Jazz: A History of America's Music

Also ignored are Joe Williams, Shirley Horne, Carmen McRae, J.J. Johnson, Billy Eckstine and Oscar Peterson. Other than for Benny Goodman and Artie Shaw, the white bands are given short shrift. Les Brown, Stan Kenton and Woody Herman bands get only mention and little more. That treatment is accorded Stan Getz, Lee Konitz, Art Pepper, Lennie Tristano, Bill Evans, Kai Winding, Buddy Morrow, Frank Rosolino, Bob Brookmeyer, Shelly Manne, Buddy Rich, Charlie Bird, Anita O'Day and Joe Mooney to name a few. These were not just greats. They influenced musicians, white and black, and changed the sound of jazz forever.

Getz took the Lester Young sound and style and developed it into one that was copied by every tenor man since, including Coltrane. The 4 brothers sound was everywhere. Bill Evans is considered by most knowledgeable critics as the finest jazz piano man who ever lived. The J & Kai recordings are among the greatest trombone works. Joe Mooney's group was 2nd (to Nat King Cole trio) in a 1940's Downbeat poll even thought they had never recorded. Anita O'Day was not only a great vocalist but also ran the High Note on North Clark Street in Chicago which was home to Monday night sessions for years. The influence of Tristano and Konitz cannot be questioned. Shelley Manne was widely copied and responsible for a style of drumming in which one felt more than heard the driving force of brushes. Bobby Brookmeyer continues to compose, direct and play to the present. Charlie Bird was the greatest of acoustic jazz guitarists and studied with Segovia.

With all of those omissions, Burns still finds space to showcase Armstrong and Ellington on each of the 10 tapes. That appears to be at urging of a bigoted Marsalis. There are many fine sides on those tapes. They should be heard. But don't imagine that this Documentary even scratches the history of jazz.


It left me wanting more - a lot more   June 2, 2001
 2 out of 3 found this review helpful

While the content presented is excellent and well laid out, the point of view is based very much on Ken Burns' personal tastes. There are many great artist with great stories who were either glossed over or left out entirely. I recommend that anyone with an interest in jazz read this book. However, if you have a somewhat indepth knowledge of jazz history,or are looking for a particular favorite artist, you might be a little disappointed.


A lavishly illustrated history of jazz music   March 4, 2001
 2 out of 3 found this review helpful

Jazz: A History Of America's Music provides a lavishly illustrated history of jazz music, from its roots in the black community to its rise as an American musical art form. Civil rights struggles, business and community relationships and musical style alike were all affected by the rise of jazz music: Jazz: A History of America's Music provides an outstanding visual and text coverage of the genre.


The true story of jazz still hasn't been told.....   January 31, 2001
 5 out of 12 found this review helpful

I read this book because: of my love for old school jazz and the big "HOOPLA" over this publication! I can't say that I gained much knowledge from this book. If you are a true collector of jazz and know Duke Ellington, Louis Armstrong, Lee Morgan, Charlie Parker, Dizzy, Wes Montgomery, Freddie Hubbard, Billie Holiday, Coltrane and others then you already know more or as much as what is written here.You've got 512 pages to tell a story about a subject so diverse and complex that I don't know how he did it and felt that justice was done! What I would have preferred he did was to write several books on jazz EACH concentrating on a particular era. That way I think the public would get a true and comprehensive study of our most beautiful and natural resource--jazz. Sorry but I can't offer a rating higher than 2 - 2 1/2 stars.


A Good Introduction To Jazz   January 23, 2001
 15 out of 15 found this review helpful

I would endorse this book and the accompanying series as a way for neophytes to enter an extremely challenging and complicated genre and as a reasonably good summation of the history of Jazz through 1960. But I would hope that Ken Burns' work isn't received as the final word on Jazz. Too often projects of these nature take on a Hand of God character and are regarded simply as the final take on a theme. Not so here, and anyone who knows the history of Jazz will point to numerous ommissions throughout the series. But if you're looking for a good entertaining way to learn or enjoy Jazz, this is probably a good bet. And if even one person ends up liking Jazz as a result of Burns' work, the world will be a better place. The series can't hurt and the debate is healthy. It just shouldn't be regarded as the only word on the subject.