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Jazz Shots from the West Coast, Vol. 1 (review)

2007; Music Library Association; Volume: 64; Issue: 1 Linguagem: Inglês

10.1353/not.2007.0121

1534-150X

Gerald A. Notaro,

American Sports and Literature

Reviewed by: Jazz Shots from the West Coast, Vol. 1. Gerald A. Notaro Jazz Shots from the West Coast, Vol. 1. DVD. [Andorra]: EFOR Films, 2006. 2869055NT. $19.95. Jazz, America's unique art form, needs the appropriate atmosphere for performance, some might claim even for listening. Like hip-hop, it has fashioned a world of its own—own language, own clothing, and own clubs—to keep insiders in and outsiders out. Creating the correct atmosphere can almost be as important as the music itself. In spite of video and sound limitations, the (mostly) black and white club, television, and festival concert performances presented in Jazz Shots from the West Coast demonstrate what high-definition widescreen color and smoke-free clubs cannot. Jazz appeals to all of the senses, not just to the ears. Jazz Shots from the West Coast is one part of a three-volume series in addition to the three-volume Jazz Shots from the East Coast. EFOR Films has separated the artists into the coasts where they mostly performed and recorded. It is arguable that such differences are minimal and convenient, but not beneficial. Tradition implies the West Coast jazz sound is smooth post-bop, post-cool, when compared to the East Coast. These are subjective descriptions and observations. Chet Baker, here in one of the few color "shots," probably is the most identified as a West Coast artist. Performers and compositions included in this DVD are Art Pepper, D. Section; Chet Baker, If I Should Lose You; Zoot Sims, On The Trail; Phineas Newborn Jr. Trio, Lush Life, Theme For Basie, and Oleo; Shelly Manne Quintet featuring Conte Candoli, The Isolate Pawn, and Fan Tan; and Wes Montgomery, Jingles. The Phineas Newborn Jr. Trio performances are the greatest find. The unique clarity of this particular video and sound source recording surely help, but the performances themselves are stellar. In spite of fading into jazz history obscurity, the resurrection of recordings such as these could easily restore his reputation as the great jazz pianist he was. At almost thirteen minutes, Art Pepper's segment may be too long even for aficionados. All of the shots, though, allow jazz lovers a legitimate glimpse at musical genius. The entire series could be far more valuable if time, place, and personnel information were supplied somewhere by the producers. Despite informational and technical shortcomings, Jazz Shots from the West Coast is a highly recommended purchase. Gerald A. Notaro University of South Florida, St. Petersburg Copyright © 2007 the Music Library Association, Inc.