Introduction to Jazz History

by Donald D. Megill, Richard S. Demory

This classic chronological survey of jazz history brings the various historical styles to life by exploring them through the lives of the musicians and a study of their recordings. It covers all major historical periods and features 70 unique Listening Guides to specific performances, drawn from the readily available Smithsonian Collection of Classic Jazz (SCCJ) and from the recordings that accompany the text on two CDs/cassettes. (Using the CDPro plug-in readers can access the Listening Guides for an interactive experience.) Biographical sketches for recent and historical musicians define the cultural elements that surround the musicians and the music. Covers country and city Blues (1900-); piano styles (1890-1940; Ragtime, Stride, Boogie-Woogie); New Orleans jazz and Dixieland (1910-1940); Swing (1934-1945); Bebop (1943-1960); Third Stream and Cool (1949-); free jazz (1960-); and the jazz/rock fusion (1968-). Highlights several of the ongoing stylistic trends in jazz today; and covers the new hybrids of American music. Features a provocative essay on Jazz and the Creative Spirit; and supplemental appendixes on The Elements of Music for the Nonmusician, The Elements of Jazz, and Rock to Fusion. For anyone interested in the history of jazz.

Genres: Music

368 pages, Paperback

First published March 1, 1984

Reviews

[Daniel]

This book is actually a very poorly written book introducing students to the history of Jazz. I'm actually glad it is out of print, and it should never come back in print. For a book highlighting the creative powers of African Americans, particularly at a time when they still didn't have full rights as American citizens, the writers of this book portray black people in a really bad light. Particular phrasings throughout the book are awkward and cringe worthy. For instance, on page four they discuss how "Afro-Americans...[played] instruments...for the entertainment of their masters." Later on the same page, when discussing spirituals, they write: Black slaves "employed symbolism specific to the black situation." What black situation is that, Donald? On page five, "It was sung by the lead vocalist in dialect and took a humorous, if patronizing, view of the blacks' condition." What condition is that, Donald? On page eight, "Effective work-song leaders were in demand...because they alleviated worker discontent." Worker discontent, Donald? You are talking about slavery in this section. The final straw comes in the Scott Joplin section. Donald writes: "However, Joplin realized that education was the way to escape the stereotypical black role." Um, what? What is this "stereotypical black role," Donald?

I highly do NOT recommend this book to anyone to have a good understanding of the formation of jazz and blues. There are far better books out there on this subject. Let this one turn to dust.

[Lawrence]

Useful overview of the history of jazz, covering the many styles and representative musicians. Unfortunately, the book did not include the cds for the listening exercises; and I think that is crucial to a reader's use and true enjoyment of the book. So I supplemented it with the jazz course from the Great American University series. It's probably a book that should be the beginning of a reader's journey into jazz writing; but it still works even if, like I did, you've already immersed yourself in less general writing about jazz history.

[Lisa]

Introduction to jazz history by Donald D Megill (1984)

[Bjm Index]

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