West Coast Jazz: Modern Jazz in California, 1945-1960

I recently read West Coast Jazz for a history of jazz class I was teaching. Excellent, it is now going around the band I play in and others have recently bought it. His comparisons of different musical compositions is great and I am now in the process of listening to many of the examples he uses again. I grew up with this music and it is a real pleasure to go back and reread my youth.

Finally, a book that takes the West Coast jazz movement seriously, instead of as a footnote to the New York Cool school. Gioia has compiled a wealth of information destined to be forgotten about a style that is considered unworthy of being taken seriously by the East Coast-centric, anti-white jazz critics. Mostly white people playing jazz by the beaches of California made no sense to them and still doesn't. Open any history of jazz. Try finding any mention of Bud Shank, Pete Jolly, Jack Sheldon, etc. One of the great movements in jazz was rejected because it did not fit into the steroetype of gritty, dark, and Black-made (compare Blue Note album covers with Contemporary Records album covers). The only one given any attention was Chet Baker, and this was due to his romantic James Dean-like image rather than his brilliant trumpet playing. Don't get me wrong, there were many excellent black participants in the movement, such as Hampton Hawes and Buddy Collette but I do truly believe that there is a racial bias against West Coast jazz. Okay, I am stepping down off my soapbox. This book belongs in the cannon of great jazz history books. It is a well-researched, fascinating journey through the jazz world of Los Angeles primarily, but also the San Francisco Bay Area, starting with a wonderful foray into the the life of Central Avenue, Dexter Gordon and Wardell Gray (who probably would have been ignored too had they not left LA). Any fan of the music needs to own it and every jazz critic should be tied to a chair and have it read to him. Then he should be untied and played Art Pepper records all night. Should also be required reading in whatever California public school music and arts programs are left as an essential expresion of the distinct California aesthetic, as important as the architecture of Frank Gehry and the photography of Ansel Adams.

This is a highly distinguished book on the history of West Coast jazz, a phenomenon that existed from the mid-40's until about 1960--at least in terms of it being a special brand of jazz distinct from other styles (East Coast, Traditional, etc.). It developed in the black section of Los Angeles along Central Avenue where clubs abound, and mainly followed the flowering of bebop as created by Bird and Diz and Bud Powell, among others. The Cool School, led by Chet Baker and Gerry Mulligan, is dealt with fully, and there are chapters on important West Coast highlights such as the Lighthouse groups, Shorty Rogers, Art Pepper, and Shelly Manne. There are even a couple of chapters on the San Francisco scene, especially Dave Brubeck. Gioia's writing is excellent, scholarly but lively and interesting. A must-have jazz book.

The best book on jazz (or any other topic!) I've read in the past few years. The author manages to sustain a wonderful balance among scholarship, human interest, and serious criticism. I thought I knew something about this topic -- found out I knew very little. The section on Brubeck's early years is, by itself, well worth the price of the book.

I have a rather large selection of albums from this era and this book covered many of them. I could seem to hear them in my mind as I read the book. This book not only explores the music well, but the people who played it. Would like another copy for a friend.