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Rating: 
Summary: Lost Chords comments
Review: A wonderful trip thru what must have been an incredible period to be an active jazz fan. Thank you Jeff Ellis for your accomplishments. The nine years you have invested are proven by this book to be extraordinarily justified. Readers should be aware there is a companion CD of selected samples of the jazz discussed in this book which should also be ordered.
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Summary: A Rare Book
Review: I'm a musician. I borrowed this book from my local library. The more I read it the more I knew I had to own it. Every once and a while someone does something of real quality. The minute you see it or touch it or come near it, you know it's the real thing. It's good. You have to have it. I bought this book because it's all that. As I read it I really didn't care about black or white, I only became absorbed in these amazing people and their remarkable achievements. Anyone who has a desire to know what happened back in those days and its relevance to jazz today better read this book. Don.
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Summary: My father is in this book
Review: In the chapter "bix and his friends", my father, charles bud dant was included. My father wrote transcriptions of stardust in 1927 and he worked with Hoagy C. at Indiana university. I have his cornet; he just died at 92. He was the last surviving member of this clan and elite club. He will be missed and his contribution to jazz is recorded for all time.
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Summary: Fascinating, Readable, Essential, and Anti-Racist
Review: Mr.Sudhalter has chosen to place himself in the center of the 82 year old debate over whether jazz is only a black innovation in music.
Although at first glance, many will instantly brand the book racist and anti-black, they will find (by actually reading the book) that Mr. Sudhalter is simply stating the case for jazz being both black and white, and he does so extremely well.
He cites actual events and circumstances, musical examples, and quotes from the musicians themselves, both white and black. The book relates how musicians respected and admired each other's talent, regardless of race; how the growth and development of jazz was a truly multi-cultural event in our history.
Mr. Sudhalter shows no lack of respect for anyone, except those narrow-minded jazz enthusiasts who refuse to consider the whole picture of jazz history.
'Lost Chords' just happens to cover the time frame in jazz that I really enjoy, so I was familiar with most of the musicians and music discussed. For those who aren't, I can recommend it as a way to appreciate where your choice of jazz came from, be it 50's jazz or 90's.
And by the last page, you may decide it's time to go buy some of the classic jazz in this book and decide for your yourself. (A companion CD is available, and I highly recommend it to anyone reading this book).
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Summary: More than you have any right to hope for...
Review: Not a mere antidote to political correctness in jazz criticism; Lost Chords is a prewar cultural history, a lesson in music structure, a history of woodwind instruments, a guide to innovations in guitar tuning, AND MORE. It shows the musicians as human beings with all their failings, humor, drives, hard work, and talent. I especially loved the account of the bass sax --- an instrument that looks like it could double as a moonshine still --- and its usefulness in the early days of sound recording. Sudhalter admonishes us to listen to the music and to make up your own mind. Exactly right. A good place to start is Robert Parker's Bix Beiderbecke Great Original Performances 1924-1930 (available on Amazon) If you have ever heard an early 78 rpm record, you will be astonished at Parker's sound restoration.
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Summary: Complete pleasure -- spins the reader back to his/her youth.
Review: The infinite attention to detail makes this a must for the jazz fan of all ages, particularly to one who became a jazz fan before 16 in San Francisco, and had the pleasure of hearing my first big band at the '39 Fair in San Francisco: one never forgets hearing Goodman, alive - and how! for the first time. I am still in communication with friends from that period and I am going to insist they get a copy.
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Summary: Just the facts
Review: While a brilliant documentary, Burns' "Jazz" also reinforced the notion that jazz is exclusively an African-American artform. Fortunately, "Lost Chords" does much to blow away that misperception. While never belittling or downplaying the role of those African-American giants in jazz, this book does an outstanding job of profiling all of the individuals and bands who received short shrift from Burns: Steve Brown, who pretty much invented jazz bass playing; the Jean Goldkette Orchestra; Miff Mole; Frank Trumbauer; and may more. And he does so in a way that is both interesting to the casual fan (with anecdotes and such) and the hardened muso (excerpts of scores abound). A scholarly tome, this is a worthy addition for any jazz fan's library. I look forward to Volume II.
Rating:
Summary: Just the facts
Review: While a brilliant documentary, Burns' "Jazz" also reinforced the notion that jazz is exclusively an African-American artform. Fortunately, "Lost Chords" does much to blow away that misperception. While never belittling or downplaying the role of those African-American giants in jazz, this book does an outstanding job of profiling all of the individuals and bands who received short shrift from Burns: Steve Brown, who pretty much invented jazz bass playing; the Jean Goldkette Orchestra; Miff Mole; Frank Trumbauer; and may more. And he does so in a way that is both interesting to the casual fan (with anecdotes and such) and the hardened muso (excerpts of scores abound). A scholarly tome, this is a worthy addition for any jazz fan's library. I look forward to Volume II.
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