Cyrus Wilkinson before his death and she just keeps showing up wherever Peter turns. Sure Soho is small, but it can't be a coincidence. Soon she is all he is concerned with. His obsession leaves his police work by the wayside. Peter needs to remember there are jazz vampires and something far worse walking the streets of Soho and he's at the center of it.
As it so happens with the randomness of the universe I read two books set in Soho back to back. One perfectly captured Soho, and let's say, it wasn't the one written by a heavily lauded author known for her historical fiction, it was the one written by a former writer of Doctor Who novelizations which happened to include jazz vampires. While repeatedly saying jazz vampires might make you think that this book which perfectly blends the paranormal with the procedural might be a bit absurd and silly, I would counter that there's more snark and the humor is perfectly dark so the jazz vampires really do make sense even if Peter will forever feel a bit silly about giving them that name. There's also this storied history about Soho, we see the layers of time and the shifting of taste and music. I kept thinking it was the supernatural equivalent of Last Night in Soho. These two different forms of art captured a time and a place better than the previously alluded to historical fiction award winner. Then adding the procedural element on top and, oh my, I started to get Endeavour vibes. That seediness, that world where the line between cops and criminals was so narrow as to hardly exist. Clubs with smoke clinging to the wallpaper and the ever present threat of danger. And don't even get me started on the Strip Club of Doctor Moreau. Again, sounds funny, but really terrifying. Like the most horrific mashup of the London nightclub scene with "human" trafficking. I devoured this book over two days in which I literally did nothing else that wasn't necessary to keep myself alive. I enjoyed the first book, I worship this one. But what has given Peter a permanent place in my heart is his opinion on jazz. Peter's inner monologue when his Dad "played a couple of bars of 'Body and Soul', stating the melody before vamping and then taking the line in a direction that I've never been able to follow or appreciate. He looked disappointed at my reaction - he keeps hoping that I'll grow into it one day." Made my heart sing. I can't stand jazz, I can't stand the vamping. I NEED a melody that doesn't spiral off into wankery for thirty minute impromptu solos of experimentation. The music will never take me, or Peter, like that, and I am forever grateful to find a kindred soul.
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