"Jazz for Beginners" by Ron David - illustrated by Paul Gordon

A History that Understands History as Rhetoric
Reviewer: Ralph Beliveau from Neenah, Wisconsin USA
It's funny. It also takes the subject by the horn(s). The passion of this music needs a voice that understands that you cannot build the house of jazz history with the master's tools...so it takes a different approach to the history, one that uses the "for beginners" form as a way of talking politics. That makes this volume essential for a basic understanding for what is at stake in the history of jazz. This is what Ken Burns (and my old friend Wynton) need as a corrective. No, I don't agree with all of it...but that outcome should always make one suspicious...

(If you'd like to check out Jazz for Beginners on Amazon just click...)

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A Review by Tony Caramia, from the American Music Teacher (Feb./March 1996).

Jazz for Beginners, by Ron David. Writers and Readers Publishing, inc. (P.O. Box461, Village Station, New York, NY10014), 1995. 156 pp., $11.

Jazz for Beginners might be a misleading title in a magazine like American Music Teacher. It is not a method book instructing beginning students on which lick to play in a blues progression; nor does it show how to harmonize a song with fancy jazz harmonies. Rather, it is a book written for the adult who knows nothing about this most unique, American contribution to the musical landscape of the twentieth century. Jazz for Beginners outlines each of the major periods of jazz’s development, “from the brassy optimism of Dixieland, through the fierce dignity of Bebop, onto the fusion of Jazz-Rock and Jazz HipHop.”

This book is a “Beginners Documentary Comic Book,” and as such contains many fine pictures, etchings and drawings of the jazz musicians, instruments, places and recordings described. In addition, the author provides a kind of running commentary throughout the narrative that, although occasionally bordering on the opinionated, helps to maintain the personal (and frequently humorous), style that eventually endears one to the book and the subject. For example: on each page, David asks questions (set in boldtype) that he then answers, such as “Aren’t there any MALE Jazz Singers?” His answer: “Yes, of course…but nobody’s sure who they are! Joe Williams is a blues singer. Or Jazz singer. Or both? (Whatever the hell he is, he’s good!).” The language used in the book is true, fundamental, of the street and uncensored. It is not “dirty” or offensive; it is real, unfiltered, emotional and heartfelt—like the music it describes.

David sprinkles quotations from jazz critics, musicians, magazines, record jackets and other jazz books on virtually every page, lending an interesting and eclectic format to his narrative; we get historical fact mixed with fiction, contemporary perspectives ultimately proven inaccurate like, “Bebop has set music back 20 years.”

I was fascinated by this book, its bold and riveting statements, its unbridled attempt to humanize the music, and to define jazz as more than a series of musical sounds. The author suggests that “Listening to a great Jazz solo is the closest I will ever get to being in a room with Einstein when he flashes on his Theory of Relativity...I am there with him at the moment he is creating it.” There are many moments of profound insight, deeply personal observations from the author and the musicians who created the music, as well as those who participate in its ongoing evolution. This is a book for serious musicians, for open-minded individuals who seek knowledge and intellectual stimulation. Most importantly, this book is for those who strive to understand human beings as they struggle to survive and grow. Jazz is a music that, for so many, provides a means for self-expression, an outlet for the intense pain they feel. This book graphically and poignantly depicts their heroic efforts.

Reviewed by Tony Caramia, Rochester, New York.

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PAGE 28, THE MONITOR THURSDAY, JANUARY 04, 1996

STATION BREAK

by Leo Chears

“Box Back Coat & Stetson Hat”

“Jazz”... America’s step-child Art Form has been tossed about and relegated to the back burner for years, and even now, the music finds rough seas in all fashion and form. Basically, I lay the fault to the understanding, or misunderstanding of the music by the masses. Jazz is hip and cool for the collection but not for the listening. Jazz For Beginners, a book by Ron David (Writer’s And Readers’ Publishing, Inc.), could go a long way in shedding some light on this quite American scene. Mr. David, who has to have a special feel for the music, covers the bridge of the music from a fine introduction to the rough and smooth edges of reason. What Is Jazz? The late Louis Armstrong said, “If you gotta ask, you’ll never know.” Where did it begin? There is no exact answer some say it was the music from the Congo. From, there to New Orleans. Jazz, is a passionate fusion of African, European and American music. Ron David’s book said is started with the moans and groans of the people of the cotton fields. The book carries us from that time to Ragtime and the Blues hybrids. Some say the music really started in New Orleans and worked its way to Chicago. No matter the music was alive and growing. Ron David covers the movement in solid form. Names such as Fletcher Henderson, Paul Whiteman, Chick Webb, Jimmie Lunceford, and Benny Moten jump from these pages. The Bop era (Bird Parker, Dizzy, and Miles) find good company with Billie Holiday Ella Fitzgerald, Thelonious Monk, Sonny Rollins, and Gerry Mulligan. From there jazz continued to evolve: the 1960’s and Modal Jazz; Miles and the birth of cool; John Coltrane and “Giant Steps.” The Fusion of the 1970’s (Miles was still there—his “Bitches Brew” horned in on a different jazz listener and at the same time alienated the old heads of the music.

Jazz for Beginners is a perfect reference book. (I never leave home without it). Did You know that Joya Sherrill, a singer/songwriter who worked briefly with Duke Ellington, wrote the lyrics to the Billy Strayhorn/Duke Ellington classic, “Take The A Train” while she was a student in high school? Scott Joplin wanted his music in concert halls, so he wrote ballets and operas...in Ragtime. Little known facts and solid reasons for getting a copy of this book. It is less than 170 pages and beautifully illustrated by Vanessa Holley. Jazz For Beginners. It is recommended reading whether you’re into the music or not. For more information...Writers and Readers Publishing, Inc., ISBN 0-86316-165-0

Leo Chears, from his column in the East St. Louis Monitor Newspaper. In the letter that accompanies his review, Mr. Chears writes, “The book review has created quite a bit of interest because I’ve talked about it on my nightly jazz show on WSIE Radio, the full-time jazz station out of Southern Illinois University.”

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The following is a fax I received from the Jazz fan/musician Roberto Curto who translated "Jazz for Beginners" into Spanish. The language is Roberto's way of expressing his fine, jazz-loving ideas...and I wouldn't change a word of it. Roberto uses a bit of heartfelt street language; if that offends you, don't read his piece.

But it'll be your loss if you don't.

Hello Ron,

I just finished translating into Spanish the main of Jazz For Beginners. It only remains to translate the Bios. When Juan Carlos asked me to take a look at the book & tell him what I thought I just gave an overview... whom the author names and who’s left out.

But then I started translating, and soon I found I was getting through the best book on Jazz I’ve ever seen. Jazz meant a lot in my youth, it was like religion. If I heard someone talk of, say, Glenn Miller as “a good Jazzman”, something inside me mounted in rage. Diz could be a priest of Jazz, but Glenn Miller... Most books on Jazz have been too “polite.” Yours is the first book that gets to the core of the music and its people, and puts everyone in the deserved place, no bullshit. Needless to say, I enjoyed you calling Paul Whiteshit El Porko.

I met many Jazz people in my teens. I played trumpet. Among other people I met Bags (Milt Jackson), as the MJQ spent three or four weeks in Buenos Aires. Many Jazz musicians came to BA in those days. I even met Count Basie! Those people meant a lot to me. Not only were they great musicians. They were living examples of the way a man has to stand in life.

Sorry for the chatter, but as I went through your book, I recalled my early teens, and the people who helped me find my way in life. I’ll thank them and respect them ‘til the day I die.

Well, let’s get to the business. The different format of the book in its Spanish edition will take it to 176 pages in the smaller format used here. But there’s a little more room.

Now, it’s your book, and let me tell you, you didn’t write this book, you played it. As I was translating I thought, “this is not a book, this is a solo. A fucking good solo.” And there are a few more chords I’d like to hear if you can write a few words more. Your words.

1. In “racism what racism” , there’s room to shortly put in a story of Roy Eldridge

2. I know you can’t mention everyone but I found Jackie McLean, and didn’t find his close buddy Hank Mobley. I don’t know if he’s still alive, but I do know he was a good musician and Miles’ sideman. If he’s alive, in his heart he’ll feel: “Why does this mother- fucker mention Jackie and forget about me?” And if he’s gone... well, don’t you feel he deserves a little honor? How do I know what he’d feel? He was my brother in law for a good time.

3. Bill Evans. You mention John MacLaughlin more than Evans but Evans was a better musician and more of a Jazzman, don’t you think?

4. Can I add Peanuts Hucko, Wild Bill Davidson, Cutty Cuttshal to the list of players around Eddie Condon?

5. Gato Barbieri is Argentine, not Brazilian. I’m a good friend of his brother Ruben, a fine trumpet man. As a matter of fact, I think I owe him a mouthpiece.

I shot some photos of Diz last time he was in Buenos Aires & I’d like to e-mail you some.

OK Ron, this is too long for a fax. Please answer back soon...tell me what you think

Take it easy

Bob