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Sadly, such books seldom are read. For one thing, coffee table books are simply too heavy to place on one's lap in the comfort of a favored upholstered chair. Coffee table books received that moniker long ago, because that precisely described their ultimate destination.
Readers, particularly those with an interest in music, are likely candidates to buy one of the heaviest and gaudiest volumes in recent memory. And if you've been in the audience for the PBS series by Ken Burns called "Jazz: A History of America's Music" (Alfred A. Knopf, $65). Not too many of us can afford to plunk down such a price for any book, much less one devoted to jazz music. But pay attention for a few more paragraphs. You may reconsider.
"Jazz" serves as a magnificent companion to a series which has drawn both raves and grumbling from various national music critics. The major gripes are that few if any recordings on the series are played through to the end. I watched the chapter called "Swing: Pure Pleasure" and found frustration in the snippets of music that just cried for completion.
For the most part on what I've watched (admittedly not very much) the series suffers from the usual problem with a television version of history. Pictures mean much more than spoken words. As a result, there were times when "Jazz" seemed so devoted to old photos and ancient film clips that the music became something of an afterthought.
That's not quite as noticeable with the book, which devotes plenty of space to text, while displaying some truly awesome photos in jazz history. Included also are the main story, told by Geoffrey C. Ward and his longtime collaborator Burns, whose work on the Civil War and baseball has captivated PBS viewers in the past.
Essays receive attention, including work by some of our best jazz commentators, including Gary Giddins (the best writer on jazz in America), Dan Morgenstern, Gerald Early, and Stanley Crouch. There are interviews with Albert Murray and the grossly boring Wynton Marsalis, who holds the title of The Biggest Windbag in Music. Marsalis never met a cliche he didn't embrace. He keeps his record firmly in grasp here.
There's also a mysterious decision to treat the past 40 years as if jazz was asleep the entire time. For a book and series that will introduce jazz music to a large population of novices, saying (by inference) that nothing has occurred in jazz since the start of the 60s seems to be an absurd declaration.
However, there's much in "Jazz" that pleases jazz fanatics such as me. Anytime that America's contribution to music can receive this much attention can only be welcomed.
Give yourself a break. Tune in aÝcollege radio station; many feature jazz programming. You'll be able to hear jazz of the past and present. You may not like it all, but there should be something worth your time and attention.
At the same time, consider "Jazz: A History of America's Music." You'll not only get a beautiful new addition for the living room's coffee table, but you'll find yourself reading far into the night.
WIN FREE MUSIC
Would you enjoy having the postman slipping a package containing some excellent jazz into your mailbox? It's possible, Powerssound readers.Ý All you have to do to enter the first contest in this column's two-year history is to sit down at your computer and type out a 250-word essay on why you love jazz.No profound statements are sought. Just express, the best you can, why you feel jazz is the music of the times. If you have a story about a famous jazz player you met, or simply heard perform, that could bring you a bonanza of new music from the extensive files maintained by Powerssound.
Give me another week or two and I'll be specific as to the exact prize.Ý Meanwhile, send me your entry.Ý Remember, if you don't enter, you can't win. Simple as that.
Send your entry to: rpowers@ee.net .
Thanks a bunch!
