Muutke küpsiste eelistusi

Murray Talks Music: Albert Murray on Jazz and Blues [Kõva köide]

4.08/5 (49 hinnangut Goodreads-ist)
Edited by , Foreword by , , Afterword by
  • Formaat: Hardback, 280 pages, kõrgus x laius x paksus: 229x152x38 mm, 16
  • Ilmumisaeg: 16-May-2016
  • Kirjastus: University of Minnesota Press
  • ISBN-10: 0816699550
  • ISBN-13: 9780816699551
Teised raamatud teemal:
Murray Talks Music: Albert Murray on Jazz and BluesSuurem pilt
  • Formaat: Hardback, 280 pages, kõrgus x laius x paksus: 229x152x38 mm, 16
  • Ilmumisaeg: 16-May-2016
  • Kirjastus: University of Minnesota Press
  • ISBN-10: 0816699550
  • ISBN-13: 9780816699551
Teised raamatud teemal:
Püsilink: https://www.kriso.ee/db/9780816699551.html
Märksõnad:

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.


Arvustused

"Albert Murray is . . . an authority on soul from the days of old . . . and commands respect. He doesn't have to look it up. If you want to know, look him up. He is the unsquarest person I know."-Duke Ellington

"Like Barthes and Bazin, Murray is a truly original thinker . . . Murray Talks Music is irresistibly stimulating." -The New Yorker

"The name Albert Murray was never household familiar. Yet his complex, mind-opening analysis of art and life remains as timely as ever-probably more so. Devlins book is both a public service and a testament to how Murray could impress and inspire those who came in contact with him."-The Nation

"Insightful." -New York Times

"Murray Talks Music bears indelible witness to the writers role in elevating both jazz itself and the scholarship surrounding the music." -JazzTimes

"Murray is rare touchstone writer for jazz. Indeed, theres an argument that the later career of Wynton Marsalis and the entire edifice of Jazz at Lincoln Center is founded on Murrays work. This is the only case of a major jazz musician treating the work of a major jazz writer with such reverence."-Ethan Iverson, DO THE M@TH

"A compelling and comprehensive work, which will no doubt make Murrayites of us all."-DownBeat

"Before Murray Talks Music, there was little in print of Albert Murray as spontaneous orator. This new collection corrects that problem and shows how brilliant he could be even when he didnt have time to polish his prose."-The Arts Fuse

"Murray Talks: Albert Murray on Jazz and Blues is further testimony to the fact that Murray was a charming character and a determined thinker. It is a fascinating edition to the Murray canon." -Living Blues

"The freewheeling give-and-take in Murray Talks Music is robust and colorful. In conversation, Murray was even more of a paradigmatic jazzman in his spontaneous digressions and in his ability to call on a breathtaking range of resources and references." -Bookforum

"If Allan Bloom was right that 'this is the age of music and the states of soul that accompany it,' then Albert Murray is a guide for our time. Against this backdrop, we can appreciate the posthumous publication of Murrays work." -The Weekly Standard

Foreword: St. George and the Blues ix
Gary Giddins
Introduction. Albert Murray: Making Words Swing, on and off the Page xvii
Paul Devlin
MURRAY TALKS MUSIC
"Art is about elegant form"
Interview with Wynton Marsalis, 1994
3(29)
"Finding ourselves in the role of elder statesmen"
Interview with Dizzy Gillespie, 1985-86
32(39)
"How did Basie come by the name Count?"
Interview with Dan Minor, 1981
71(13)
"Human consciousness lives in the mythosphere"
Interview with Greg Thomas, 1996
84(12)
"Hear that train whistle harmonica!"
Talk at St. John's University with Paul Devlin, 2003
96(9)
"A real conservative? I'm not one. I'm an avant-garde person"
Interview with Russell Neff, 1989
105(9)
"The blues always come back"
Liner Notes to Revelations/Blues Suite, Alvin Ailey Dance Theater, 1978
114(5)
Second Lining, Third Liners---and the Fourth Line
Notes on a Jazz Tradition, 2003-2004
119(3)
"Basie's a special guy"
Interview with Billy Eckstine, 1983
122(8)
"It's not bad being Huck"
Interview with Janis Herbert and Foreword to The World Don't Owe Me Nothing: The Life and Times of Delta Bluesman "Honeyboy" Edwards
130(4)
David "Honeyboy" Edwards
Three Omni-American Artists
Foreword to Mitchell & Ruff: An American Profile in Jazz
134(4)
William Zinsser
"I know the world that these sounds come out of!"
Interview with Paul Devlin, 2006
138(12)
"Flexibility, the art of adapting, and the necessity of continuous creation"
A Talk on Jazz, Delivered in Morocco, 1956 or 1958
150(3)
"We really integrated Fifty-second Street"
Interview with John Hammond, 1982
153(8)
"No better example of the ungaudy"
Biographical Sketch of Count Basie, 2004
161(5)
"It's a mistake to think of any art form in terms of progress"
Interview with Susan Page, 1997
166(8)
"There was no gap: educational gap, cultural gap, between music education and what Negroes were doing in music"
Interview with Robert G. O'Meally, 1994
174(12)
The Achievement of Duke Ellington
A Discussion with Loren Schoenberg and Stanley Crouch, 1989
186(33)
Murray's Final Published Nonfiction Statement
Jazz: Notes toward a Definition, 2004
219(8)
Afterword: The Blues and Jazz as Aesthetic Statement
Greg Thomas
227(12)
Acknowledgments 239(4)
Appendix A Albert Murray's Canon of Jazz Arrangements, 2001--2002 243(12)
Appendix B American Patterns and Variations on Rhythm and Tune: An Ellington--Strayhorn List, 1990s 255(4)
Index 259
Albert Murray (19162013), author of thirteen books including Stomping the Blues, was a renowned jazz historian, novelist, and social and cultural theorist. He cofounded Jazz at Lincoln Center in 1987. 

Paul Devlin teaches at the U.S. Merchant Marine Academy and at St. Johns University. He earned his PhD in English at Stony Brook University in 2014. He is the editor of Rifftide: The Life and Opinions of Papa Jo Jones, as told to Albert Murray (Minnesota), a finalist for the Jazz Journalists Associations book award in 2012.

Gary Giddins is one of the worlds foremost jazz critics. His books include Visions of Jazz, Bing Crosby: A Pocketful of Dreams, Celebrating Bird: The Triumph of Charlie Parker (Minnesota), Satchmo, Weather Bird, Natural Selection, Jazz, and Warning Shadows.

Greg Thomas is an award-winning jazz writer, editor, educator, and broadcast journalist. His work on jazz has been published in the Village Voice, The Root, All About Jazz, Salon, The Guardian, American Legacy, and the New York Daily News, for which he was the jazz columnist.