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The language is more scholarly, detailed and sometimes overflows with names and information that is mind-boggling. Berendt doesn't leave a stone unturned and there isn't any subject related to jazz or the scenes he investigates that he doesn't tackle. The essays, or chapters, are written in three languagesEnglish, German and French and each translation features different photographs. Jazz music has always had a close relationship with photography, since its earliest days. One can say that both arts have developed simultaneously. When William Claxton passed away in 2008, jazz photographer Herman Leonard said the following for the New York Times "When we started out, there were hardly any other photographers doing this kind of thing because there was no money in it. We started doing it because of the love of photography and the love of jazz." The ability to capture the magnificence of this music in a single moment can still fire up the imagination, even in eras gone by. Obviously this book is a labor of love.
What both of them have managed to do was to bring the world to their vision about how jazz could not only be heard but be seen as well. Sometimes listening to music is simply not enough. We crave for more and more information, more insights about the artists which music we enjoy. The photographs in this book are another way for jazz to connect and communicate with its audiences. All of these images offer particular insights and revelations that enrich our appreciation of jazz.
I love jazz because anything is possible; it has few rules and the best jazz breaks those ones. I prefer free improv because it doesn't really have any rules at all.
I was first exposed to jazz in my teens (in the late sixties).
The first jazz record I bought was Filles de Kilimanjaro by Miles Davis, shortly followed by Extrapolation by John McLaughlin.
My advice to new listeners is to listen as widely as possible and not to make snap judgments--stick with it.