The Illustrated Encyclopaedia of Jazz, 1978

[Bev Stapleton]

The Illustrated Encyclopaedia of Jazz, 1978

By Brian Case and Stan Britt, Salamander Books

I bought this UK 'coffee table' book in 1978 just as I was moving from rock to exploring jazz and it had a huge influence (along with Joachim Berendt's 'Jazz Book'). Alphabetical summaries of key jazz musicians from the start up to 1978 with lots of photos and record sleeves.

I was reminded of it (and took it down from the shelves as a result) after seeing it referenced recently. Great introduction to the music.

Anyone else remember this?

[Jim R]

Bev, I still have it as well. My copy is softbound, and is labeled "Second impression 1979". I don't take it off the shelf very often these days either, but it's always fun to revisit when I do. Brings back memories of my earlier days as a jazz enthusiast. It's strange to realize that when I first bought this, so many of the artists I was interested in (and covered in the book) were still living. Anyway, aside from the bio-essays (obviously, the discographies are fairly limited), I've always enjoyed the photography and LP graphics. Very well designed.

[Bev Stapleton]

Yikes, Chris. He must have been in a really bad mood the day he wrote that! My earlier copy is not 'blessed' with that manifesto.

I too, Jim, was struck by your point about those musicians who were still alive then.

Even more interesting (and it's probably the historian in me at work) is the way that certain careers seemed then, which now look rather different. Wayne Shorter has an alphabetical placing but then a reference to 'see Weather Report'. Fair comment in the Weather Report section but I'd doubt if such a book would do the same today. You'd be more likely to see Weather Report with a reference to 'see Zawinul'!

The final line of the Joe Henderson entry is interesting given what happened next:

"Some of his most recent output has been in the funky, easy listening bag (Canyon Lady) but on the evidence of his latest work (Black Narcissus) he is still functioning as a committed player."

But the real give away is the Miles entry. It ends:

"...Miles cut what, from the jazz fan's viewpoint, was to be his last album (In a Silent Way). Although labels are arbitrary, Miles Davis' subsequent output is of little interest to the jazz record collector."

A book very much of its time. Despite that, a wonderful primer in its day.

*********

Another beautiful coffee table book I have, this time from 1993, is the Dorling Kindersley 'Jazz' by John Fordham. The usual DK format of bite sized chunks and lots of visuals. It attempts to explain the different instruments and rudimentary aspects of jazz music theory (I still can't make head nor tail of it); and has biographies of 20 or so 'jazz giants'. Simplistic but appealing. In the wrong hands it could have been a disaster - John Fordham, however, is arguably the best of the UK critics of recent years and he handles the book well. Easy to read, enthusiastic yet not overwhelming for the new jazz listener (as I'm sure the excellent two volume 'The Essential Jazz Records' must be!).

But again it's the record sleeves that make the impact. A chronological review of jazz styles is done via 6 to 12 key recordings with glorious sleeve images, personnel and a brief comment. Hardly in depth and missing millions of people.

I acquired this one at a time when I was returning to jazz after a long sabbatical in the world of classical music. It provided some great pointers to areas of jazz I'd never previously ventured.

Again a book of its time - this time with an eye to the 'Acid Jazz' scene that had been big in London. You get six pages on jazz dance! With photos of dancers taken at different points, illustrating their moves so you can try this at home.

In fact I've just put on 'Ascension' and am going to attempt the routine pictured by 'fusion dancer, Legs.' If I don't post in the next couple of hours please send for an ambulance.

[maygar]

Bev,

the later edition with the Marsalis intro, does correct the statement about Miles, mostly thanks to Chrissie Murray, and has more entries for female players, and a special bit on British jazz.
It is well worth picking up.

On the 'Coffee Table' front I have a hardback by Rodney Dale which has some rarely seen photos, and includes info on people not often in those glossy books, Dudu Pukwana, for example.

[Bev Stapleton]

I didn't know there was a latest edition. Glad to see Chrissie Murray has worked on it - she was a great contributor to the old Jazz Online board.

[Simon Weil]

Originally posted by Bev Stapleton
The Illustrated Encyclopaedia of Jazz, 1978

By Brian Case and Stan Britt, Salamander Books

I bought this UK 'coffee table' book in 1978 just as I was moving from rock to exploring jazz and it had a huge influence (along with Joachim Berendt's 'Jazz Book'). Alphabetical summaries of key jazz musicians from the start up to 1978 with lots of photos and record sleeves.

I was reminded of it (and took it down from the shelves as a result) after seeing it referenced recently. Great introduction to the music.

Anyone else remember this?

I had somewhat of a similar experience with this book - buying stuff out of it and the Rolling Stone Guide (which had some Jazz in it). Basically I trusted it and used it with record reviews from people like John Fordham and the Radio 3 shows to bring me into Jazz. The nice thing about it (apart from the text) is so many colour reproductions. That's what really brought it into the Coffee Table league, in my opinion.

I never really got into Berendt's book, though.

Simon Weil

[Simon Weil]

Originally posted by Chris A
I have that book and the 1986 edition...

<snip>

(signed) Wynton Marsalis.[/list]

This is an interesting slab of Wynton drivel. It's a version of Wynton's later ideas/writing but in rather rough form. The Fusion stuff gives a hint about his opposition to it. He's like the convert who must totally obliterate his previous self - in which he admits he only played fusion for the money - by becoming fanatical in his denial of any value for this music.

The stuff about Primitivism is his most naked statement on the matter. There's a lot in there, including, as far as I can make out, some sort of implicit assertion that Cubism is like Primitivism is like Nazism/Henry Ford is like World Music. If I could be bothered, I'd write a critique. But, I'm really grateful that you posted this, Chris. I may use it later on.

Fortunately, things are changing and the fugitives from the boot camp of unswerving discipline and dedication can feel the breath of the bloodhounds. soon they will feel the teeth of the jazzhounds and find themselves incapable of posturing in the seat of sin ever again. Yes, in the corners of America, north, south, east, and west, there are growing numbers of young musicians who are aesthetically arming themselves with the weaponry necessary to overthrow this runaway regime of degeneration.

The striking aspect of this (above) is the distinctly Stanley-esque tenor to the prose.

And now for something completely the same (is Wynton's motto).

Simon Weil

[Simon Weil]

Originally posted by Chris A

• I thought you might find it interesting, Simon. When I posted it on JC, it generated a brief discussion as to whether Wynton actually wrote the piece or had Stanley do it. I think some of his thoughts are shaped by Stanley, but I am inclined to believe that these are his own words and opinions.

• Reading that bit of Stanley-esque stuff, it might be either way. In general, I think Marsalis' worldview is circumscribed by the ideas he has off Murray and Crouch. But looking at this piece, it seems like he's kind of improvising quite a bit. I mean, I'm not sure that Stanley ever says anything about Primitivism, that's Murray's zone. But he does go on and on about people (free-jazzers probably) not being able to play their instrument (doubtless working from his experience as a drummer playing free and being, by all accounts, useless). Actually, looking at it, this is the loosest, least polished, most improvised piece I've seen from Marsalis. It's quite revealing.
  
  

  Either way, they form an extraordinary piece of drivel and generate questions that I would love to hear him answer. I am surprised that he didn't throw Lindbergh into the mix, along with Hitler and Ford. I would also like to hear more about the "misinterpretation of Ornette Coleman’s innovation."

He's probably trying to hint that Avant-Garde jazz is racist. Don't know what he thinks about Ornette's innovation. The stuff I've read, he seems to like Ornette, but not his conception of Free Jazz - and so Ornette's innovations. Maybe this is an early stage of Wynton saying he likes Ornette but not Free.

He could be asked at LCJO plays Ornette concert.

Simon Weil

[maygar]

I get the impression that the editors of the book had to print that rant in order to get Wynnie's name/photo on the cover, (which is why I say he actually does damage to jazz as such a public figure)
if the person who posted the original article could print the Chrissie Murray reply, it makes interesting reading, and is clearly a rebuke for Marsalis.
The book itself is a very worthwhile effort. Time for a re-edition ?(sans marsalis!)

[maygar]

Thanks, Chris.
I particularly like the sly digs at the Wynnie intro, like
"The jealous old guard of 'jazz purists', who once slated rock musician Keith Emerson for 'daring' to cover Meade Lux Lewis' Honky Tonk Train Blues, look on with horror. Their campaign to place jazz in a museum and lock the door has taken a severe battering."

Thank goodness that text was published, otherwise the Marsalis diatribe might have put me of completely. Thanks to that balance, provided by one of the authors and not just a self-seeking uptight guy wanting to get his face on another cover, the book remains very worthy, and the Marsalis piece another bit of evidence for those claim that he is reducing jazz to museum-piece stereotypes.