First off, let's get the kudos down: Geoffrey C. Ward and Ken Burns deserve far more than simple gratitude for bringing jazz to the limelight with this lavishly illustrated volume. The book features among its 500-plus pictures many of the previously unseen shots of musicians and venues glimpsed in Burns's 10-part documentary, Jazz. (See our Ken Burns Jazz Store for the lowdown on the series.) Jazz: An Illustrated History follows the film episode by episode, and it's filled with rich historical detail in the early chapters. Like the series, however, the book trails off after a certain point in chronicling jazz's history. It gives background aplenty on early New Orleans music, the migration of jazz up the Mississippi to major urban centers, and the developments of swing and bebop. After bebop, the history gets a bit perfunctory. Dozens of major figures get mere sidebar coverage. Little is said of substance on Latin or Brazilian jazz, European contributions to the music, fusion, or umpteen smaller deviations from the mainstream. There are wonderful essays that highlight elements of jazz culture, particularly Gerald Early's consideration of race and white musicians in jazz and Gary Giddins's five-page essay on avant jazz. And there are fine sidebars as well. But developments during and after the 1960s are dealt with primarily in impressionistic guest essays rather than detail-oriented historical narrative. It is, of course, difficult to capture all jazz history in any single volume. So perhaps this ought to have been called Jazz: A Historical Appreciation, since the hundreds of images certainly create an intense sense of the music's milieu. --Andrew Bartlett

From Publishers Weekly
A paperback reprint of the companion volume to the authoritative Burns and Ward documentary-the 19-hour, 10-episode series that aired on PBS in January, 2001-this lavishly illustrated history describes the evolution of jazz during the 20th century, focusing on the careers of a key players like Duke Ellington, Louis Armstrong, Charlie Parker, Miles Davis and Benny Goodman. In his introduction to the massive volume, Burns writes that his decision to make Jazz was inspired by a comment made by Gerald Early, a writer he interviewed for the authors' last documentary, Baseball. "Two thousand years from now," Early said, "there will only be three things that Americans will be known for: The Constitution, baseball and jazz music." Burns admits he knew next to nothing about jazz before deciding to create "the most comprehensive treatment of jazz ever committed to film," and there lies the work's Achilles' heel. Burns has his conclusion-that jazz is a metaphor for the United States-firmly in hand before he begins to know his subject. This approach translates into a rather tepid, conservative view of jazz. Not every subject or musician can be touched upon in one book; however, it does seem strange that such a sweepingly titled volume does discuss the musical roots of jazz, e.g. Africa's talking drums, or mention the Lockbourne Airforce Base, where many noted black jazz musicians received training. The entire 40-year period from 1960 forward is relegated to a single chapter, a rather pronounced statement about how the authors feel about more recent achievements. More than 500 illustrations and photos. Copyright 2002 Reed Business Information, Inc.

From School Library Journal
Adult/High School-A companion to Ken Burns's television series, this will be a welcome addition. Hundreds of photographs, a few of the more recent in color, but mostly in black and white, will draw teens into this wonderful introduction to an American art form. The images alone are worth the price. Many have never been published before. However, the detailed text is a resource for both the history of jazz and the people who developed it. Arranged chronologically, the work shows how music reflects the culture and events of its time. The reciprocal is also true; the events of the 20th century from boom, depression, and war are shown in the music of the period. Given the ethnic roots of jazz, this history also includes the roles of racist economic hardships. Although the emphasis is on the beginning years from the Creoles of color in New Orleans through Louis Armstrong, Jelly Roll Morton, Duke Ellington, and Sarah Vaughan, to name only a few, the current status is not forgotten; a photo of Wynton Marsalis concludes the book. The biographical details of first-person memories will be of interest to report writers. An outstanding resource.Claudia Moore, W. T. Woodson High School, Fairfax, VACopyright 2001 Cahners Business Information, Inc.

From AudioFile
The first tape starts with a mellow jazz riff, signaling a special experience for listeners of the audiobook adaptation of Jazz, which is the companion book for the newest Geoffrey Ward and Ken Burns public television documentary (debuting in January 2001). LeVar Burton's gentle voice can be down-home plain or uptown sophisticated, depending on which jazz musician he is quoting in this history of America's unique music. He handles the segues from text to the numerous exemplary musical passages effortlessly and seems to know just when to pause to give listeners a moment to digest the wealth of information in the audiobook. The musical pieces themselves are essential to the story and appear just when the listener needs to hear the music being described. Some listeners undoubtedly will want more than the 38 pieces included, but those that are used serve to complete the listening experience without overwhelming the narrative of what is, after all, an audiobook. A.C.S. -- Copyright © AudioFile, Portland, Maine

From Booklist
Ward, the writer, and Burns, the filmmaker, collaborated on the hugely popular Civil War and Baseball "packages" (a book accompanying a PBS television documentary). With Jazz, Burn states, "we complete our trilogy on American life, finding in the music's lines and phrases and riffs not only a meditation on American creativity, but a joyous and sublime celebration of its redemptive future possibilities." The 10-part documentary of the first American music is slated for broadcast in January 2001 and will run 19 hours. This book will assist in providing the advance publicity to ensure the film's success. Already the project is stirring up controversy among jazz critics and fans. The historical approach has particularly come under fire, for Burns uses the suspect "Great Man" perspective, relying on following the lives of Louis Armstrong, Duke Ellington, Charlie Parker, and Miles Davis to carry the history of jazz, for the most part, which is certain to raise cries, or rather screams, of protest. Also, many would rather have another proponent of the music besides Wynton Marsalis taking center stage as jazz authority, but that, too, is a quibble in terms of a history of jazz for the general public. The book follows that program, but, for a general survey of such a protean music, it's quite serviceable. Besides the Marsalis interview and numerous learned Marsalis quotes sprinkled throughout, Ward and Burns include essays by Dan Morgenstern, Gerald Early, Gary Giddens, and Stanley Crouch. The illustrations are copious, including about 500 pieces and running from cover to cover; the text, picture captions, and sidebars reflect the research that went into the six-year project. A very competent and lovingly rendered history. Bonnie Smothers
Copyright © American Library Association. All rights reserved

FROM OUR EDITORS

Our Review
All That Jazz
Sure, Jazz: A History of America's Music, is lushly illustrated, each page displaying a photograph more rare than the one preceding it. Sure, even the most ardent jazz enthusiast will find information and images in the companion book to the upcoming PBS series that would make him or her salivate. But treat Jazz as a coffee-table book at your own risk: As soon as guests get their hands on this highly readable book, you can kiss conversation goodbye!

The award-winning team of Geoffrey C. Ward and Ken Burns -- whose past efforts brought Baseball and The Civil War to life -- weave the stories of myriad musicians, personalities, styles, and schools into an engaging and singularly American tale. The result is a thoroughly entertaining tribute to ingenuity, creativity, and good ol' American music.

Beginning at the dawn of the 20th century, the narrative traces the path of jazz from its birth in New Orleans gumbo and its progression through big band, swing, bebop, fusion, acid, and avant-garde. The unifying aspect of this sprawling account is provided by the musicians, whose stories are really the saga's heart and soul. Of course, greats like Jelly Roll Morton, Bessie Smith, Louis Armstrong, Count Basie, Duke Ellington, Billie Holiday, Dizzy Gillespie, Charlie Parker, Thelonious Monk, Miles Davis, John Coltrane, and others are given ample attention. Their life stories and extraordinary contributions to the music are recounted with a mix of reverence and affection.

But the pages of Jazz are also populated by a roster of supporting players -- musicians and singers whose names and music might be recognizable but whose legacy is slight in comparison to acknowledged masters like Satchmo, Bird, and Lady Day. Their stories add a level of accessibility to the book and to the music. They remind the reader that jazz is for everyone -- not just the masters, not just the elite. And this message of accessibility is the defining mark of Jazz, both the book and the TV series.

Contributions from such renowned jazz authorities as Gary Giddins, Albert Murray, Stanley Crouch, and Gerald Early are an added treat.

With Jazz: A History of America's Music, Ward and Burns not only succeed in documenting one of America's finest artistic achievements in engaging prose and priceless illustrations; they also triumph in bringing this art form to life and making it available for all to hear, appreciate, and stamp their feet to. Jazz is a remarkably joyous celebration of America's aptitude for change and discovery and of our music.

--Karen Burns

FROM THE PUBLISHER

The magnificent companion book to the 19-hour PBS television series by the award-winning team responsible for The Civil War and Baseball.

Ken Burns and Geoffrey Ward now bring us the history of the first American music. This powerful narrative is brought to life by the remarkable men and women who have made their mark on the music and on our culture. In words and photographs -- some never before published -- we meet Louis Armstrong, Bessie Smith, Duke Ellington, Billie Holiday, Benny Goodman, Ella Fitzgerald, Charlie Parker, Miles Davis, John Coltrane, Dizzy Gillespie, Dave Brubeck, and many more. Contributors Wynton Marsalis, Dan Morgenstern, Gerald Early, Stanley Crouch, and Gary Giddins put the evolution of jazz in cultural context.

Jazz, like the music itself, is an exploration and celebration of the American experience.

FROM THE CRITICS

Publishers Weekly

A paperback reprint of the companion volume to the authoritative Burns and Ward documentary-the 19-hour, 10-episode series that aired on PBS in January, 2001-this lavishly illustrated history describes the evolution of jazz during the 20th century, focusing on the careers of a key players like Duke Ellington, Louis Armstrong, Charlie Parker, Miles Davis and Benny Goodman. In his introduction to the massive volume, Burns writes that his decision to make Jazz was inspired by a comment made by Gerald Early, a writer he interviewed for the authors' last documentary, Baseball. "Two thousand years from now," Early said, "there will only be three things that Americans will be known for: The Constitution, baseball and jazz music." Burns admits he knew next to nothing about jazz before deciding to create "the most comprehensive treatment of jazz ever committed to film," and there lies the work's Achilles' heel. Burns has his conclusion-that jazz is a metaphor for the United States-firmly in hand before he begins to know his subject. This approach translates into a rather tepid, conservative view of jazz. Not every subject or musician can be touched upon in one book; however, it does seem strange that such a sweepingly titled volume does discuss the musical roots of jazz, e.g. Africa's talking drums, or mention the Lockbourne Airforce Base, where many noted black jazz musicians received training. The entire 40-year period from 1960 forward is relegated to a single chapter, a rather pronounced statement about how the authors feel about more recent achievements. More than 500 illustrations and photos. Copyright 2003 Cahners Business Information.

Publishers Weekly

A companion volume to the new Burns and Ward documentary, this lavishly illustrated history describes the evolution of jazz during the 20th century, focusing on the careers of a key players like Duke Ellington, Louis Armstrong, Charlie Parker, Miles Davis and Benny Goodman. In his introduction to the massive volume, Burns writes that his decision to make Jazz was inspired by a comment made by Gerald Early, a writer he interviewed for the authors' last documentary, Baseball. "Two thousand years from now," Early said, "there will only be three things that Americans will be known for: The Constitution, baseball and jazz music." Burns admits he knew next to nothing about jazz before deciding to create "the most comprehensive treatment of jazz ever committed to film," and there lies the work's Achilles' heel. Burns has his conclusion--that jazz is a metaphor for the United States--firmly in hand before he begins to know his subject. This smugness translates into a rather tepid, conservative view of jazz. Not every subject or musician can be touched upon in one book; however, it does seem strange that such a sweepingly titled volume does not touch upon the musical roots of jazz, e.g. Africa's talking drums, or mention the Lockbourne Airforce Base, where many noted black jazz musicians received training. The entire 40-year period from 1960 forward is relegated to a single chapter, a rather pronounced statement about how the authors feel about more recent achievements. More than 500 illustrations and photos. (Nov. 6) Copyright 2000 Cahners Business Information.

Library Journal

As a stand-alone volume, this fluidly written and visually satisfying book is highly recommended for all public libraries and for all academic libraries looking for an excellent general history of the musical genre. As a companion to Burns's 19-hour PBS television series of the same name, it is an essential purchase. The authors, who previously collaborated on Baseball and The Civil War (also companions to Burns's films), have assembled a comprehensive history with a focus on the musicians and the sociology of jazz. Those looking for a highly technical, theoretical study of the music will have to look elsewhere, as this book, containing no notated musical examples and using little technical musical language, is clearly intended for the general public and for fans of jazz. However, this guide is so well written, well researched, and probing of the complex relationship between jazz and American society that even professional musicians and musicologists will find something of interest. The short articles by Wynton Marsalis, Dan Morgenstern, Gerald Early, Stanley Crouch, and Gary Giddins, which are woven into the text, provide a more specific focus on a number of jazz's aspects. While this reviewer suspects that a fair number of patrons will turn to public libraries for the documentary and purchase the book themselves, the acquisition of Jazz will undoubtedly and deservedly boost circulation statistics.--James E. Perone, Mount Union Coll., Alliance, OH Copyright 2000 Cahners Business Information.

School Library Journal

Adult/High School-A companion to Ken Burns's television series, this will be a welcome addition. Hundreds of photographs, a few of the more recent in color, but mostly in black and white, will draw teens into this wonderful introduction to an American art form. The images alone are worth the price. Many have never been published before. However, the detailed text is a resource for both the history of jazz and the people who developed it. Arranged chronologically, the work shows how music reflects the culture and events of its time. The reciprocal is also true; the events of the 20th century from boom, depression, and war are shown in the music of the period. Given the ethnic roots of jazz, this history also includes the roles of racist economic hardships. Although the emphasis is on the beginning years from the Creoles of color in New Orleans through Louis Armstrong, Jelly Roll Morton, Duke Ellington, and Sarah Vaughan, to name only a few, the current status is not forgotten; a photo of Wynton Marsalis concludes the book. The biographical details of first-person memories will be of interest to report writers. An outstanding resource.-Claudia Moore, W. T. Woodson High School, Fairfax, VA Copyright 2001 Cahners Business Information.

AudioFile