Stomping The Blues (Da Capo Paperback) Review

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Stomping The Blues (Da Capo Paperback) Review"Stomping the Blues" is a sound and profound appreciation, history, aesthetics and anthropology of the music. Written by an accomplished novelist and essayist, it might also be the funniest and most well-written book on the music, if not the most original book to boot. To label Murray a racist simply because he is less than impressed with certain white jazz musicians is preposterous. What Murray implies, on p. 196 and elsewhere, is that because these white musicians have not been raised in black communities (in the black church, etc.) they have a less rich idiomatic musical vocabulary than the black musician. Murray does not claim that they cannot play the music so that a cultural insider will appreciate it, but that they tend not to. In any case, this didn't stop Murray and Benny Goodman from becoming good friends after "Stomping the Blues" was published. To call it a vision of "racial purity" is give it an absolutely base and scatterbrained reading. People who get so upset about the book because they feel it denies the historical place of the white musician tend, I believe, to condescend to and dismiss the tastes of the people (black people) who created the music in the first place.
Indeed, "Stomping the Blues" was the initial aesthetic cornerstone of "Jazz at Lincoln Center", but J@LC has strayed from the book quite a bit in recent seasons. I do not think it's quite accurate to label the project "conservative" unless we're talking about it in the musical sense of a "conservatory" - to conserve the great classics, etc.. I would argue that Murray gives scant attention to Ornette Coleman and John Coltrane (and whoever else), not because their works became so "avant-garde", but because their works from another angle became "conservative", i.e., tended to sound too European; too much like young European/Eurocentric American composers of the time.Stomping The Blues (Da Capo Paperback) Overview

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