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Τζαζ: Το χρονικό μιας μουσικής παράδοσης
Ο Μάρσαλ Στερνς εξιστορεί συστηματικά και αντικειμενικά την ιστορία της τζαζ, από τις ρίζες της στην Αφρική και τις Δυτικές Ινδίες μέχρι τη διαμόρφωσή της σε τέχνη η οποία αφού επηρέασε τον αμερικανικό πολιτισμό, εξαπλώθηκε σ' όλες τις γωνιές του κόσμου. Ασχολείται διεισδυτικά με τις λιγότερο γνωστές απαρχές της, την ανάμειξη δηλαδή της μουσικής κληρονομιάς του Αφρικανού μαύρου και των στοιχείων της ευρωπαϊκής μουσικής που συνάντησε κατά την άφιξή του στο Νέο Κόσμο. Περιγράφει τη γέννηση της τζαζ στη Νέα Ορλεάνη, την καταγωγή των τραγουδιών της δουλειάς, τα σπιρίτσουαλ, τα μπλουζ, τα μίνστρελ, την εποχή του σουίγκ, την άφρο-κουβανέζικη επίδραση, την εμφάνιση του μποπ και τις μεταγενέστερες εξελίξεις. (. . .)
358 pages, Paperback
First published December 31, 1956
18 people are currently reading
178 people want to read
About the author
Marshall W. Stearns
7 books3 followersMarshall Winslow Stearns was an American jazz critic and musicologist. He was the founder of the Institute of Jazz Studies
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Displaying 1 - 13 of 13 reviews
January 17, 2009
I found it really interesting, not only because I'm interested in jazz, but also because the book was originally published in 1956. So it doesn't really have a lot of distance from the golden age of jazz. And rock 'n' roll was so new, it gets a passing mention as "rock-and-roll" (quotation marks and all). It's interesting to read about jazz's relationship with the world from that perspective. Anyway, I really loved this quote from the book -- I actually shivered when I read it.
"In a society of increasingly mass-produced, assembly-line entertainment, where every individual is treated like an empty pitcher to be filled from above, jazz retains something of the spirit of the handicrafts of yesteryear. The print of the human spirit warms it. Deep down, jazz expresses the enforced & compassionate attitudes of a minority group and may well appeal to us because we all have blue moods and, in a fundamental sense, none of us is wholly free."
Interesting, too, that even back then they were wary of "increasingly mass-produced, assembly-line entertainment."
Also, earlier in the book, Stearns references the research of a Dr. Milton Metfesser, which I think is maybe the greatest name ever.
"In a society of increasingly mass-produced, assembly-line entertainment, where every individual is treated like an empty pitcher to be filled from above, jazz retains something of the spirit of the handicrafts of yesteryear. The print of the human spirit warms it. Deep down, jazz expresses the enforced & compassionate attitudes of a minority group and may well appeal to us because we all have blue moods and, in a fundamental sense, none of us is wholly free."
Interesting, too, that even back then they were wary of "increasingly mass-produced, assembly-line entertainment."
Also, earlier in the book, Stearns references the research of a Dr. Milton Metfesser, which I think is maybe the greatest name ever.
May 18, 2020
Jazz has an ancient and honorable history, and this book is designed to deal with these varied questions.
This quote from Marshall W. Stearns’ introduction to his book perfectly describes its content. Stearns is himself a fan of jazz, and “The Story of Jazz” is written with a pleasant tinge of personal appreciation of the music.
Stearns has significantly enlarged the usual area covered by the word “jazz” and included all the music created in the USA with the help of the Afro-Americans. The study begins with a lovely, detailed description of the West African traditional rhythms, from which the music of the slaves brought to America had originated. Then, the author examines the New Orleans’ background, the almost over-night transition from ragtime to jazz, and its growth with Buddy Bolden. The third part of the book is dedicated to the American background jazz; Stearns writes about work songs, the Blues, minstrelsy, and Ragtime, thus efficiently and engagingly tracing the path of the musical phenomenon from its roots to the Jazz Age.
Stearns’ study leads the history of jazz up to the beginnings of Be-Bop in the 50s, when the book was published.
The last two parts of “The Story of Jazz” present the author’s insightful analysis of the nature of jazz and the role the Afro-American played in it. Notions such as rhythm and harmony are examined through their role in jazz music.
The whole work is logically and chronologically sequenced, which makes it a pleasant, easy read. Stearns has mentioned many of his interactions with musicians and historians, and they add liveliness to the narrative, giving more interesting details and anecdotes.
Comprehensive, detailed, and compellingly written, “Story of Jazz” is a highly enjoyable and informative read. Recommendable.
This quote from Marshall W. Stearns’ introduction to his book perfectly describes its content. Stearns is himself a fan of jazz, and “The Story of Jazz” is written with a pleasant tinge of personal appreciation of the music.
Stearns has significantly enlarged the usual area covered by the word “jazz” and included all the music created in the USA with the help of the Afro-Americans. The study begins with a lovely, detailed description of the West African traditional rhythms, from which the music of the slaves brought to America had originated. Then, the author examines the New Orleans’ background, the almost over-night transition from ragtime to jazz, and its growth with Buddy Bolden. The third part of the book is dedicated to the American background jazz; Stearns writes about work songs, the Blues, minstrelsy, and Ragtime, thus efficiently and engagingly tracing the path of the musical phenomenon from its roots to the Jazz Age.
Stearns’ study leads the history of jazz up to the beginnings of Be-Bop in the 50s, when the book was published.
The last two parts of “The Story of Jazz” present the author’s insightful analysis of the nature of jazz and the role the Afro-American played in it. Notions such as rhythm and harmony are examined through their role in jazz music.
The whole work is logically and chronologically sequenced, which makes it a pleasant, easy read. Stearns has mentioned many of his interactions with musicians and historians, and they add liveliness to the narrative, giving more interesting details and anecdotes.
Comprehensive, detailed, and compellingly written, “Story of Jazz” is a highly enjoyable and informative read. Recommendable.
January 29, 2016
الجاز هو السحر الايجابي في هذا الكون هو ثمرة جنات عدن التي نزلت مع ادم لتؤنسه هي موسيقى روحية بالنسبة لي اسمعها في كل الاوقات وتاريخ هذا الموسيقى هوة تاريخ للحب للتزاوج الحضاري مابين العالم اجمع فلمحة الحزن اصلها عربي والايقاع افريقي و العذوبة اوربية ❤️
October 24, 2020
I thoroughly enjoyed this book, and would love an audible version with samples of the music he is describing. I feel a need to watch Ken Burns's Jazz documentary again!
April 4, 2015
Peguei esse livro para ler porque ele é muito citado por outras histórias do jazz, como a de Hobsbawn (História Social do Jazz) ou a de Berendt (O Jazz do Rag ao Rock), entre várias outras. No entanto, eu tinha um certo pé atrás com relação ao livro, sem muita justificativa, na verdade. Talvez pelo título, ‘Story’ ao invés de ‘history’, achava que ele podia ser uma espécie de versão apaixonada e distorcida de uma coleção de fatos que levava alguma coerência. Felizmente, me enganei.
Stearns usa uma estratégia que é, sim, convencional: fala bastante dos primórdios do jazz antes de entrar na música propriamente dita. O livro tem vinte e poucos capítulos, isto é, cada um não é muito grande. No início, os capítulos falam do blues, do spiritual, do ‘work song’, o contexto protestante em confronto com a cultura católica e latina, onde New Orleans, lugar mitológico de origem do jazz, estava inserida.
Outra coisa que me impressionou no livro é que, como já disse, ele foi citado em vários outros. Porém, ele mesmo cita alguns desses livros. A edição original de Stearns é de 1956. E ele cita Berendt que, na edição brasileira, também o cita. E como isso pode acontecer? Simplesmente pelo fato de estar lendo revisões do texto original. Pena que a versão em Kindle, por exemplo não deixe isso muito claro (aliás, como muita coisa em Kindle, nem número de página tem, o que é bem ruim em certos casos, mas isso é outra história).
Voltando ao assunto do livro, Stearns, depois de mostrar várias possibilidades de expressão do jazz, fixa o seu início em 1917, com uma gravação da Original Dixieland Jass [sic] Band. Interessante, é o mesmo ano em que no Brasil se grava o primeiro samba, Pelo Telefone. Assim como a música brasileira, esse marco é arbitrário, e Stearns mostra isso. Em outras palavras, ele faz história, mostrando uma série de fatos sem que estes sejam vistos como ‘naturais’ ou determinados por um ou outro fator apenas.
Independentemente das revisões posteriores, o livro acompanhou a história do jazz até o meio da década de 1950, quando o rock’n’roll já era figura conhecida e o jazz teve um grande contato com os ritmos latinos, especialmente cubanos (embora ele tenha uma ótima história sobre o Tico-Tico no Fubá, de Zequinha de Abreu, em Nova York. Mas aí, só lendo!).
Outro ótimo momento do livro foi a descrição do movimento ‘bop’ e a atitude de seus músicos. A figura do artista incompreendido pelo público, a rejeição do sucesso comercial (que estava na rumba ou no swing das big bands) e outros elementos revelam bastante da atitude de vários músicos daquele momento. Outra questão mostrada foi a tensão que existe entre uma identidade negra e sua afirmação pela comunidade maior branca. Num tempo anterior ao movimento de orgulho negro americano (que veio na década de 1960), os últimos capítulos do livro falam lucidamente dessa questão.
Enfim, esse livro dá uma ótima visão do jazz da primeira metdade do século XX. Especialmente se for acompanhado dos dois outros que mencionei anteriormente.
Stearns usa uma estratégia que é, sim, convencional: fala bastante dos primórdios do jazz antes de entrar na música propriamente dita. O livro tem vinte e poucos capítulos, isto é, cada um não é muito grande. No início, os capítulos falam do blues, do spiritual, do ‘work song’, o contexto protestante em confronto com a cultura católica e latina, onde New Orleans, lugar mitológico de origem do jazz, estava inserida.
Outra coisa que me impressionou no livro é que, como já disse, ele foi citado em vários outros. Porém, ele mesmo cita alguns desses livros. A edição original de Stearns é de 1956. E ele cita Berendt que, na edição brasileira, também o cita. E como isso pode acontecer? Simplesmente pelo fato de estar lendo revisões do texto original. Pena que a versão em Kindle, por exemplo não deixe isso muito claro (aliás, como muita coisa em Kindle, nem número de página tem, o que é bem ruim em certos casos, mas isso é outra história).
Voltando ao assunto do livro, Stearns, depois de mostrar várias possibilidades de expressão do jazz, fixa o seu início em 1917, com uma gravação da Original Dixieland Jass [sic] Band. Interessante, é o mesmo ano em que no Brasil se grava o primeiro samba, Pelo Telefone. Assim como a música brasileira, esse marco é arbitrário, e Stearns mostra isso. Em outras palavras, ele faz história, mostrando uma série de fatos sem que estes sejam vistos como ‘naturais’ ou determinados por um ou outro fator apenas.
Independentemente das revisões posteriores, o livro acompanhou a história do jazz até o meio da década de 1950, quando o rock’n’roll já era figura conhecida e o jazz teve um grande contato com os ritmos latinos, especialmente cubanos (embora ele tenha uma ótima história sobre o Tico-Tico no Fubá, de Zequinha de Abreu, em Nova York. Mas aí, só lendo!).
Outro ótimo momento do livro foi a descrição do movimento ‘bop’ e a atitude de seus músicos. A figura do artista incompreendido pelo público, a rejeição do sucesso comercial (que estava na rumba ou no swing das big bands) e outros elementos revelam bastante da atitude de vários músicos daquele momento. Outra questão mostrada foi a tensão que existe entre uma identidade negra e sua afirmação pela comunidade maior branca. Num tempo anterior ao movimento de orgulho negro americano (que veio na década de 1960), os últimos capítulos do livro falam lucidamente dessa questão.
Enfim, esse livro dá uma ótima visão do jazz da primeira metdade do século XX. Especialmente se for acompanhado dos dois outros que mencionei anteriormente.
June 10, 2016
Classic history of jazz is more on point than other early books of its kind, especially with its attention to the music's place in social context, even if it does betray some of the prejudices of its period here and there.
April 18, 2021
Why did European and West African music blend so easily? Because they are alike. In ancient times they were connected.
The date of the first blues will probably be never known. African songs of proverbial wit and ridicule were one likely source
The melody harmony and rhythm can become infinitely complicated, depending on the performer's sofistication. Hence playing the blues is still an acid test for a jazzman.
The next big step was the rock and roll music of the 1955 period, simplified but rhythmic blues, which white youngsters en masse heard for the first time in a tasteless version of the real thing.
Ragtime could be watered down, notated and sold from coast to coast.
Bebop's likely source seems to be Spanish expression Arriba! or Riba!
It fits the fact of the wide influence of Latin music on jazz.
The listener is supposed to feel rather than hear the rhythm.
Some notes may have sounded sour at first but the human ear adapted and equal temperament tuning was accepted as natural. Human voice, a rich source of expressiveness was force to imitate the instruments and this eliminated.
"Melody stems from harmony." Jean-Philippe Rameau, 1726
At two places in the jazz scale (3rd&7th) a square note is linked thus the blue notes.
Clearly any great work of art (novel symphony, painting) should stimulate us to feel deeply and truthfully.
Jazz is travelling the same path as classical music toward the stone wall of atonality.
The date of the first blues will probably be never known. African songs of proverbial wit and ridicule were one likely source
The melody harmony and rhythm can become infinitely complicated, depending on the performer's sofistication. Hence playing the blues is still an acid test for a jazzman.
The next big step was the rock and roll music of the 1955 period, simplified but rhythmic blues, which white youngsters en masse heard for the first time in a tasteless version of the real thing.
Ragtime could be watered down, notated and sold from coast to coast.
Bebop's likely source seems to be Spanish expression Arriba! or Riba!
It fits the fact of the wide influence of Latin music on jazz.
The listener is supposed to feel rather than hear the rhythm.
Some notes may have sounded sour at first but the human ear adapted and equal temperament tuning was accepted as natural. Human voice, a rich source of expressiveness was force to imitate the instruments and this eliminated.
"Melody stems from harmony." Jean-Philippe Rameau, 1726
At two places in the jazz scale (3rd&7th) a square note is linked thus the blue notes.
Clearly any great work of art (novel symphony, painting) should stimulate us to feel deeply and truthfully.
Jazz is travelling the same path as classical music toward the stone wall of atonality.
October 19, 2018
This is a comprehensive review of Jazz from its origins in Africa through to the beginnings of "Be-bop" in the the USA in the early 1950s. The author goes into considerable detail in describing the West African (mostly) traditional rhythms and work calls that formed the basis of the music that the African slaves brought to America. The development of those early forms of the music into what we today call "Jazz" is lovingly described with many references to the various practitioners, black and white, of what is now recognized as the one true indigenous art-form of the United States. As a life-long Jazz fan, I knew of this history but I had not experienced it in so much detail before. I have an even deeper appreciation of this wonderful music now and I look forward to finding an equivalently comprehensive and enjoyable description of the ongoing history of Jazz from the 1950s to today.
September 11, 2019
Such a brilliant book.
The attitudes towards jazz have changed a lot since this was first published (1956) however it is such an insightful read due to it being written at a time when jazz was still so fresh to society. Today jazz is considered very middle class and often played by white musicians. The book gives an insight how the birth of jazz was paramount to music being brought from Africa and the blending of this with some European musical traditions. Without the African complexities in music jazz wouldn’t have happened.
Would recommend if you are a jazz fan or want to explore more. There are huge listening recommendations throughout each chapter. I found it helped to put on as many tracks as I could whilst I was reading through each chapter. In order to fully gain understanding of the descriptions and explanations, this is probably the best way to read it.
The attitudes towards jazz have changed a lot since this was first published (1956) however it is such an insightful read due to it being written at a time when jazz was still so fresh to society. Today jazz is considered very middle class and often played by white musicians. The book gives an insight how the birth of jazz was paramount to music being brought from Africa and the blending of this with some European musical traditions. Without the African complexities in music jazz wouldn’t have happened.
Would recommend if you are a jazz fan or want to explore more. There are huge listening recommendations throughout each chapter. I found it helped to put on as many tracks as I could whilst I was reading through each chapter. In order to fully gain understanding of the descriptions and explanations, this is probably the best way to read it.
November 10, 2024
"Man, this book tells the real story of jazz, from Africa down to today." Louis Armstrong. The Louis Armstrong.
The way he said it sounds so gangsta, I had to chuckle. But Satchmo the Great's no wrong. Although written more than fifty years ago, that is to say, long before the revolutionary shifts brought on by modal jazz and the rise of fusion took place, this book remains a solid introduction to the fascinating history of jazz. Author's eloquent yet simple prose strikes a perfect balance between clarity and depth, making it fairly approachable to wider audiences. I can therefore wholeheartedly recommend it to anyone with a passion for jazz or modern music as a whole, regardless of their musical knowledge. It's a must.
The way he said it sounds so gangsta, I had to chuckle. But Satchmo the Great's no wrong. Although written more than fifty years ago, that is to say, long before the revolutionary shifts brought on by modal jazz and the rise of fusion took place, this book remains a solid introduction to the fascinating history of jazz. Author's eloquent yet simple prose strikes a perfect balance between clarity and depth, making it fairly approachable to wider audiences. I can therefore wholeheartedly recommend it to anyone with a passion for jazz or modern music as a whole, regardless of their musical knowledge. It's a must.
May 14, 2025
Βασικό ανάγνωσμα για τους τζαζόφιλους, κουβαλάει ήδη 70 χρόνια στην πλάτη και κάποιες θεωρίες έχουν ρυτιδιάσει (η ψυχοσύνθεση του ακροατή της τζαζ είναι κάπως αστεία) αλλά το όλον είναι διαφωτιστικό. Ο συγκερασμός Δυτικοαφρικανικής με Ευρωπαϊκή μουσική αναλύεται πρωτοποριακά, η αγωνία για το μέλλον της τζαζ φέρει διαχρονικά κολλήματα (παλιά τη φτιάχνανε καλύτερα κλπ), οι μουσικολογικές αναφορές χρήζουν μιας βαθύτερης γνώσης για να αφομοιωθούν ορθώς. Εν ολίγοις, ευαγγέλιο μεν, αυστηρά για φανς δε.
February 21, 2020
Interesting read following my recent trip to new orleans, written in the fifties with lots of fabulous anecdotes about so many of the jazz and blues favorites of the day.
April 29, 2019
I enjoyed this author’s presentation of jazz history. The information was logically sequenced and easy to digest. The author’s direct, personal interactions with many of the musicians and historians mentioned within the book enriched the plethora of quotes and anecdotes. However, the book is pretty old and the author doesn’t give jazz music theory very thorough treatment. Perhaps this previous gripe wasn’t well justified, but I also wasn’t a fan of his writing style. At times, it seemed as if he was relying far too much on quotes than actual commentary and analysis. I also wish he had introduced a wider group of musicians.
Displaying 1 - 13 of 13 reviews