I Am Jazz: More Jazz is a series that airs extended enhanced episodes with extra information, deleted scenes and bonus unseen footage from the show "I Am Jazz" that also airs on TLC.

I Am Jazz: More Jazz - Netflix

Type: Reality

Languages: English

Status: Running

Runtime: 60 minutes

Premier: 2017-06-28

I Am Jazz: More Jazz - White Jazz - Netflix

White Jazz is a 1992 crime fiction novel by James Ellroy. It is the fourth in his L.A. Quartet, preceded by The Black Dahlia, The Big Nowhere, and L.A. Confidential. James Ellroy dedicated White Jazz “TO Helen Knode.” The epigraph for White Jazz is “'In the end I possess my birthplace and I am possessed by its language.' -Ross MacDonald.” Lieutenant David Klein is a veteran policeman who moonlights as a hitman for organized crime. When he is assigned to investigate a robbery at the home of the Los Angeles Police Department's (LAPD) sanctioned heroin dealer, he uncovers a plot to bring the city's crime syndicates into collusion with the channels of justice. The stories of many characters that appeared in earlier L.A. Quartet novels, including Edmund Exley and Dudley Smith, have their ends tied up in White Jazz, which also introduces Pete Bondurant, one of the central characters in Ellroy's Underworld USA Trilogy.

I Am Jazz: More Jazz - Critical review - Netflix

What the real Los Angeles possesses, amid all its fiery disintegration, is what Mr. Ellroy's latest novel keenly lacks: a coherent narrative line. We may not have been pleased about what was happening this spring, but we knew why it was happening. In White Jazz, I was lost by page 56—the page on which the author explicitly reveals whatever plot the novel is going to have. (“Instinct—call me bait—a bad cop sent out to draw heat,” Klein correctly guesses.) For the next 300 pages it was just a matter of waiting out the body count and wishing for a more interesting variety of subject-verb combinations. Mr. Ellroy, in order to pack maximo action into minimo pages, has developed what he clearly views as a whiplash telegraphic style. No doubt the violence done to the English language is meant to mirror the violence done to humanity by its fellow humanity (I'm being charitable here). But we can't really begin to care about characters who never even get to inhabit a complete sentence.

The reviews for White Jazz were quite positive. “Blacker than noir... Makes most other crime novels seem naive.”--Publishers Weekly. “James Ellroy's latest book WHITE JAZZ makes previous detective fiction read like Dr. Seuss.”--San Francisco Examiner. “Ellroy's tenth novel burns with the memory of Rodney King in its descriptions of unimaginably cruel law officers who are not merely tainted by corruption on a vast scale but pursue conventional police work as a sideline to more lucrative illegal activities that burst into the public consciousness in violent frenzies.... An undeniably artful frenzy of violence, guilt and unappeased self-loathing. Ellroy's crime fiction represents a high mark in the genre.”--New York Newsday. In the wake of the 1992 Los Angeles riots, Wendy Lesser, reviewing the novel for The New York Times wrote:

I Am Jazz: More Jazz - References - Netflix