Jazz: A Crash Course (Crash Course)

Rating:
Summary: A Sound Introduction
Review: In this short and extensively illustrated book, music reviewer Simon Adams provides an encapsulated history of a century's worth of the different music we collectively label "jazz". By definition, a crash course could only provide snippets of information on subjects worthy of whole volumes, and Adams' greatest success here is that he admits this limitation and keeps moving the story forward. Thus the reader - encouraged to become the listener - is left wanting more.

Another highlight of this book is its respectful but unvarnished look at the darker side of jazz: that jazz and sex have been somewhat intertwined from the beginning, and that many talented musicians destroyed their lives on booze and drugs, are facts simply presented, not sensationalized. It is clear the author would rather talk about the music, and for that we should thank him.

Nonetheless, the book is not perfect. For a book that claims to examine a "truly global musical movement" and "the shape of jazz to come", omitting even a passing mention of ska music is a glaring oversight. Also, the author does at times try a little too hard to be hip, with "club talk" and "gosh facts" to "beef up your jazz cred [at] pompous wine bars" and the inclusion of altogether irrelevant trivia in a timeline atop every page. Still I praise and recommend this book, and if what I see as shortcomings help sell the book to the mass market, how can I complain?

Rating:
Summary: A little off course
Review: There is a lot of good material here. Published in 1999, Adams should be congratulated for including modern artists such as the Marsalis brothers, Courtney Pine, and Cassandra Wilson. The inclusion of short discographies entitled "All that Jazz" should help anyone to find CD's to listen to. There are some great photographs such as Coleman Hawkins playing alongside Miles Davis, or Chick Web at the drums, and perhaps a few poor choices (Diana Ross as Billy Holiday).

There are a few annoyances in this book. The small font, particularly on the timeline is hard to read against the peach color background. Sometimes he tries a little too hard, calling the musicians in each era "Hip-cats", or emphasizing sex as a root of the music. I'm not sure Sun Ra, would have viewed himself in a comic or vaudeville light either. I would recommend John Fordham's "Jazz" before this book.