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Stagger onward rejoicing

Tag: Albert Murray (page 1 of 1)

Albert Murray and me

From my new essay for Comment on Albert Murray’s “blues idiom”: 

For white North American Christians who perceive themselves as marginalized, disparaged, despised, maybe even persecuted — well, a road map for that territory is all around us, in the experience of black Americans, especially as formulated by the great Albert Murray. And I think Murray would have been glad to see his work applied in this way: he thought, and said all the time, that the lessons of the blues idiom are universal human lessons. “When the Negro musician or dancer swings the blues, he is … making an affirmative and hence exemplary and heroic response to that which André Malraux describes as la condition humaine.” 

The essay is behind a paywall for another month — unless you subscribe to Comment, of course. (Nudge nudge wink wink.) By the way, I love the artwork the editors and designers chose to illustrate the essay, e.g.: 

IMG 1508

comping

Brad Mehldau

I began to learn that instrumentalists and singers often didn’t want or need … validation from the accompanist. Actually, most of the time, they preferred that you supply your steady support by staying clear of their path, not answering their every idea, but rather laying something down more locked into the bass and drums, even grid-like. If you are constantly trying to interact with every idea they present, you are not really accompanying, properly speaking — you are hijacking their ideas in a sense, and putting the focus on what you’re doing instead. It becomes more, “Look at me everyone, I’m so hip and adept at catching the soloist/singer’s ideas!” But what it’s really saying to the soloist/singer (and the audience) is: “Please like me!” It’s overbearing. It feels like one of those people you know who, when in a conversation with you, is constantly affirming what you’re saying — “Yeah … totally … exactly!” — before you’ve even finished your thought.

Mehldau started thinking back to his teenage years when he worked in a pizza joint in West Hartford, Connecticut:  

I remembered the guy Jeremy at Papa Gino’s who was flipping pies within a few short months while I struggled at the grill. He didn’t give a shit — it was 5:45 evening rush hour, the place was packed and customers were eyeing him impatiently. But he was as cool as a cucumber, getting the pizzas in and out of the big oven. Maybe the thing was to just not give a shit with comping as well — not to throw away your taste and sensibility, mind you, but to bring a little of that cavalier pie-flipping thing into it. I started watching this less sensitive kind of comping going on at jam sessions or on gigs, and I didn’t always dig it. But I also noticed that other people often did — most importantly, the soloists they were comping behind. So what did it matter what I thought? 

What a great analogy.

“Comping” is a universal term in jazz. It probably derives from “accompaniment,” maybe also from “complement,” but it has a distinctive valence: the good comper is the musician who can support the soloist in meaningful ways without becoming a rival for the audience’s attention. The best comper improves and strengthens the audience’s response to the soloist without anyone ever noticing

Albert Murray, whom I’ve been thinking about a lot — see this post, and I’ll have an essay on him in the next issue of Comment, which I will no doubt call your attention to when it appears — used to say that his role was to comp for other artists: his friend Ralph Ellison (who was a music major in college and played the trumpet) was a great soloist, but Murray’s job was so support that kind of high-flying virtuosity with an imaginative but also reliable groove. 

I love this idea of critical and essayistic writing as a kind of comping for the artists and thinkers I admire and learn from. I’d like to think that my best work exhibits some of the virtues of the quiet, cool, comping jazz pianist. 

a change of attention

After the killing of George Floyd, my first response — after sympathy for poor Floyd, I hope — was to think that the protesters were overreacting to an event that, while tragic, was not nearly as common as they were saying. (No, there’s no “Black genocide” in America.) But then I started noticing the response of many white conservatives: an opposite exaggeration, in their case of the dangers of protests; a noticeable lack of sympathy for the victims of police violence, and a tendency to blame those victims; and in general a disinclination to see racial prejudice as a meaningful element of American culture.

I wrote a few posts about all this, including one about the difference between acute and chronic suffering.

Similarly, when the whole controversy over Critical Race Theory blew up, my first reaction was dismay at the ways that “activists” were using shoddy scholarship, or wholly bogus pseudo-scholarship, to implement a radical political agenda for America’s schools. But then, again, the white conservative pushback was both uncharitable and extreme, and seemed determined to treat any reckoning with America’s history of slavery and racism as “CRT” and therefore to be banished. Increasingly, white conservatives took up the view that explicit declarations of hatred for people of a certain color is the only kind of racism there is.

This struck me as just as historically as blinkered and uninformed as, I dunno, maybe the views of the Black Hebrew Israelites. So, me being me, I started thinking about the past, listening to the voices of our ancestors — in this case mainly recent ones, which in my view is okay, because they always have a strong gravitational pull, and anyway people think that anything that they haven’t thought about in the past 72 hours is ancient history and therefore irrelevant. Ralph Ellison is as much a mystery to them as Homer.

But I’ve been reading Ralph Ellison — a lot of Ralph Ellison, letters and essays; and that led me to Murray’s dear friend Albert Murray, whose curious and wonderful body of work I’m seriously into. (After all, Murray is my fellow native of Alabama.) There’s a tradition of thought and expression here that seems deeply relevant to the current scene, capable of illuminating much that otherwise remains dark for us.

I posted a couple of passages relevant to all this stuff in a recent newsletter, and fifty or sixty people immediately unsubscribed. Okay, well, I guess that’s not really what my newsletter is about, so fair enough. But heads up: Here at the old blog you’ll be hearing more about some of the leading Black intellectuals of the past half-century or more. Because they’re fascinating in themselves — and they tend to illuminate our own weird moment.

So my thanks to white conservatives for leading me into this fertile field of reading and thinking. I owe you, guys.

Imani Perry:

One of my favorite cultural critics, Albert Murray, began publishing his writing at age 46. I imagine him during his 19-year career in the Air Force, mulling over the ideas that one day would dazzle me and many others. I imagine him practicing thought riffs and idea phrases so that when he decided to set words to the page, they sparkled with their elegant composition and elucidation. It strikes me as beside the point to call him a late bloomer. I’d rather call him a man who wrote on his own time — the right time. If we are open, we can see that possibility in us all.

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