Customer Reviews

Jazz for Dummies

5 star:		(4)
4 star:		(2)
3 star:		(3)
2 star:		(0)
1 star:		(0)

 

 

As refreshing as the "Dummies" series can be, its limitations often become readily apparent when its reductive approach is applied to the arts and humanities. I purchased this text planning to give it to a friend who does not share let alone understand my passion for jazz. Now I wish I'd exercised more judicious consumer restraint. This is a book for those who are curious about some of the many "names" of jazz as well as a brush-up on historical periods and musical styles. But it's of little help in explaining how to listen to this difficult, challenging music, or even what to listen to.

With respect to the latter criticism, one or two examples should serve. Duke Ellington, arguably the greatest American composer and all-around American musician, is represented by a couple of off-beat recordings in which he agreed to perform with Charles Mingus and John Coltrane. And the most beloved, revered, inarguably influential recording of the last 50 years--Miles Davis' "Kind of Blue"--is not even included among the authors' list of essential recordings.

From years of experience, I've learned that it's insufficient to overwhelm jazz neophytes with hundreds of names of musicians. Nor does it help younger listeners to learn that a bebop tune is based on Gershwin's "I Got Rhythm." Even playing a Charlie Parker solo for most listeners simply makes no impression. Great thoughtfulness, selectivity, and ingenuity are required to communicate the essence of this profound, beautiful American art form.

For those who want all the names, check out Leonard Feather's "Encyclopedia of Jazz." For those who want a clearer perspective on the 5-6 musicians who count most as well as better understanding of musical form, improvisation, and stylistic distinctions, try Mark Gridley's "Jazz Styles" (or catch a lecture by Wynton Marsalis). This "Dummies" edition I would regard as an occasionally convenient reference tool, but I can't think of anyone I'd give it to.

The nicest aspect of this book is it's accompanied with a 10-song CD, including great tunes such as Sonny Rollins' "Way Out West" and Miles Davis' "Oleo." But the author doesn't say much about these pieces. I personally would've loved to see some detailed annotaion about the song structure, instruments, melodic development, etc.

In fact, Sutro is mostly interested in names. He spends only about 5-10 pages on what constitutes jazz: swing, improv, and so on. This is what I wanted more of. I want to listen to a piece of music and have someone whisper in my ear "notice the synocpated the beat here." I also would like a clearer description of the differences between historical periods. How does hard bop differ from bebop? Sutro gives me some names in each group, but he doesn't help me to *hear* the difference. Why not use the bonus CD to help us out here?

Both the accolades and criticisms of the reviews above are accurate. As someone new to jazz, I wanted to hear some examples of what makes jazz unique - such as syncopation, emphasis on chords, and slurred notes. The CD does not deliver this, but neither does any other introduction to jazz that I could find. The closest thing is the PBS web site for Ken Burns' Jazz, which has a virtual piano that morphs "Mary Had a Little Lamb" from the nursery rhyme tune into a jazz version, step by step.

The author's emphasis on performers and "names" is true, but all music is developed by people. Jazz (more so than other music types) has evolved from the performers and their personalities. The different eras of jazz seem to be best explained by the creative changes of people playing it. Jazz as a whole today seems to be strongly influenced by the major figures of the past, such as John Coltrane, Miles Davis, Duke Ellington, and Thelonius Monk. Understanding these types of figures, and the others who have been influenced by them, explains a lot about the development of jazz. There are some omissions in the book that seem to be common from the jazz "elite", for example Glenn Miller. While maybe not the best performer of big band swing jazz, he certainly was one of the most popular.

If you are interested in jazz, want to know more about it and the people who made it what it is, this book is a good place to start. After that, let your own taste be your guide as to where you go next.

This has been a great reference book that I've used extensively while watching the "Jazz" film series by Kenneth Burns on public TV. All the key points and players have been presented in "Jazz for Dummies" and it has helped me identify names, understand musical concepts and follow the chronology of the jazz players, and their influences, as they are introduced on the TV series. Clearly the author has a deep appreciation for jazz and shares his passion in an approachable style rather than showboat himself by adopting a more academic tone. I totally disagree with one of the other reviewers appearing on this web page. His pet peeve about Miles Davis' album "Kind of Blue" being slighted in the book is unfounded. On page 141 Mr. Sutro recommends listening to this album as an introduction to Davis' music. This is a very cool album, it has a reputation as the ultimate "make out" music. But it's my conclusion that serious jazz afficionados would agree with Mr. Sutro that some of Davis' other albums such as "Birth of the Cool" and "Sketches of Spain" are far more indicative of the range of his talent. There's decades of great jazz music to choose from and Mr. Sutro has done a commendable job pointing novice listeners in the right direction.

"Jazz for Dummies" takes this complex Americal classical music and distills its basic history and players into a form that newcomers and oldtimes alike will appreciate. Important eras, from early New Orleans to Bebop and Free-Jazz, are represented, as are dozens of jazz's heroes. I found it particularly helpful how the book is divided by sections that trace the history not only of jazz's greatest eras, but also of its great instruments and instrumentalists. Most books about jazz deal with theory, in esoteric language. Sutro's book is admirable for the ways in which it makes jazz accessible to newcomers who want to experience its power. He shows you how to start a collection, which CDs might be of interest, and how to find your own personal path into this epic music. Five stars!

Jazz for Dummies is essential reading--both for new jazz fans and seasoned jazzophiles. The book is easy to use, loaded with information, and it even includes a CD that lets you sample some of jazz's greatest music--from Louis Armstrong to Miles Davis. I especially enjoyed the sections on "Listening to Jazz" and "Starting a Collection," and I have yet to find a jazz player who is not included among the thousands of musicians mentioned in the book.

Jazz is a huge subject and this book doesn't pretend to be anything other than what it is: an introduction to the players and the music
Good humored enough to avoid ever becoming "dry and boring" and the author clearly loves his subject
I'd give this 5 Stars if there was an extra couple of chapters on history or music theory.
As it is, solid value for money and a good read

GW

This is quick and easy overview of jazz for the interested neophyte on his way to becoming a buff. Readers with some musical knowledge who want to play as well as listen to jazz might turn from here to Jerry Coker's excellent IMPROVISING JAZZ and then to Jeff Burns's PENTATONIC SCALES FOR THE JAZZ-ROCK KEYBOARDIST.

This is a wonderful book in finding out who to listen to and a little about them. Just read it and give it a chance! You'll be surprised, it's great!