THE BOOK OF JAZZ - A Guide to the Entire Field

by Leonard Feather

ORIGINAL DESCRIPTION (1957) - Jazz at last has matured to a full-fledged art, not only in this country, hut throughout the world as well. What has been known as an American folk music is now becoming an international form of expression, with artists in all countries constantly exchanging ideas and expanding the limits of their medium. No longer is it possible for the well-informed person, the person interested in the latest developments in the art world, to relegate jazz to the realm of simple, untutored, dance-hall music. Leonard Feather, author of the famous Encyclopedia of Jazz series, has written this hook for the widest possible audience—from the newcomer to the field who asks the basic, most-difficult-to-answer question, “What is jazz?,” to the jazz musician himself (one of whom recently asked, “Who is Bessie Smith?”). Here is a guide to jazz in all its phases: its nature, its sources, instruments, sounds, performers-and the future of jazz.A large part of the book consists of chapters devoted to the story of the role played by each instrument and its major performers. Each history begins with a non-technical discussion of the instrument itself: its function, its range, how it was first used and how it is now used in jazz. It goes on to tell about the artists themselves and how they developed the instrument, their special contribution and their relative importance in the entire world of jazz. From this unique approach emerges a clear and fascinating picture of jazz.The section titled “The Anatomy of Improvisation" presents for the first time actual musical illustrations of the jazz improvisations of 15 of the great soloists from Louis Armstrong and Benny Goodman to Art Tatum, Lester Young and Dizzy Gillespie. Each solo is studied in detail and with a clarity as enlightening to the listener as to the musician. These solos lead into a unique analysis of the nature of jazz —its harmony, rhythm and structure—and show how it has evolved from the music of the earliest days through ragtime, swing and hop to the latest innovations.In chapters devoted to the origins of jazz, the new evidence is bound to gain the attention of the entire jazz world. Drawing on conversations with musicians from various parts of the country, this section sheds new light on the particular places where jazz was first played. By exploring the sources, it reveals why jazz had its beginnings in the United States and what musical influences and social forces combined to produce this music.In a chapter entitled “Jazz and Bace,” the whole story of racial discrimination in jazz is presented in unprecedented detail. It tells of the early segregation in bands, of the gradual breaking down of the color barriers first by the musicians themselves and then by the public, and of the problems still to be resolved.To this illuminating guide, Leonard Feather brings his many years of experience in the jazz field both as critic and musician. For the person who has long sought a true guide to the enthralling world of jazz; for the student, the fan and the musician to whom jazz is an exciting territory, THE BOOK OF JAZZ provides the much-needed succinct story of this important new art form of the twentieth century.

Genres: Music, Jazz

333 pages, Kindle Edition

First published January 1, 1957

About the author

Leonard Geoffrey Feather was a British-American musician, composer, record producer, music journalist and radio broadcaster. He began working in radio broadcasting in the U.K. during the 1930s, and wrote a regular column for the British magazine 'Radio Times' during those years as well, titled "Tempo di Jazz". After working as a record producer in both the U.K. and U.S., he moved in 1939 to New York City; he later moved to Los Angeles during the early 1960s. Leonard Feather was co-editor (with Barry Ulanov) of the U.S. music business magazine 'Metronome' for many years, until it ceased publication in 1961. He also served as chief jazz critic for the Los Angeles Times until his death.

Reviews

[Patrick · Rating 3 out of 5]

Feather was musician and a jazz critic, one of the most well-known jazz critics of the 20th century. Feather was probably most famous for his Encyclopedia of Jazz, which was the most important reference source about jazz for a while.

The book of jazz is a broad survey and history. Not a textbook, specifically, but certainly could have been used as one. He revised this book periodically, i think this is the second version, which came out in 1965.

Although he covers a lot of the history of jazz, it's not arranged as a chronological history. In a long middle section, he explores jazz by focussing on individual instruments and the development of players of each instrument--so it is a chronology by instrument. While there is a lot of great information in that section, the writing is clunky and listy.

Some of the interesting things about the book, though are the chapters before and after that long middle section. He dismisses one of the most common creation myths of jazz-that it was born in New Orleans and spread up the Mississippi. Feather has a much more nuanced and complex explanation of the origins of jazz and does not center it exclusively on New Orleans. In fact, one of the things that I thought was refreshing was how dismissive Feather was about a lot of the early New Orleans jazz musicians. He really is not a fan of jelly roll morton.

There's this one section that is pretty funny were he has contemporary musicians react to early New Orleans recordings in a blind listening test.Then he compares the reactions of modern musicians to the effusive praise that modern critics had lavished on those early New Orleans recordings. I find Feather's dismissal of this music refreshing not because I agree with him wholeheartedly, but because he his countering the mythology that has grown around so many of these folks by focssing on the actual music. Also, it is pretty rare to read a critic write about work that they don't like.

His chapter and passages addressing race in jazz is excellent. He looks at the culture of jim crow and how that played out, but he also addresses the idea that jazz is an african-american art and only african-americans can truly play it. He breaks down the logistical difficulties of jim crow on working jazz musicians--most places had segregated musicians unions; having a mixed race touring band presented formidible difficulties on the road; the difficulties that african-american musicians faced if they accepted a spot in a white band--not from the white band members, but from the routine abuse on the road (Roy Eldrige's stories about being on the road with the Krupa band are incredible).

The next to the last chapter is pretty interesting, especailly for its time. It's an in-depth musical analysis of several solos, along with musical transciptions of passages. It's pretty easy to find solo transcriptions now, but back in the mid-60s, it wasn't and this was a big deal. This chapter must have been great for students and other musicians, but I don't think the casual jazz fan without a music background would get much from it.

I enjoyed the book, but I wouldn't recommend it unless you had a specific interest. However, I do think some of the sections would stand alone as excellent essays--the jazz and race chapter, the big towns and brass bands chapter, the improv chapter, etc. Also, occasionally feather does drop a real anachronistic clunker--there's not many but when they show up they jump out...mainly because they seem so comical from this vantage point.

[E-Ratic Wizard · Rating 4 out of 5]

Gives a lot of information that is contrary to the popular beliefs that have been repeated for a long time. Sometimes the author is a little too opinionated in terms of dismissing some artists contributions.
Should be read in small chunks instead of marathoned.

[Courtland Bethune · Rating 3 out of 5]

Cool history of Jazz's roots but very technical musically.

[Peter Campbell · Rating 5 out of 5]

Leonard Feather was not only one of the most knowledgeable writers on jazz but he was a musician to boot so was able to bring to his discourses a technical knowledge of music that other jazz commentators could not. This is very apparent in the chapter in this book that analyses the notation of a number of improvisations by important jazz musicians including Charlie Parker and Lester Young. Whatever the original publication price, the book would have been worth the money for this chapter alone. This chapter is invaluable to musicians and others wishing to delve into the anatomy of improvisation. It's also interesting to perceive the writer's perspective on jazz in 1965 when the edition of the book that I have was written. But, in considering purchasing a copy of this book, one might bear in mind that a lot of jazz history has happened since the book was written.