Award-winning writer, teacher, and renowned jazz drummer Michael Stephans invites the reader on a guided tour of the jazz world in this essential survey of the genres history. This groundbreaking book reframes the ever-evolving, distinctly human, art of jazz and invites readers to relearn how to listen. Yes, listening, really listening to music is the lost art that Stephans works to preserve. He forgoes chronological order, instead approaching the subject from the standpoint of instruments and musical innovators while offering a comprehensive social, cultural, and musical history of jazz, from its birth to its present day. This survey of jazz is particular among jazz appreciation texts because it is written by a jazz musician who is currently active on the global jazz scene. With a forward by esteemed jazz writer Doug Ramsey, and preface by jazz master Dave Liebman, this text is a culmination of many prominent voices of the jazz world. At the heart of the book, readers are invited onto the bandstand to listen to personal accounts and legendary jazz stories. In an art form that enriches the lives of the listener and the musician, 'the more we listen, the more we hear.' * Publishers Weekly * Stephans, a prominent jazz musician, has written widely on jazz music and has written promotional material for many fine musicians. His style is straightforward and easygoing, and will help long-time listeners of jazz and those new to the genre cultivate an understanding and appreciation of jazz music. He gives readers explanations of both technical and scholarly aspects but also important points of what we should be listening for. He provides a survey in the art of listening to jazz and provides an insider's perspective to its ever-changing culture. Along the way he provides readers chapters with important historical and musical insights into the history and styles of jazz during the 1940s and 1950s, discusses the functions and forms of jazz on and off the bandstand, gives details on small groups and big bands, and discusses the key instrument and their significant roles in music (e.g., trombone, saxophone, piano, clarinet). An index makes it easy to find specific topics, persons, places, or musical pieces. As good as this book isand it is wonderfulit cannot bear scrutiny as a reference tool. Rather, it is a monograph on the history, styles, and movements of jazz music. * American Reference Books Annual * He provides useful chapter-by-chapter bibliographies and, in lieu of a discography, a guide to websites, an inevitable twenty-first-century departure from the previous norm in books of this kind. Recommended as a supplementary source for jazz collections. * Booklist * Experiencing Jazz is unlike any other listener's guide. An experienced jazz performer himself, Stephans describes this book as a 'guided tour to the world of jazz.' Rather than offering an alphabetical compendium of artists with brief annotations about his favorite recordings (and to whom one should listen), the author digs deeper to help the reader better understand what to listen for and how to listen. He engages the reader with descriptions of venues, the life of a working musician, record labels, and the business of music. At the heart of the book are some dozen chapters devoted to the principle instruments in jazz, and conversations with a master of that particular instrument. . . .A solid resource for an appreciation class, Experiencing Jazz takes up many substantive topics. This volume will lead to a more meaningful appreciation of jazz and its practitioners. Summing Up: Recommended. Lower- and upper-division undergraduates; professionals; general readers. * CHOICE * As a very successful attempt to draw interested parties into the world of jazz, Experiencing Jazz is highly recommended. * Musoscribe * The book is written so that the student or interested reader can sample chapters of interest and still benefit. Of course, reading all the way through, as I did, allows one to appreciate the subject in its entirety. There is liberal use of photographs, many of which come from William Gottliebs collection, now owned by the Library of Congress, and by extension, we the American public. Another interesting aspect of the book, Stephans lists the official websites of the principal performers and suggests collateral reading. As mentioned already, he gives some illustrative jazz anecdotes which personalize for the reader the jazz experience. Mr. Stephans, besides being an active jazz drummer, is a poet, author and professor. At Bloomsburg University, part of the U of PA system, he teaches a writing course for science and technology majors. Who would benefit from this book? Jazz enthusiasts, especially students and those wishing to develop a broader appreciation for the art. * Jazz Society of Pensacola *
