'Jazz': Ken Burns
Ken Burns |
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Monday, Jan. 22, 3 p.m. ET
Since filming the Academy Award-nominated Brooklyn Bridge in 1981, Ken Burns has directed and produced some of the most acclaimed historical documentaires ever made, including The Civil War and Baseball. Historian Stephen Ambrose once said, "More Americans get their history from Ken Burns than any other source."
Jazz, Burns' third epic documentary, follows the music genre through its origins in blues and ragtime through swing, bebop and fusion. The 10-part, 19-hour film airs on PBS in January. (Full story.)
Talk Live with Ken Burns about his filmmaking career and his new documentary. Submit your questions below.
Missed the live chat? Read the transcript below:
Comment from Chat host: Thanks for joining us today. Ken will be
here in two minutes.
Elmhurst, Illinois: Why is Louis Armstong focused on more then Miles,
who reinvented different forms of Jazz over and over again?
Ken Burns: There would not be Miles Davis with Louis Armstrong, who
made jazz into an art form. Davis would not have been able to experiment
as much as he did. And Davis acknowledged that.
Manhattan: What inspired you to pick the topics you picked for your
documentaries?
Ken Burns: It is more the other way around, they pick me. I'm interested
in how my country works. The projects I work on seem to me to be the best
way to help people understand how to be an American.
chicago, Il: I've read that making this documentary was personally
educating for you about the music. What would you say is your favorite era/school
of jazz and why? Did you come to have any favorite musician?
Ken Burns: I don't have any favorite era. I love them all the same.
This has been a great experience for me. Louis Armstrong is closest to my
heart, but I like them all the same. Great art is great art.
Mt. Pleasant, Michigan: What about Ella? I love the jazz documentary
so far except for one obvious omission. Ella Fitzgerald, What about Ella?
Ken Burns: Be patient. Tonight you will see Ella in episode six.
New Kensington, PA: Where did you dig up some of that high-quality
footage? Who originally filmed it and why?
Ken Burns: The photos come from more than 250 archives around the
world. The footage ranges from anywhere from home movies, to footage from
museums, and on and on.
Chapel Hill, NC: Mr. Burns, If you could pick an eleventh, who would
it be?
Ken Burns: I would pick Charles Mingus with out hesitate.
ROCKPORT, MA: I love the music of Charlie Parker. Who, if anyone,
of today's young musicians do you think comes close to approximating his
genius?
Ken Burns: No one comes close. We can only pray that someone will
come along and get close. That would be enough for me.
Portland, Maine: Will you be releasing The Civil War on DVD format?
If so, when?
Ken Burns: Yes, we plan to. The date has not been set. I think sometime
in 2002 we will have a broadcast and DVD's.
Russellville, Arkansas: How do you decide the camera motion on still
photographs; left to right, up or down, or diagonally and is there a sequence
to these events on film? Did you use motion cameras or motioned by computer?
Ken Burns: There is no formula. We re-photograph the old photos with
an eye to drama. Each photograph is unique. Most are done by hand, some
by an animation camera whose movements are controlled by a computer.
Indianpolis, Indiana: I've been educated as well as entertained by
your "Jazz" series. I watched the credits at the end of each show. I would
like to know "How do you get permission or rights to use this kind of material"?
Who do you contact and do you have to pay fees or rolaties to use this material?
Ken Burns: It takes a great deal of time, human effort and money.
A large portion of our budget is for music rights. You have to contact the
publisher, and then pay mechanical and publishing rights.
Alexandria, VA: How do you hire staff (researchers) to work with
you on your productions?
Ken Burns: We don't. The research is done by a small group whom I
have worked with for years. My researchers are of the highest quality people.
We do it all ourselves rather than higher out to companies where the researchers
are at lower level in their company.
Newton Iowa (!): Hey what about Gershwin?
Ken Burns: He is more of a popular composer. We did have a piece
in our second episode. He would be the first to say he is not a jazz artist.
Jasper, Arkansas: How does Cab Calloway fit into jazz? I remember
friends going to his concert during the '20's
Ken Burns: Since he is as much a pop band leader as a jazz band leader,
in our series he is most noted for hiring Dizzy and his Hepster's Dictionary.
SILVIS,ILLINOIS: WHAT IS YOUR NEXT PROJECT?
Ken Burns: I am right now working on a Mark Twain film. It is two
parts, and four hours. Look for it in 2002.
waltham ma: how has your research changed your feelings toward your
jazz appreciation?
Ken Burns: Since I knew very little going in, it changed it totally.
I only listen to jazz now.
Raleigh, NC: I have watched every segment shown to date on my local
PBS channel. Overall its a wonderful experience and a terrific way to enhance
my knowledge of jazz and jazz history. However... Question...I feel that
most points made could have been made in a more concise manner. Many of
the topics appear to be longer than necessary to effectively cover them.
Question: Am I the only person to feel this way or has Mr. Burns heard this
critique from others???
Ken Burns: I disagree. I feel it is important to develop the themes
over time and to understand that America is so much about re-occurring themes.
Morristown Tennessee: I get so emotional when watching The Civil
War. How long did it take you to complete that film, from first idea to
completion of the film?
Ken Burns: I took five and a half years. I was interested in Civil
War being emotional and not just another documentary.
Atlanta, GA: Of all the people mentioned in the jazz documentary,
who would you most like to meet and why?
Ken Burns: Louis Armstrong. Not only is he the most interesting,
I was told by several people thought of him as a gift from God.
Whiteriver, AZ: Have you read "Benath the Underdog" by Mingus? And
if so what did you think?
Ken Burns: I read it and I loved it. He has an utterly unique mind.
New Paltz, NY: Are you going to mention Django Reinheardt? He seems
the best example of jazz' development overseas.
Ken Burns: Yes, we have a wonderful section in episode seven.
San Rafael, Ca: Why such an emphasis on Black players?
Ken Burns: It comes from the fact that the music comes from the African
American community. The most gifted and most important artists are black.
brooklyn : Did you find this a hard topic to cover.
Ken Burns: This was a difficult film to make but a joyous topic to
cover. I tried to make "music" the star of the film. That was not easy.
Beckley,WV: "Jazz" is so metaphorically "American" as a genre of
music. It has so many influences. Will you be doing documentaries about
the other types of music which helped create "jazz?"
Ken Burns: Not at the moment. I am toying with the idea of doing
an Elvis Presley film.
Elkhart, IN: In the '30s and '40s jazz, or swing/big band, music
was very popular. What brought about the decline in jazz's popularity since
that time?
Ken Burns: Mostly it is the lack of dancing, when b-bop came in.
Most dancers felt is was not danceable. Most artists left jazz. Several
generations grew up without jazz - what a shame.
Comment from Ken Burns: I am grateful to everyone who has watched
and for the complimentary questions and the pointed questions.
For too long jazz has been hidden. So I am happy to have been able to shed
some light on the art. Thanks again, everybody.
Comment from Chat host: We are out of time.
Ken is heading back to the editing studio now. Sorry we could not answer
each question.
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