Average Reviews:
(More customer reviews)I think I understand the viewpoints of BOTH the harsh critics and the fanatical supporters of this series. Both have valid points. Both "sides" sometimes fail to understand the points of the other "side" (or fail to even try). Here, I'll try to explain why I think both viewpoints are legitimate.
Briefly, what are the good vs. bad qualities of this series?
GOOD: Music is often blended extremely well with visual material. There is much great music and great film footage. Anyone new to jazz will be exposed to these. Even those not so new to jazz will find interesting sounds and sights. The commentary by Gary Giddons throughout the series is unusually helpful, insightful and moderate, in contrast to some other commentators (see BAD below). The film is good at telling stories (although many of these blur into legend and myth, see below). This film will be entertaining to the general public; it will expose jazz to many people who would never have gotten into it otherwise. It will widen jazz's audience, and in this sense, it will be good for jazz. I don't know how many people I've seen posting on the internet recently who've said that because of this series, they've decided to buy more jazz CDs, go to some jazz concerts, and buy books on the history of jazz and various musicians. So many people are at least being pointed in the direction of exploring jazz on their own, this in itself is a good thing, which will eventually be more significant than the serious flaws in the series (despite that critics of the series feel otherwise at the moment).
BAD: Very often historically inaccurate, blurring the line between history, legend, myth, and cliche. These sins are too numerous to list. See Francis Davis's recent excellent review in the Atlantic online. ("I Hear America Scatting", January 2001) The narration is full of simple, declarative _subjective_ statements which are presented as if they were concrete facts. The history of jazz is presented as closed, undisputed, and final, rather than open, alive, and fresh. The film is awash in hyperbole, overstatement, and blind sentimentality, which takes the place of solid analysis and explanation. Figures (esp. Armstrong and Ellington) are deified to such a degree that the deification they receive completely overshadows their musicianship, and hence trivializes any legitimate attempts to explain or describe their true impact. The music of both Armstrong and Ellington is enough to defend their contributions as some of the most important in jazz history; we don't need to be told that Armstrong "was sent from heaven to make people happy". The film has a definite bias in promoting the Marsalis-Crouch viewpoint. This is perhaps the most serious flaw -- Burns is trying to find abstract ideas (America, freedom, race, democracy, etc.) in jazz music, and ends up injecting race to an extent that is not accurate with social history. There's nothing wrong with having a viewpoint. The problem comes in presenting this viewpoint in such a way that the viewer is never aware that there IS a viewpoint IN THE FIRST PLACE. Evidence of this comes from the stream of newbies to jazz who, after watching the series, confidently reply to the critics: "But this series is well made after all, because NOW I have a good introduction to the history of jazz." Really. How could you KNOW, if this is your ONLY significant exposure to jazz? And that's the big problem, is that the series always gives the impression that it's "objective", giving viewers a false sense of security. The scat singing is annoying. And of course, the impression that jazz died and suddenly reawakened when Wynton Marsalis picked up a horn is patronizing.
So, the series is good as mainstream entertainment and as a vehicle for getting the general public very excited about a neglected art form. The series is bad as an accurate, even somewhat objective history of jazz, and it's conceived with a social agenda that severely compromises its presentation.
My own (admittedly biased) advice to jazz newbies interested in this series: I would rent the series from the videostore. Watch it, enjoy it, love it, and take it with a ton of salt. Then, take the money you would have spent on buying the series, and get several good CDs that interest you. Also, buy the three following excellent books, which together will give you a much richer, much more insightful, much more accurate, and much more representative history of this art form:
The History of Jazz, by Ted Giola
Visions of Jazz: The First Century, by Gary Giddons
Collected Works: A Journal of Jazz 1954-1999, by Whitney Balliett
Click Here to see more reviews about: Jazz - A Film by Ken Burns (2001)
The story, sound, and soul of a nation come together in the most American of art forms: Jazz.Ken Burns, who riveted the nation with The Civil War and Baseball, celebrates the music's soaring achievements, from its origins in blues and ragtime through swing, bebop, and fusion.Six years in the making, this "soundbreaking" series blends 75 interviews, more than 500 pieces of music, 2,400 still photographs, and over 2,000 rare and archival film clips.The 10-part musical journey spotlights many of America's most original, creative--and tragic--figures, including Louis Armstrong, Jelly Roll Morton, Duke Ellington, Benny Goodman, Billie Holiday, Charlie Parker, and Miles Davis.
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