Free PDF The History of Jazz, by Ted Gioia
Free PDF The History of Jazz, by Ted Gioia
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The History of Jazz, by Ted Gioia
Free PDF The History of Jazz, by Ted Gioia
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Review
"The best book of its kind."--Gary Giddins, author of Visions of Jazz: The First Century"A remarkable piece of work... encyclopedic, discriminating, provocative, perceptive and eminently readable. ...If you are looking for an introduction to jazz, this is it. If you know and love jazz well, this is your vade mecum. Me, I expect to be reading around in it for the rest of my life."--Jonathan Yardley, The Washington Post"Ted Gioia's herculean The History of Jazz...navigates this wild country with immense sophistication, scholarship, and wit. In fact, Gioia's History stands a good chance of becoming the standard guide for general readers and academics."--Village Voice"An authoritative work of research that doesn't spare the poetic power of words."--James Sullivan, San Francisco Chronicle"Anyone looking for a balanced, well-written popular history of jazz will certainly find [The History of Jazz] both readable and reliable."--The Wall Street Journal"A very detailed telling of the events occurring throughout the 20th century that led to the creation and growth of jazz. It makes for an informative and enjoyable reading experience for all who love the art form."--Horace Alexander Young, Washington State University"An excellent, well-written text that makes the subject understandable and interesting."--Brian Q. Torff, Fairfield University"Very well researched, easy to read but extremely articulate. Mr. Gioia has accomplished a seemingly difficult feat with great ease."--Wendel Werner, Roane State Community College"A miracle of concision, Ted Gioia's History of Jazz fills the most conspicuous gap in the music's literature. Marshall Stearns published The Story of Jazz 40 years ago, and the need for a work that would update the story, while incorporating new research and insights, has long been apparent. Gioia does the job with polish, clarity, justice, and surprising completeness--it's the best book of its kind."--Gary Giddins, author of Visions of Jazz: The First Century (forthcoming from OUP in 1998)"If you wanted to introduce someone to jazz with a single book, this would be a good choice."--Kirkus Reviews"Gioia generously considers the obviously major players yet notes hundreds of other musicians, too, always with a perspicacity born out of his own working knowledge...and the literary fluency of the essayist whose Imperfect Art is one of the best younger critics' books."--Booklist"[The History of Jazz] is a remarkable piece of work, not without its shortcomings or its invitations to argument but, withal, the definitive work: encyclopedic, discriminating, provocative, perceptive and eminently readable. With its publication, it can no longer be said that the literature of jazz falls far short of the music itself.... The sweep of Ted Gioia's narrative is grand, indeed helps us understand just how grand the story of jazz really is.... If you are looking for an introduction to jazz, this is it. If you know and love jazz well, this is your vade mecum. Me, I expect to be reading around in it for the rest of my life."--Jonathan Yardley, The Washington Post, Chosen as One of the 20 Best Books of the Year"This well-researched, extensively annotated volume covers the major trends and personalities that have shaped jazz. The excellent bibliography and list of recommended listening make this a valuable purchase for libraries building a jazz collection."--Library Journal"Ted Gioia's herculean The History of Jazz...navigates this wild country with immense sophistication, scholarship, and wit. In fact, Gioia's History stands a good chance of becoming the standard guide for general readers and academics."--Greg Tate, Village Voice"An authoritative work of research that doesn't spare the poetic power of words."--James Sullivan, San Francisco Chronicle"Anyone looking for a balanced, well-written popular history of jazz will certainly find [The History of Jazz] both readable and reliable."--The Wall Street Journal"An all-encompassing short history of the genre that has dominated 20th-century music."--he New York Times Book Review, A Notable Book of 1998"...a masterful and fair-minded work" - The Misread City"The mass of information is structured by a strong linear narrative and is carried along by Gioia's poetic turn of phrase. One of the best, and most even-handed, surveys of jazz and its literature." Financial Times"For the past 25 years, author and teacher Ted Gioia has provided the most succinct and contemporary histories of America's native musics: blues and jazz. He has done this through his exceptional facility for taking all the previous literature, separating the wheat from the chaff, correcting the errors and myths, and burnishing a brand new shine on the music whole." --AllAboutJazz.com
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About the Author
Ted Gioia is a musician, author, and leading jazz critic and expert on American music. The first edition of his The History of Jazz was selected as one of the twenty best books of the year in The Washington Post, and was chosen as a notable book of the year in The New York Times. He is also the author of Delta Blues, West Coast Jazz, Work Songs and The Birth (and Death) of the Cool.
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Product details
Paperback: 452 pages
Publisher: Oxford University Press; 2 edition (May 9, 2011)
Language: English
ISBN-10: 0195399706
ISBN-13: 978-0195399707
Product Dimensions:
9.2 x 1.3 x 6.1 inches
Shipping Weight: 1.4 pounds (View shipping rates and policies)
Average Customer Review:
4.5 out of 5 stars
99 customer reviews
Amazon Best Sellers Rank:
#53,894 in Books (See Top 100 in Books)
After having purchased and read Gioia's superb book on blues, I naturally wanted to read up on jazz and its history, and this book for the most part is extremely passionate, accurate, and has made points I had thought of myself, such as the indelible influence on jazz from both the blues and especially ragtime, particularly the works of Scott Joplin. I am pleased to have discovered Bix Beiderbecke and Jack Trambauer and ordered an incredible CD featuring the legendary cornetist, saxophonist, and as a plus, some tunes with jazz guitarist Eddie Lang spicing up the tunes. Truly, Beiderbecke, and others of the Chicago early jazz scene lifted the Dixieland New Orleans style from its somewhat flamboyant styles and started the movement that would become swing in a few years. Plus, my admiration for Benny Goodman, Duke Ellington and Charlie Christian was verified by Gioia, certainly a far more educated person on jazz than most people ever will be. And this from a guy who also loves metal, blues, classic rock, the early rockers like the Beach Boys, Chuck Berry, Beatles, Dave Clark Five, etc. The musician in me is attracted to so many styles it's ridiculous. We learn of the beginnings of Miles Davis' unbelievable early recordings, including the one album most consider maybe the greatest jazz album of all time, "Kind of Blue". Coltrane, Ornette Coleman, Charlie Parker, on through fusion and today's state of the genre are all well represented. However, I must take great exception with this book for a good reason in my opinion, and it cost Gioia a star: he seems nearly indifferent to some of the greatest players ever, mainly the guitarists. And the B-3 organ, especially discounting the great Jimmy Smith and his many many albums with greats like Kenny Burrell, Wes Montgomery and Grant Green among them. Gioia even goes so far as to consider this form of bebop and hard bop as hackneyed, if you can believe that. Only scant attention is paid to Montgomery, who was and remains the greatest jazz guitarist in history. Eddie Lang is mentioned, as is Django Reinhardt, but only Charlie Christian in the author's mind seems to merit more than just passing commentary. I find this one sided and unfair. Fact is, jazz guitar reaches more people, with titans like Burrell especially on his magnum opus "Midnight Blue" playing with an incredible combination of blues and hard bop style. No less guitar greats than Jimi Hendrix, who loved Burrell and Stevie Ray Vaughan sung his praises, with Vaughan performing a fine cover of "Chitlins Con Carne" Grant Green is receiving more attention now, ironically as he died from drug abuse in 1979. But his funky stylings are still popular, as are his brilliant earlier recordings with Sonny Clarke, Jimmy Smith, Stanley Turrentine, Elvin Jones and Art Blakey. Pat Metheny is mentioned, but consider this list of guitarists Gioia deigned to even acknowledge, preferring instead to obsess over horn players and pianists as if guitars were hardly worthy of his attention. At no point do we read about George Van Eps, Pat Martino, Jimmy Bruno, Danny Gatton's fine jazz output, Russell Malone, or the incredible Stanley Jordan. Nor do we get any mention of Mike Stern, and other well known players. This is not an oversight - it's a disrespectful and deliberate commentary on what Gioia clearly considers an instrument worthy of mention only in the most unavoidable instances. This is puzzling, as he clearly understands guitar music as evidenced by his book on the blues. But the history of the wonderful world of jazz music is still well worth the time to read. I will not disparage other instrumentalists endemic to the form, but I must confess as a guitar player, I am biased about the exclusion of its importance. Frankly to me, monosyllabic instruments that can only play one note at a time are severely limited in their scope and have to rely on other musicians for chord colorings, expressive solos, etc. I really have difficulty telling one saxophone player from another unless the style is unusually prominent. For example, Coleman Hawkins, one of the longest lived heroes of jazz has a more laid back approach than John Coltrane. Benny Goodman managed to forge a distinct style on the clarinet, and Miles Davis in his "cool" phase had a great tone. The less said about his material beginning with "Bitches Brew" the better in my view, as it remains to me a convoluted unfocused barrage of tones that are the aural equivalent of pretentious and frankly, worthless modern art. We are unlikely to see a more complex but readable history of the jazz world, however, and Gioia's research and knowledge are indeed encyclopedic. Just expect a LOT of coverage on saxophones.
If you happen to be new to the subject of jazz history - as I was 17 years ago when I read the first edition of this book, in paperback - then this book is a very good place to start. Back then I had only a minimal knowledge of the big names and movements in jazz history, but I was very eager to expand my jazz knowledge beyond the "smooth jazz" that was ruling the airwaves at the time. This is a great deal of information and I learned so much the first time (and ended up buying a lot of great CDs as a result), but many of the names and their stories went over my head. Also, logistically the paperback version features large pages, very long chapters, and small print. So it was very challenging to read when there wasn't much "white space".Fast forward 17 years, to the second edition (on my Kindle, so I can adjust the print size), and on the second swipe of this book the pieces began to fall in to place. This is not a quick, easy read and when the author mentions styles of music and cites specific songs - you just want the book to jump out and start playing these songs! I heard spotify is a good way to do this but it would take months to finish the book if you tried to hear everything. The best "sound" companion to this would be the Ken Burns "Jazz" documentary from 2000, which I have watched several times. It's not completely comprehensive, that would take five times as long, but you can hear a lot of the styles and learn some of the basics. Then you can start enjoying America's greatest contribution to music. And you'll have your favorites as I do: Billie Holiday (what's my dog's name?), Miles Davis, Duke Ellington, Thelonius Monk, Ella Fitzgerald, and so many more...
Ted Gioia writes a very unbiased book on the history of jazz. Many of the documentaries/books have lots of opinions, but Ted Gioia tries to remain neutral. We had to read this book for my first year in Jazz Studies at the Eastman School of Music
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