The year 2016 will mark the centennial of the birth of Albert Murray (1916–2013), who in thirteen books was by turns a lyrical novelist, a keen and iconoclastic social critic, and a formidable interpreter of jazz and blues. Not only did his prizewinning study Stomping the Blues (1976) influence musicians far and wide, it was also a foundational text for Jazz at Lincoln Cen The year 2016 will mark the centennial of the birth of Albert Murray (1916–2013), who in thirteen books was by turns a lyrical novelist, a keen and iconoclastic social critic, and a formidable interpreter of jazz and blues. Not only did his prizewinning study Stomping the Blues (1976) influence musicians far and wide, it was also a foundational text for Jazz at Lincoln Center, which he cofounded with Wynton Marsalis and others in 1987. Murray Talks Music brings together, for the first time, many of Murray’s finest interviews and essays on music—most never before published—as well as rare liner notes and prefaces. For those new to Murray, this book will be a perfect introduction, and those familiar with his work—even scholars—will be surprised, dazzled, and delighted. Highlights include Dizzy Gillespie’s richly substantive 1985 conversation; an in-depth 1994 dialogue on jazz and culture between Murray and Wynton Marsalis; and a long 1989 discussion on Duke Ellington between Murray, Stanley Crouch, and Loren Schoenberg. Also interviewed by Murray are producer and impresario John Hammond and singer and bandleader Billy Eckstine. All of thse conversations were previously lost to history. A celebrated educator and raconteur, Murray engages with a variety of scholars and journalists while making insightful connections among music, literature, and other art forms—all with ample humor and from unforeseen angles. Leading Murray scholar Paul Devlin contextualizes the essays and interviews in an extensive introduction, which doubles as a major commentary on Murray’s life and work. The volume also presents sixteen never-before-seen photographs of jazz greats taken by Murray. No jazz collection will be complete without Murray Talks Music, which includes a foreword by Gary Giddins and an afterword by Greg Thomas.
Murray Talks Music: Albert Murray on Jazz and Blues
The year 2016 will mark the centennial of the birth of Albert Murray (1916–2013), who in thirteen books was by turns a lyrical novelist, a keen and iconoclastic social critic, and a formidable interpreter of jazz and blues. Not only did his prizewinning study Stomping the Blues (1976) influence musicians far and wide, it was also a foundational text for Jazz at Lincoln Cen The year 2016 will mark the centennial of the birth of Albert Murray (1916–2013), who in thirteen books was by turns a lyrical novelist, a keen and iconoclastic social critic, and a formidable interpreter of jazz and blues. Not only did his prizewinning study Stomping the Blues (1976) influence musicians far and wide, it was also a foundational text for Jazz at Lincoln Center, which he cofounded with Wynton Marsalis and others in 1987. Murray Talks Music brings together, for the first time, many of Murray’s finest interviews and essays on music—most never before published—as well as rare liner notes and prefaces. For those new to Murray, this book will be a perfect introduction, and those familiar with his work—even scholars—will be surprised, dazzled, and delighted. Highlights include Dizzy Gillespie’s richly substantive 1985 conversation; an in-depth 1994 dialogue on jazz and culture between Murray and Wynton Marsalis; and a long 1989 discussion on Duke Ellington between Murray, Stanley Crouch, and Loren Schoenberg. Also interviewed by Murray are producer and impresario John Hammond and singer and bandleader Billy Eckstine. All of thse conversations were previously lost to history. A celebrated educator and raconteur, Murray engages with a variety of scholars and journalists while making insightful connections among music, literature, and other art forms—all with ample humor and from unforeseen angles. Leading Murray scholar Paul Devlin contextualizes the essays and interviews in an extensive introduction, which doubles as a major commentary on Murray’s life and work. The volume also presents sixteen never-before-seen photographs of jazz greats taken by Murray. No jazz collection will be complete without Murray Talks Music, which includes a foreword by Gary Giddins and an afterword by Greg Thomas.
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patrick Lorelli –
Anyone wanting to know something or anything about jazz this is a book for that. With Dizzy Gillespie, Wynton Marseilles, and Duke Ellington names that most people recognized. I liked the interviews with John Hammond, Stanley couch, and my favorite Billy Eckstein who was a band leader and singer. If you can get a chance find a reproduction of any of his music and you will see what I mean. He was an awesome talent. I found this book to be a wonderful read and a good look at different jazz musicia Anyone wanting to know something or anything about jazz this is a book for that. With Dizzy Gillespie, Wynton Marseilles, and Duke Ellington names that most people recognized. I liked the interviews with John Hammond, Stanley couch, and my favorite Billy Eckstein who was a band leader and singer. If you can get a chance find a reproduction of any of his music and you will see what I mean. He was an awesome talent. I found this book to be a wonderful read and a good look at different jazz musicians. I received this book from Netgalley.com I gave it 5 stars. Follow us at www.1rad-readerreviews.com
Terri Farris –
Exceptional insight. One of the few introductions that I have read in its entirety. His memories and experiences make the era and genre come alive. This book was a departure for me and I would recommend it to music lovers and historians alike. I won this in a goodreads giveaway
Bookforum Magazine –
"The freewheeling give-and-take in Murray Talks Music is robust and colorful enough to lay waste to any accusations of stodginess." -Gene Seymour on Murray Talks Music: Albert Murray on Jazz and Blues in the Dec/Jan 2017 issue of Bookforum To read the rest of this review, go to Bookforum: http://bookforum.com/inprint/023_04/1... "The freewheeling give-and-take in Murray Talks Music is robust and colorful enough to lay waste to any accusations of stodginess." -Gene Seymour on Murray Talks Music: Albert Murray on Jazz and Blues in the Dec/Jan 2017 issue of Bookforum To read the rest of this review, go to Bookforum: http://bookforum.com/inprint/023_04/1...
Michael Borshuk –
An indispensable posthumous addition to the work of one of the finest American public intellectuals of the past half-century (and then some). Required reading for anybody wanting to understand jazz and blues musics at the philosophical level, beyond the surface level of aesthetic form.
Phil Overeem –
A genius, and his concept of "engagement with the briar patch" is useful today in and outside of the art world. A genius, and his concept of "engagement with the briar patch" is useful today in and outside of the art world.
André –
"Now, you stomp the blues to get rid of the blues. You don't stomp it with a hammer or bang it down. You stomp the blues with insouciance. The blues is a boogeyman. And if the boogeyman comes to get you and you don't pay any attention, that wipes it out. He can't stand elegance and insouciance. That's what jazz does." "Now, you stomp the blues to get rid of the blues. You don't stomp it with a hammer or bang it down. You stomp the blues with insouciance. The blues is a boogeyman. And if the boogeyman comes to get you and you don't pay any attention, that wipes it out. He can't stand elegance and insouciance. That's what jazz does."
Cecilia Dunbar Hernandez –
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r –
“Well, you know, one of the basic fallacies with so much twentieth-century art journalism is that they confuse art with rebellion and revolution. Art is really about security. The enemy is entropy, the enemy is formlessness. Art is about form. Art is about elegant form. If you’re going to be just for tearing down something, that is as ridiculous as trying to embrace entropy, then you’re gonna embrace chaos. If you want to try that, go down to the waterfront and try to embrace some waves coming i “Well, you know, one of the basic fallacies with so much twentieth-century art journalism is that they confuse art with rebellion and revolution. Art is really about security. The enemy is entropy, the enemy is formlessness. Art is about form. Art is about elegant form. If you’re going to be just for tearing down something, that is as ridiculous as trying to embrace entropy, then you’re gonna embrace chaos. If you want to try that, go down to the waterfront and try to embrace some waves coming in. You’ll do much better trying to surf on the waves. You gotta be elegant to surf.”
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