Jazz: A Film By Ken Burns

A celebration of America’s greatest music
I am hesitant to even begin writing this review. After all, Ken Burns’ “Jazz” has become one of the great treasures of modern American documentary filmmaking. It’s so famous that it’s hard to believe that there’s anyone out there who hasn’t already seen it, or at least heard of it. Reviewing this film series is a bit like reviewing one of Shakespeare’s plays or one of Mozart’s operas: What can I possibly add that hasn’t already been said by countless others whose views are better informed, and whose words are more eloquent, than mine? After all, I am a jazz lover, but am no expert on the history of jazz. And, while I devour documentaries like candy, I am certainly not a professional film critic. My opinions of this film series are simply those of an enthusiastic layperson with very little background in the subject, not those of a scholar or artist. So, why bother writing a review and exposing myself as a philistine who knows next to nothing about either jazz or documentary filmmaking? Because, after finally purchasing the DVDs, and re-watching this series for the first time since it originally aired on PBS more than a decade ago, I can’t resist the temptation to gush over how much I thoroughly enjoyed it.I’m not going to suggest that this is a perfect documentary series. Other reviewers, as well as professional critics who actually know what they’re taking about, have pointed out its many shortcomings. But, in spite of all its flaws, it’s still an absolute delight to watch. First of all, it’s entertaining. Every episode is packed full of some of the best jazz music that has ever been made. In addition to the music, you will hear many wonderful anecdotes — some hilariously funny, some touchingly sentimental, and some tragically sad — about the most famous people and venues in the history of jazz music. And these are illustrated with a selection of old photographs and film clips that help bring the stories to life. But, in addition to being entertaining, it’s also very informative. You’ll learn about the history of jazz, and how the history of jazz is really the social and cultural history of the United States. Jazz is America in musical form. It is our national zeitgeist made audible. Jazz tells the story of the American experience, and especially the African American experience, better than any other art form. There is no more faithful expression of the American character — with its seemingly paradoxical blend of rugged individualism and community spirit, love of freedom and need for order, passion for innovation and reverence for tradition — than you find in jazz. Jazz is the best expression of what it means to be American. One might even be tempted to say that it’s impossible to fully understand what America is all about without at least some understanding of what jazz is all about. And if you want to understand what jazz is all about, Ken Burns’ wonderful documentary series is a good place to begin.Yes, as the critics are quick to point out, this documentary gives an incomplete, and perhaps somewhat distorted, picture of the history of jazz. First of all, it focuses mainly on the heyday of jazz in the 1920s, ’30s, and ’40s, and devotes considerably less time and attention to later developments in jazz. Also, since Ken Burns takes a biographical approach to his historical documentaries, much of this series is devoted to chronicling the lives and careers of some of the biggest names in the history of jazz — Louis Armstrong, Duke Ellington, Count Basie, Billie Holiday, Benny Goodman, Charlie Parker, Miles Davis, etc. — while other great jazz musicians are covered only briefly, if at all. A number of critics found this approach unsatisfactory, some even going so far as to accuse Ken Burns of elitism. But, while these criticisms might be well-intentioned and, at least in some cases, valid, I think they ultimately miss the point of what Ken Burns’ “Jazz” was trying to do. In my (admittedly ill-informed) opinion, this documentary series was never intended to be a comprehensive, scholarly socio-cultural history of jazz music in all its diversity, with a detailed analysis of the individual contribution of every significant jazz musician in history. Rather, it seems to me that this was meant to be a celebration of a wonderful style of music that is quintessentially American, whose history is inextricably entangled with the history of America, and whose story is, in essence, the story of the American (and, in particular, the African American) experience. The purpose of this documentary was not simply to inform the viewer about what happened when, and who did what. Rather, its main goal was to help the viewer understand — emotionally as well as intellectually — that jazz is the sound of America. When viewed this way, many of the criticisms that have been leveled against it over the years just seem tiresomely pedantic.The bottom line is that, watching Ken Burns’ “Jazz” really inspires a greater appreciation of this music and the people who made it, and makes you realize just how much this music reflects the true heart and soul of America. No, it’s not a perfect documentary series. But that’s okay, because jazz itself has never been about technical perfection. The best jazz musicians aren’t necessarily the ones who consistently hit all the right notes. Rather, the best jazz musicians are the ones who consistently put all the right feelings into whatever notes they do hit. This film series may miss a few notes here and there; but it puts all the right feelings into every note it hits. (Plus, Keith David should narrate everything. His voice and delivery are amazing.)Perhaps the best thing I can say about Ken Burns’ “Jazz” is that, after my recent re-watch, I have fallen even more deeply in love with jazz, and with the films of Ken Burns, than I already was. Lately I’ve been listening to jazz a lot more than usual, and shopping around for more recordings to fill in the gaps in my jazz collection. And I’ve also added a bunch of Ken Burns documentaries to my wish list, which I’ll probably be ordering soon. So, if you want my advice (there’s no reason you should; but I’m gonna give it to you anyway), ignore what the critics have to say: This is one of the best documentary film series you’ll ever see in your life. Get it. Watch it. Love it.

A View from Outside
I knew nothing about jazz.Zero. Zip. Nada.I had heard the word “jazz”, of course; and, when my parents forced me to play the electric organ, I (with great difficulty) had to play “In the Mood” for a music exam. In the back of the music book was a piece called “Watermelon Man” by this guy called Hancock; there was something by someone called Duke, I can’t remember what it was.When this series came on, I, as a history student, was aware of Ken Burns’ “The Civil War”, which had moved me powerfully (probably, again, because I knew almost nothing about that particular war at the time). I therefore tried watching an episode or two.What I remember most about this series is that it is a drama. That’s all there is to it. It is not an attempt to summarise the music. It is as subtly crafted a drama as “The Civil War” was. It is possible to make any subject seem dull – even jazz and the American Civil War. But to make it seem interesting – nay, interesting enough that it remains in the mind as a supreme moviegoing experience – now that is difficult.One thing I remember from the series is, in one episode, this guy saying that he had bought a Louis Armstrong disc when he was a kid, and listened just to one side over and over for six months straight. Then he turned the disc over – and the first thing on the other side was West End Blues. Which was a masterpiece beyond anything else on the disc, which he didnt know then. (Immediately the viewer is made interested). Then he describes taking it to a music professor, I can’t remember where, and he says he played West End Blues for him. The professor said to play it again. He played it again. Then there was a long silence; and the professor says “I think that was the most perfect three minutes of music I ever heard”. (By now the audience is gawking: wow!)BUT – the ingenious thing is: Cut to an image of an old 78 player. What is this? Cut to a closer image of it. Can it be? And YES – we can read the label: WEST END BLUES. Holy Cow!!! Then a hand looms into the frame…the disc begins to spin…a stylus is lowered…And the entire three minutes of West End Blues is played!!!Yes indeed – this is truly dramatic bliss. Ken Burns builds up to this point over the preceding couple of shots, in order to bring the viewer almost to a fever pitch.There is another moment, a little more personal here. I had watched about five episodes of the series, with very little interest in the music, frankly – even in Louis Armstrong – and by the time the swing era came I was drifting – I wasn’t paying attention…Then in the last scene of the last swing episode…an image of an atom bomb (Nagasaki, I think) comes up on the screen…And over the top of this horrible image is a sound I’ve never heard before – a sound that immediately caught my attention after hour after hour of corny swing tunes. I had never heard anything like this. Images begin to come up on the screen of small nightclubs and saxophone players. The name Charlie Parker is mentioned – never heard the name. A guy called Dizzy looks like a beatnik. The narrator describes in awed tones a great *revolution* happening in jazz. The audience is leaning forward. The sounds grow weirder – hard to define for someone untutored in music – the rhythms are all weird, and harmonies are all over the place. The sound of a saxophone is almost overwhelmingly fast and witty. What is this??!!And the episode ends. To be continued.The following week, I waited feverishly for the next episode. A word is mentioned; Bebop. Never even heard of it. But this is the episode that turned me on to jazz. The way it is made, the way the drama is created, and the newness of the sounds – new to ME, too, after hearing bland dance music for the preceding episodes – was stunning. I was in exactly the same position as the people in the 40s. All the jazz I had ever heard was contained in the preceding episodes. It was astoundingly powerful – I could *hear* the revolution, myself, in my lounge room.I found a new obsession.To people who already know about jazz, this series is filled with flaws – perhaps even fatal flaws. But to an untutored Australian, who knew zero about the music, it seemed like a pretty darned dramatic experience. In fact, I would be prepared to call it powerful. Maybe even great. I have rarely been so interested in a historical documentary, or so eager to see the next episode. I was humming St Thomas by Sonny Rollins for two weeks straight; I am now obsessively listening to Coltranes “My Favourite Things”; I am now a certifiable jazz fan.Jazz is such a bitchy and divisive art form nowadays, that any documentary like this is bound to offend 75% of fans. Admittedly, too, I haven’t seen the last episode, which supposedly dismisses everything anyone has done since 1967 including Herbie Hancock and Miles Davis’ later works. That’s a bit off.But from all that I have seen of the series, I’d like to recommend this series to anyone who knows nothing about jazz; particularly the bebop episodes.

Gab ein bisschen hin und her, aber, die Kommunikation mit dem Verkäufer war letztlich sehr gut. Produkt ist angekommen, so wie beschrieben. Merci.

If you love Jazz you will enjoy this box. Ignore the moaners here, this is lovely stuff. You can pick holes in any product but why would you when there is such a feast of wonderful film here.If your player will play region 1 discs this is miles better value than the 4 disc BBC edited version. This is 10 discs!I can’t recommend this too highly. Superb.