This was an excellent overview of the topic, one of the best (probably the best, unless I'm blanking on something) I've encountered. Gioia does a great job of balancing the various strains of history -- aesthetic, social/cultural, economic, biographical –- required to fully grasp the topic, resulting in a history that is far more complete than the "great man" surveys that so often pass as jazz histories (looking at you, Ken Burns). That being said, it does tend to devolve into a series of bios near the end, though that is understandable when you consider the way jazz itself fragments after the mid-1960s, leaving no real coherent narrative (and thus no coherent organizing principle, other than biography) for its historians. And the biographical focus, when it occurs, is useful, though less for understanding history than for listening recommendations; I’m ready to fill all sorts of gaps in my music collection, from James P. Johnson to Stan Kenton to Maria Schneider. The only cautionary note I’d sound is that Gioia assumes the reader has a degree of musical knowledge already, both of the nature of jazz and of music theory; that’s not a criticism, and the book is readable and informative regardless -- but it’s probably not best taken up by a complete neophyte as an initial introduction to the topic. I will flag one thing I found bewildering: the incredible short shrift given to Dave Brubeck, who merits far less discussion than other, far less innovative and influential performers and musicians. That, too, is not a criticism -– an author has to make choices when the topic is this sprawling –- but if I ever met Gioia that’s the first thing I'd ask him about. Regardless, a great resource and lively read; I'd highly recommend this to jazz fans not already steeped in the history of the form.
Quite simply - the best history of jazz written thus far! Essential reading for even casual jazz listeners. Thorough, scholarly, objective and inclusive, but easy to read with a minimum of esoteric discourse. Even readers without any knowledge of music theory and composition should find it easy enough to skim over the bits about specific chord structures and still grasp the full meaning and import of those passages.Really, my only complaint about this book is the author's overuse of the phrase "piano attack" when describing the styles of individual keyboard performers. It's apt, and a standard turn of phrase in jazz criticism - but it gets really old and rather meaningless after too many repetitions.If that's my only complaint - then this is as close to a perfect work as anyone could expect!Also - I've made it a goal over the next several years to create a playlist with every one of the suggested listening tracks he lists at the back of the book!
Do You like book The History Of Jazz (1998)?
This is the best book on any type of music that I've ever read. It so well written, and the narrative flows so smoothly, that I hated to keep stopping to listen to the recordings that Gioia cites. So I read it slowly at first, stopping frequently to hear the music he discussed, then read it again to enjoy his prose. Gioia provides an excellent overview of jazz, including its history, the musicians, the cultural context in which jazz developed, and the differences in musical structure and conventions between various jazz styles.
—Troy Soos
I'm in your camp, Frank. But I feel like Burns took it and put it to film. There's a good depth in everything pre-bop (Basie, Ellington, Armstrong). But the stuff I don't know (hard bop, the cool, fusion), it doesn't give me a good sense of how these elements work together. I'd agree with the 4 stars, though. Don't look for anything written beautifully, though.
—Frank
A nice overview of America's most important contribution to the arts. The book is a rather comprehensive survey, so few readers will love every period and movement covered. (I personally felt like the Swing Era would never end.) But it's always difficult, in any survey, to allocate attention in a way that will satisfy everyone. Gioia basically allocates time chronologically, getting to bop halfway through the book. I would have liked to spend more time on the latter half of the century myself, given that the styles proliferated so rapidly after bop, but it beats the Ken Burns approach.The book is often marketed as a good introduction to jazz, but I can't recommend it for this purpose. The book necessarily rattles off the names of artists and recording dates so fast at times that someone unfamiliar with jazz wouldn't have much to hold on to. Gioia slows down and provides more detail for the most important transitional figures (Armstrong, Ellington, Parker/Gillespie, Davis/Coltrane, and Ornette Coleman), but the book covers far more than these pivotal figures. It's a convenient reference for the jazz aficionado, but probably not the place to start.
—Jason
