Boplicity

I’m getting tired of all the criticisms being leveled at Ken Burns’ “Jazz” documentary (“Heads, Jazz Wins; Tails, It Loses,” by Don Heckman, Jan. 28). Sure, the series is flawed, but anything short of a 100,000-hour, 100% inclusive documentary of such an exhaustive subject would be doomed to have to exercise some exclusivity. Asking a question like “Is it jazz or is it Ken Burns?” is as ill-conceived as asking, “Is it art, or is it Picasso?”

Burns is a storyteller, he has a distinctive documentary style, and he has applied that to jazz in much the same way he did “The Civil War” or “Baseball.” Perhaps, as a musical style and social phenomenon, jazz is less suited to this style than previous subjects. But given that challenge, Burns has done an admirable and entertaining job of telling the story of jazz.

Like Heckman, I would’ve preferred to see more performance. But I would be willing to bet this series will turn on a lot more people to seek out this underappreciated art form and will perhaps help initiate a “rebirth of the cool.”

SEAN COLGIN

Santa Monica

*

Heckman and other critics are disturbed by Burns’ emphasis on the Great Man approach. So who makes history, little men? Burns gives credit where credit is due.

PAUL KUZNIAR

Santa Monica

*

Certainly the show isn’t a complete look at jazz in many respects. I, for one, wish Burns had spent more time on the contributions of women musicians to the genre (he barely mentioned standout pianist and arranger Mary Lou Williams) and the struggles they have faced being accepted into a male musical world.

But Burns deserves a lot more praise than he is getting for taking a loving and careful look at something precious that is rapidly becoming accessible only to musicians, music critics, Americans over 50 and a few brave younger souls willing to venture beyond pop culture’s definition of what music is.

BONNIE SLOANE

Los Angeles

*

In fairness to Burns, no series covering either jazz or the issue of race in America would likely suit everyone. There is no version of either that a majority of Americans could agree upon.

But a problem with Burns’ work is that, no matter the topic, he always treats it with the graven seriousness of the Civil War. You would not know that the sport of baseball is enjoyable or fun from watching his documentary series on it, nor can you get a sense of the pleasures of jazz music from watching Burns’ take on it.

TIM ONOSKO

Madison, Wis.

*

With the current lack of arts education, shouldn’t we be applauding Burns and PBS for introducing the magnificence of Louis Armstrong, Benny Goodman and Duke Ellington to a generation that may have never heard these names? Let us hope that a new generation of jazz aficionados will not only pick up the classic recordings, but also proactively seek the music of the latest wave of jazz artists.

CARLA TARAVELLA

Santa Monica

*

Too much Wynton Marsalis? Only the glue that held it all together. Only the most articulate musician around, from all I’ve ever heard. Not to mention knowledgeable and soulful.

So he faked a Buddy Bolden solo. So what? Aren’t we all curious about what BB might have sounded like?

RENAIS JEANNE HILL

Yucca Valley