Now you can learn the basics and history of this intoxicating genre in an eight-lecture series that is as free-flowing and original as the art form itself. You'll follow the evolution of jazz from its beginnings in the music and dancing of the antebellum plantations to its morphing into many shapes as its greatest innovators gave us ragtime, the blues, the swing music of the big band era, boogie-woogie, and big band blues.
You'll follow the rise of modern jazz in all of its many forms, including bebop, cool, modal, free, and fusion jazz. And you'll learn how the course of jazz was changed by key technological innovations, such as the invention of the microphone, which allowed smaller-voiced singers like Bing Crosby or Mel Torme to share a limelight once reserved for the bigger voices of stars like Bessie Smith or Al Jolson.
Beginning the story on those antebellum plantations, Professor Messenger reveals how the "cakewalks" of slave culture gave birth to a dance craze at the end of the 19th century that was ignorant of its own humble roots. And he explores the irony of the minstrel shows, which derived from Southern beliefs of black cultural inferiority yet eventually spawned a musical industry that African-American musicians would dominate for decades to come.
As a bonus, the lectures are also very entertaining, with Professor Messenger frequently turning to his piano to illustrate his musical points, often with the help of guest artists.
PLEASE NOTE: When you purchase this title, the accompanying reference material will be available in your Library section along with the audio.
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Customer ReviewsMost Helpful
By Chris on 03-07-17
A nice introduction but needs more content
This course covers various styles of jazz as it developed from the late 19th century until the mid to late twentieth century.
Starting from ragtime, the professor discusses the development of African music into an American art form in an interesting and clearly well informed manner. I have a couple of issues with the course which is why I've given three stars but it's really more like a 3.5 star course.
Firstly, the level of detail in the theory is very uneven. In some cases we get really detailed descriptions of what to listen for in a certain style of jazz. In others, words like Dorean mode and modulation seem to get thrown in without much preface. I've done a fair amount of musical theory and in the last lecture I pretty much lost track of what was being said.
I will say that the quality definitely decreases as you move forwards. The negatives below really only apply as the course progresses.
Secondly, the professor seems to assume we already know many jazz artists names and songs going into the course. The reason I chose to listen to this course was to learn who I should listen to and what to listen out for. But we don't get much help in that regard (except in the early sessions) - he throws names around and we just have to assume they are relevant to the topic at hand but there is little introduction or narrative about who they are or how they fit in to the topic at hand.
Finally, the final lecture definitely needed to be spread out over several lectures. After covering maybe one style of jazz a lecture, we suddenly have four or five in one go and there's little chance to understand how they all relate to each other.
This course was a let down to me and I hope they do a second edition that does the topic justice. If you are really into the topic this might be worth your while, but I'm going to get a book on the history of jazz and read that instead (along with some records...).
4 of 4 people found this review helpful
By Sceptic on 28-01-18
The vacancy is still open...
I have listened to some great lecture series from the Great Courses stable but alas this isn't one of them. It certainly has interest but the overall package doesn't add up to much. While Bill Messenger seems to have taken the elements of jazz, notably improvisation, to heart and tried to mirror this in the series form it doesn't always work and overall leaves this being a superficial and overly brief saunter through the history of jazz. Bop gets one lecture which with all the playing adds up to about 20 minutes talking.
So there is still a vacancy for a good audible book on Jazz or, even better, another Great Course from a different voice.
3 of 3 people found this review helpful
Customer ReviewsMost Helpful
By Parallax View on 18-08-13
A Disappointingly Distorted, Myopic View Of Jazz
What could have made this a 4 or 5-star listening experience for you?
An honest presentation of the subject!The lecturer's fast forwarding through the segment on modern jazz, brushing aside or even ignoring such universally recognized Jazz Giants as: Miles Davis, John Coltrane, Lambert, Hendridks & Ross, Cannonball lAdderly, Max Roach, Oliver Nelson, J.J. Johnson, Eric Dolphy, and too many more to mention in this small space, and replacing them with time wasting mediocre and mundane musical samples and seeming shameless self promotion is unconscionable , The lecturer mentions Beat author Ferlinghetti's A Coney Island of the Mind. But he reminds me of another book popular around that time, titled Advertisements for Myself. Had I not been a life long lover of jazz - and especially modern jazz - and gotten my introduction to the subject through the lecturer's course, I would not have touched the music with a ten foot pole.
What do you think your next listen will be?
Not Bill Messenger
Who would you have cast as narrator instead of Professor Bill Messenger?
The subject material, not the narrator was the problem.
You didn’t love this book... but did it have any redeeming qualities?
Hard to tell. The author so warped the section on modern jazz, that I can not trust any of the rest of the course.
Any additional comments?
Most of the Audible books and The Great Courses material I have purchased have been excellent and well worth the money. I just ordered a DVD: Great Scientific Ideas That Changed the World course about an hour ago.
20 of 23 people found this review helpful
By MidwestGeek on 13-02-17
Good introduction, but serious omissions.
I enjoyed this short course about jazz, and Messenger is a talented piano player as well as teacher. I was disappointed that Thelonius Monk (1917-1982) was omitted. Perhaps less appreciated during his lifetime than now, he was a major innovator. Maybe a "second course" is what is called for, one that includes people such as Monk, Charlie Mingus, George Shearing, Ahmad Jamal, Art Blakey, Wayne Shorter, Herbie Hancock, Christian McBride, all of whom had or are still having a discernable impact on jazz development and evolution.
4 of 4 people found this review helpful