In this Book

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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.


Table of Contents

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  1. Cover
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  1. Half Title, Title Page, Copyright, Quotation
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  1. Contents
  2. pp. vii-viii
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  1. Foreword: St. George and the Blues
  2. Gary Giddins
  3. pp. ix-xvi
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  1. Introduction. Albert Murray: Making Words Swing, on and off the Page
  2. Paul Devlin
  3. pp. xvii-xlvi
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  1. “Art is about elegant form”: Interview with Wynton Marsalis, 1994
  2. pp. 3-31
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  1. “Finding ourselves in the role of elder statesmen”: Interview with Dizzy Gillespie, 1985–86
  2. pp. 32-70
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  1. “How did Basie come by the name Count?”: Interview with Dan Minor, 1981
  2. pp. 71-83
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  1. “Human consciousness lives in the mythosphere”: Interview with Greg Thomas, 1996
  2. pp. 84-95
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  1. “Hear that train whistle harmonica!”: Talk at St. John’s University with Paul Devlin, 2003
  2. pp. 96-104
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  1. “A real conservative? I’m not one. I’m an avant-garde person.”: Interview with Russell Neff, 1989
  2. pp. 105-113
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  1. “The blues always come back”: Liner Notes to Revelations/Blues Suite, Alvin Ailey Dance Theater, 1978
  2. pp. 114-118
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  1. Second Lining, Third Liners—and the Fourth Line: Notes on a Jazz Tradition, 2003–2004
  2. pp. 119-121
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  1. “Basie’s a special guy”: Interview with Billy Eckstine, 1983
  2. pp. 122-129
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  1. Three Omni-American Artists: Foreword to Mitchell & Ruff: An American Profile in Jazz, by William Zinsser, 2000
  2. pp. 134-137
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  1. “I know the world that these sounds come out of!”: Interview with Paul Devlin, 2006
  2. pp. 138-149
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  1. “Flexibility, the art of adapting, and the necessity of continuous creation”: A Talk on Jazz, Delivered in Morocco, 1956 or 1958
  2. pp. 150-152
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  1. “We really integrated Fifty-second Street”: Interview with John Hammond, 1982
  2. pp. 153-160
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  1. “No better example of the ungaudy”: Biographical Sketch of Count Basie, 2004
  2. pp. 161-165
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  1. “It’s a mistake to think of any art form in terms of progress”: Interview with Susan Page, 1997
  2. pp. 166-173
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  1. “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
  2. pp. 174-185
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  1. The Achievement of Duke Ellington: A Discussion with Loren Schoenberg and Stanley Crouch, 1989
  2. pp. 186-218
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  1. Murray’s Final Published Nonfiction Statement: Jazz: Notes toward a Definition, 2004
  2. pp. 219-226
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  1. Afterword: The Blues and Jazz as Aesthetic Statement
  2. Greg Thomas
  3. pp. 227-238
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  1. Acknowledgments
  2. pp. 239-242
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  1. Appendix A. Albert Murray’s Canon of Jazz Arrangements, 2001– 2002
  2. pp. 243-254
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  1. Appendix B. American Patterns and Variations on Rhythm and Tune: An Ellington–Strayhorn List, 1990s
  2. pp. 255-258
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  1. Index
  2. pp. 259-273
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  1. Contributors
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  1. Image Plates
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