# Jazz (miniseries)

Jazz is a 2001 television documentary miniseries directed by Ken Burns. It was broadcast on PBS in 2001 and was nominated for an Emmy Award for Outstanding Documentary or Nonfiction Series. Its chronological and thematic episodes provided a history of jazz, emphasizing innovative composers and musicians and American history.
Swing musicians Louis Armstrong and Duke Ellington are the central figures. 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. Of this 10-part documentary surveying jazz in the years from 1917 to 2001, all but the last episode are devoted to music pre-1961. The series was produced by Florentine Films in cooperation with the BBC and in association with WETA-TV, Washington.

## Overview

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 a consultant. Broadcaster and producer Phil Schaap was interviewed briefly.
Visually, Jazz was in the same style as Ken Burns' 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.
A number of companion CDs were released simultaneously.

## Episodes

Each 87–123 minute episode of the ten episodes of Jazz covered a different era.
| No. | Title | Time period | Themes | Original release date |
| 1 | "Gumbo" | To 1917 | Blues, Louisiana Creole music, minstrel shows, New Orleans jazz, Original Dixieland Jass Band, ragtime | January 8, 2001 (2001-01-08) |
| Personalities: Sidney Bechet, Buddy Bolden, Freddie Keppard, Jelly Roll Morton, James Reese Europe, Nick LaRocca |||||
| 2 | "The Gift" | 1917–1924 | Chicago jazz, Harlem Renaissance, New Orleans jazz, World War I | January 9, 2001 (2001-01-09) |
| Personalities: Louis Armstrong, Duke Ellington, James Reese Europe, Fletcher Henderson, James P. Johnson, King Oliver, Willie Smith, Paul Whiteman |||||
| 3 | "Our Language" | 1924–1928 | Cotton Club, Harlem Renaissance, Savoy Ballroom | January 10, 2001 (2001-01-10) |
| Personalities: Louis Armstrong, Sidney Bechet, Bix Beiderbecke, Duke Ellington, Benny Goodman, Earl Hines, Artie Shaw, Bessie Smith, Ethel Waters |||||
| 4 | "The True Welcome" | 1929–1935 | Great Depression, Lindy hop, swing music | January 15, 2001 (2001-01-15) |
| Personalities: Louis Armstrong, Duke Ellington, Benny Goodman, John Hammond, Fletcher Henderson, Billy Rose, Art Tatum, Fats Waller, Chick Webb |||||
| 5 | "Swing: Pure Pleasure" | 1935–1937 | Discrimination in public accommodations, Great Depression, Savoy Ballroom, swing music | January 17, 2001 (2001-01-17) |
| Personalities: Louis Armstrong, Tommy Dorsey, Duke Ellington, Benny Goodman, Billie Holiday, Jimmie Lunceford, Glenn Miller, Artie Shaw, Chick Webb, Teddy Wilson |||||
| 6 | "Swing: The Velocity of Celebration" | 1937–1939 | Great Depression, Kansas City jazz, swing music | January 22, 2001 (2001-01-22) |
| Personalities: Count Basie, Harry Edison, Duke Ellington, Ella Fitzgerald, Benny Goodman, Coleman Hawkins, Billie Holiday, Jo Jones, Chick Webb, Mary Lou Williams, Lester Young |||||
| 7 | "Dedicated to Chaos" | 1940–1945 | Bebop, racism, swing music, World War II | January 23, 2001 (2001-01-23) |
| Personalities: Dave Brubeck, Duke Ellington, Dizzy Gillespie, Billie Holiday, Glenn Miller, Charlie Parker, Django Reinhardt, Artie Shaw, Billy Strayhorn, Ben Webster |||||
| 8 | "Risk" | 1945–1956 | Bebop, drug abuse, West Coast jazz | January 24, 2001 (2001-01-24) |
| Personalities: Louis Armstrong, Dave Brubeck, Miles Davis, Paul Desmond, Duke Ellington, Ella Fitzgerald, Dizzy Gillespie, Norman Granz, Billie Holiday, John Lewis, Thelonious Monk, Gerry Mulligan, Charlie Parker |||||
| 9 | "The Adventure" | 1956–1961 | Avant-garde jazz, free jazz | January 29, 2001 (2001-01-29) |
| Personalities: Louis Armstrong, Art Blakey, Clifford Brown, Ornette Coleman, John Coltrane, Miles Davis, Duke Ellington, Billie Holiday, Sonny Rollins, Sarah Vaughan |||||
| 10 | "A Masterpiece by Midnight" | 1961–2001 | Bossa nova, civil rights movement, jazz fusion, jazz revival | January 31, 2001 (2001-01-31) |
| Personalities: Louis Armstrong, John Coltrane, Miles Davis, Duke Ellington, Stan Getz, Dexter Gordon, Wynton Marsalis, Charles Mingus, Max Roach, Archie Shepp, Cecil Taylor |||||

## Reception
### Positive reviews

Reason magazine wrote that Jazz "is filled with rewards, many of them proffered unintentionally. ... Burns's documentary gifts are not visionary, analytical, nor even properly historical. Rather, he is a talented biographer, and his films are most effective when he is able to present an overarching narrative in terms of the biographical detail of that narrative's participants."
Jason Van Bergen said, "The nearly 19 hours of documentary coverage contained in the Jazz series unravels like a fine wine", and due to the series' attention to detail, "a complete discussion of every episode in Ken Burns's Jazz would be better suited for a master's thesis" than to his brief review. ... Burns's encyclopedic rendering of the growth of jazz cannot be questioned. Followers of the music will need this set on their shelves; but perhaps slightly more surprisingly, serious students of American history may also require the set to supplement their versions of the past century."
In The New York Times, Ben Ratlife wrote that the program's "major thematic device is effective, and would not come naturally to a music-focused jazz historian. It is to show what happens when American whites and blacks encounter each other, not in the abstract but person to person, and make some sort of connection."
Writing in the National Review, Deroy Murdock wrote, "the TV documentary sometimes feels like Thanksgiving dinner. It's rich, delightful, filling, altogether satisfying, and, here and there, hypnotic. ... Burns's film is never dull. It's fascinating and captivating."

### Negative reviews

Gene Santoro, writing in The Nation, notes, "If Burns had cut the final episode and billed this as Jazz: The First 50 Years, more of the discussion might be where it belongs—on the movie."
William Berlind wrote in The Observer, "In allowing Mr. Marsalis to guide him, Mr. Burns has ultimately done us a disservice. He has managed to make a vital, evolving music seem dead and static."
The British newspaper The Guardian wrote, "The series' principal totemic figures, quite rightly, are Louis Armstrong, Duke Ellington, Billie Holiday, Charlie Parker and Miles Davis. Since a large proportion of Jazz is devoted to the swing era, two white bandleaders, Benny Goodman and Artie Shaw, are also given prominence—as, later on, is Dave Brubeck. But even some critics who have spent their lives arguing for a proper recognition of jazz's African-American essence believe that Burns—with the encouragement of Marsalis, Crouch and Murray—has pushed the Afrocentric line so far that the refusal to give credit to the contribution of white musicians undermines the series' historical accuracy."
Professor emeritus Frank Tirro wrote, "He gives, as one example, Louis Armstrong's 'West End Blues' as 'a reflection of the country in the moments before the Great Depression.' I cannot see how he can support this statement. What is it reflecting? The African Americans in Harlem, the Wall Street entrepreneurs, or the white middle-class farmers in Kansas and Iowa? This is bull-session history."

## Compilation albums

On November 7, 2000, 22 companion single-artist compilation albums, all titled Ken Burns Jazz, were released by the Verve and Columbia/Legacy labels. A five-CD box set, Ken Burns Jazz: The Story of America's Music, was also released, along with a single album sampler of that box set (The Best of Ken Burns Jazz).
The following albums were released by Verve:
* Count Basie – Allmusic link
* Art Blakey – Allmusic link
* John Coltrane – Allmusic link
* Ella Fitzgerald – Allmusic link
* Dizzy Gillespie – Allmusic link
* Coleman Hawkins – Allmusic link
* Billie Holiday – Allmusic link
* Charlie Parker – Allmusic link
* Sonny Rollins – Allmusic link
* Sarah Vaughan – Allmusic link
* Lester Young – Allmusic link
The following albums were released by Columbia/Legacy:
* Louis Armstrong – Allmusic link
* Sidney Bechet – Allmusic link
* Dave Brubeck – Allmusic link
* Ornette Coleman – Allmusic link
* Miles Davis – Allmusic link
* Duke Ellington – Allmusic link
* Benny Goodman – Allmusic link
* Herbie Hancock – Allmusic link
* Fletcher Henderson – Allmusic link
* Charles Mingus – Allmusic link
* Thelonious Monk – Allmusic link
* Various Artists – The Best of Ken Burns Jazz – Allmusic link
* Various Artists – Ken Burns Jazz: The Story of America's Music – Allmusic link
In 2002, Columbia also released two low-priced box sets, each containing three of the previously released single-artist collections.
* Ken Burns Jazz, Vol. 1 (Includes Louis Armstrong, Duke Ellington, and Benny Goodman compilations) – Allmusic link
* Ken Burns Jazz, Vol. 2 (Includes Thelonious Monk, Miles Davis, and Dave Brubeck compilations) – Allmusic link