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Jazz was a 2000 documentary miniseries, directed by Ken Burns. It was broadcast on PBS in 2001, and was
released on DVD later that year by the same company. Its chronological and thematic episodes provided a
history of the jazz emphasizing innovative composers and musicians and American
history. Swing musicians Louis Armstrong and Duke Ellington are the central figures, "providing the narrative
thread around which the stories of other major figures turn"; several episodes discussed the later
contributions of Charlie Parker and Dizzy Gillespie to bebop, and of Miles Davis, Ornette Coleman, and John
Coltrane to free and cool jazz. Nine episodes surveyed forty-five years (19171961), leaving the final episode
to cover forty years (19612001). The impact on jazz of racial segregation and drugs is discussed.
The documentary concerned the history of jazz music in the United States, from its origins at the turn of the
20th century to the present day. It was narrated by Keith David, and featured interviews with present-day
musicians and critics such as trumpeter Wynton Marsalis (also the artistic director and co-producer of Jazz)
and critics Gary Giddins and Stanley Crouch. Music critic and African-American historian Gerald Early was also
a consultant. Broadcaster and producer Phil Schaap was interviewed briefly. Jazz was the longest jazz
documentary yet produced, and it was rich in musical examples and classic, rare and unseen footage.
Visually, Jazz was in the same style as Ken Burns's previous works: slowly panning and zooming shots of
photographs are mixed with period movie sequences, accompanied by music of, and commentary on, the
period being examined. Between these sequences, present-day jazz figures provided anecdotes and explained
the defining features of the major musicians' styles. Duke Ellington's "I Let a Song Go Out of My Heart"
(1938) was a recurring motif at the opening and closing of individual episodes of the series.
The documentary focused on a number of major musicians: Louis Armstrong and Duke Ellington are the
central figures, "providing the narrative thread around which the stories of other major figures turn", among
them Sidney Bechet, Count Basie, Benny Goodman, Billie Holiday, Charlie Parker, Miles Davis and John
Coltrane.
Episode 1: "Gumbo"
Beginnings to 1917
JAZZ begins in New Orleans, nineteenth century America's most cosmopolitan city, where the sound of
marching bands, Italian opera, Caribbean rhythms, and minstrel shows fills the streets with a richly diverse
musical culture. Here, in the 1890s, African-American musicians create a new music out of these ingredients
by mixing in ragtime syncopations and the soulful feeling of the blues. Soon after the start of the new century,
people are calling it jazz.
Tonight, meet the pioneers of this revolutionary art form: the half-mad cornetist Buddy Bolden, who may have
been the first man to play jazz; pianist Jelly Roll Morton, who claimed to have invented jazz but really was the
first to write the new music down; Sidney Bechet, a clarinet prodigy whose fiery sound matched his explosive
personality; and Freddie Keppard, a trumpet virtuoso who turned down a chance to win national fame for fear
that others would steal the secrets of his art.
The early jazz players travel the country in the years before World War I, but few people have a chance to
hear this new music until 1917, when a group of white musicians from New Orleans arrives in New York to
make the first jazz recording. They call themselves the Original Dixieland Jazz Band, and within weeks their
record becomes an unexpected smash hit. Americans are suddenly jazz crazy, and the Jazz Age is about to
begin.
Armstrong, a fatherless waif who grew up on the mean streets of New Orleans, develops his great "gift" - his
unparalleled musical genius - with the help of King Oliver, the city's top cornetist, and in 1922, follows him to
Chicago, where Armstrong's transcendent sound and exhilarating rhythms inspire a new generation of
musicians, white and black, to join the world of jazz.
Meanwhile, Ellington, raised in middle-class comfort by parents who told him he was "blessed," outgrows the
society music he learned to play in Washington, D.C., and heads for Harlem. There he absorbs the stride piano
rhythms of Willie "The Lion" Smith and forms a band to create a music all his own - hot, blues-drenched, and
infused with the gutbucket growls of his new trumpet player, Bubber Miley.
As the Roaring Twenties accelerate, Paul Whiteman, a white bandleader, sells millions of records playing a
sweet, symphonic jazz, while Fletcher Henderson, a black bandleader, packs the dance floor at the whites-only
Roseland Ballroom with his innovative big band arrangements. Then, in 1924, the year Whiteman introduces
George Gershwin's Rhapsody in Blue, Henderson brings Louis Armstrong to New York, adding his
improvisational brilliance to the band's new sound - and soon Armstrong is showing the whole world how to
swing.
shake the floor with a new dance called the Lindy Hop. And in the city's clubs, pianists Fats Wallerand Art
Tatum dazzle audiences with their stunning virtuosity.
But it is Duke Ellington who takes jazz "beyond category," composing hit tunes with a new sophistication that
has critics comparing him to Stravinsky. Now the nation's best-known black bandleader, Ellington tours in his
own private railcar, transcending stereotypes with an elegant personal style that disarms prejudice and
inspires racial pride.
Meanwhile, Benny Goodman is making a name for himself, broadcasting big-band jazz nationwide, based
on Fletcher Henderson'sarrangements. In 1935, Goodman takes his band on tour, but in most towns people
ask for the old, familiar tunes. Then, finally, at the Palomar Ballroom in Los Angeles, the dancers go wild when
they hear Goodman's big-band beat. By the end of the night, the Swing Era has begun.
war. And weeks after that war begins, Coleman Hawkins startles the world with a glimpse of what jazz will
become, improvising a new music on the old standard, Body and Soul.
Episode 8: "Risk"
1945 - 1955
The postwar years bring America to a level of prosperity unimaginable a decade before, but the Cold War
threat of nuclear annihilation makes these anxious years as well. In jazz, this underlying tension will be
reflected in the broken rhythms and dissonant melodies of bebop, and in the troubled life of bebop's biggest
star, Charlie Parker.
Nicknamed "Bird," Parker is a soloist whose ideas and technique are as overwhelming for musicians of his
generation as Louis Armstrong's had been a quarter-century before. He is idolized his improvisations
copied, his risk-all intensity on stage imitated, and his self-destructive lifestyle adopted as a prerequisite for
inspiration. Parker's example helps bring a narcotics plague to the jazz community, and when he dies, wasted
by heroin at age 34, drugs are as much a part of his legacy to jazz as the genius of his music.
But Parker is not the only bebop innovator. His longtime partner, Dizzy Gillespie, tries to popularize the new
sound by adding showmanship and Latin rhythms, while pianist Thelonius Monk infuses it with his eccentric
personality to create a music all his own. Except for jazz initiates, however, few people are listening. Teens
now swoon for pop singers and dance to rhythm and blues.
Searching for a new audience, California musicians create a mellow sound called cool jazz, and Dave
Brubeck mixes jazz with classical music to produce a million-seller LP. But one man remains determined to
give jazz popular appeal on his own terms, the trumpet player Miles Davis. A one-time Parker sideman who
has finally broken heroin's grip on his career, Davis is moving beyond the cool sound he inspired and stands
poised to lead jazz in a new direction.