Re: [RedHotJazz] Re: Bernard Wolfe, Mezzrow, and Really the Blues
- I mentioned Johnny Otis in an earlier post because I think Mezzrow wanted to
achieve, both musically and socially, what Johnny Otis has successfully
achieved. Reference to Otis¹s published works will elucidate what that is
and needs no mediation from me. Far from denying his Greek ancestry, Otis
has always celebrated his conscious choices and consequent mixed heritage.
Otis has never had any trouble in working out what ³masquerading as black²
(i.e. as a person of African-American culture) actually signifies. As black
people often say, whites never have any trouble defining us when they want
to discrimate against us. Colour-blind rhetoric is strictly for
circumstances in which whites benefit.
If real equality was on the agenda no doubt there would be some sense in
embracing it, but, speaking directly to Robert, living as we do in a country
which has just elected two ³neo-²Nazis to the European Parliament we can be
pretty confident that it isn¹t. Is it anywhere?
I think much of this political debate is way off topic for this list. More
interesting is not to judge Mezzrow for his aspirations but to try to assess
why he didn¹t fulfill them. Musically probably mainly because he didn¹t have
the talent. Socially because, well I can guess some answers, but not enough.
Where did he go wrong? Was it just that he didn¹t have a Preston Love to
guide him with tolerant amusement into putting out the right cultural
on 08/06/2009 13:18, Robert Greenwood at robertgreenwood_54uk@...
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> As promised, a reply to your interesting post. This does move into areas
> beyond the remit of this list. Unavoidably.
> 1. I don't know if Mezz was the first "wigga", or "white negro", but I would
> distinguish him from blackface acts in that he, unlike them, wished to
> masquerade as "black" (whatever that is) in every aspect of his life. All he
> did, of course, was to offer a caricature. Surely black people do not present
> a monolithic social entity undistinguished by class, age, religion, sex?
> Mezzrow only helps to perpetuate a debilitating stereotype and no way have the
> wiggas ever improved the real material position of black people or brought us
> any closer to moving beyond race (well, they wouldn't, would they?) and
> towards real equality. The notion that a person's "race", or their
> "ethnicity", or their "culture" says all that needs to be said about them, or
> is the most important thing about them, is deeply reactionary and finds
> fervent approval both from the far right and the far left.
> White musicians seem to have been involved with jazz right from the start. I
> don't accept that white musicians are necessarily imitating blacks or stealing
> from them their "culture." Jazz is American music in origin, and quickly found
> practitioners the world over.
> 2. It is likely that Mezzrow's book gets published again and again due to its
> being a literary work. I think you have a point there. The point I'm making in
> my article is that Really the Blues is promoted as a counterculture text and
> displays all the puerile and politically reactionary characteristics one would
> expect from it as such. Finkelstein was a Marxist and a humanist; as such, his
> ideas are deeply unfashionable. The intellectual tradition he represents has
> all but died in the face of the collapse of communism, the defeat of the
> labour movement, postmodernism, fashionable pessimism, modish misanthropy
> (A.K.A. Environmentalism) whereby all human aspiration and productivity is
> seen as destructive, and the so-called end of ideology. The current poster boy
> for the chattering classes is the arch people-hater John Gray. In this climate
> no one is going to reprint Finkelstein's books.
> 3. Yes, Mezzrow encourages and celebrates a reactionary passivity and
> resignation in the face of racism. Right on, Mezz Light another joint
> 4. The book is puerile, reactionary, and self-serving.
> 5. See 1 above.
> Best wishes,
>> Howard Rye, 20 Coppermill Lane, London, England, E17 7HB
>> Tel/FAX: +44 20 8521 1098
- Sadly, I have to report that ³the sweeter side of King Keppard² was a
discographical misattribution on which Rudi Blesh built a flight of fancy.
This particular piece of tosh is to be found in the Postscript¹ appended to
later editions of Blesh¹s Shining Trumpets¹. Keppard isn¹t even on the
record cited as proto-Beiderbecke, Doc Cook¹s I Got Worry¹. The trumpeter
is probably Elwood Graham, whose presence is confirmed by his file
attribution as a member of the vocal trio on Hum and Strum¹. As the date
is 1928 comment on the likely direction of influence is probably
superfluous. This is a showband doing what showbands do (giving the public
what it wants). It would be an exaggeration to call I Got Worry² a
Whiteman-imitation but they are aiming at the same territory and Graham
plays in the style he or the arranger considered appropriate for that job. I
seriously doubt that anything more compliacted is happening.
Incidentally despite what discographies say about the personnel of this
session, Doc Poston is certainly present since the files name him as one of
the vocal trio too, unless there really was a musician called ³Postum² in
on 16/06/2009 18:01, Tommer at tommersl@... wrote:
>Howard Rye, 20 Coppermill Lane, London, England, E17 7HB
> --- In RedHotJazz@yahoogroups.com <mailto:RedHotJazz%40yahoogroups.com> ,
> "Tommer" <tommersl@...> wrote:
>> > I didn't read this Murray but IMO improvisation on Blues texture (hot) is
>> different than improvising on the something that wraps the Blues (sweet).
>> > IMO Louis' "West End Blues" the piano is sweet. They also don't swing much.
>> On the other hand the piano on Johnny Dodds' "New St. Louis Blues" is hot and
>> they swing. I was reffering to the piano but it is more or less what I feel
>> about the whole of each of the two.
>> > What I prefer? The hot!
>> > Tommer
> I have to add something accordingly. I think that one of the problems in
> understanding among Jazz listeners the connection between Jazz and Blues is
> that because unfair argues. Like, saying anything Louis did was hot which is
> not true. What those that like "West End Blues" is the virtuoso trumpet thing,
> but in terms of hot music it is not so much.
> Why I mentioned this is complicated to explain, first because I saw that West
> End is regarded by Albert and I am sure others think the same as one of the
> two (with Singin the Blues) most important records of the 1920's, and for me
> this record is a symbol to the end of the most powerful Blues era in Jazz,
> because this as well as Singin are records that goes from collective efforts
> on Blues texture to virtuoso use of Blues for other things.
> And I don;t mean 12-bar Blues, because 12-bar can play without improvisation
> on the texture, as much as other forms can be played inside the texture.
> What I believe is that because assuming everything Louis did was "hot" is why
> Rudi Blesh claimed that Bix wasn't influenced by Louis but, he was influenced
> by the sweeter side of King Keppard.
> Because assuming everything Louis was doing at the time was hot, causes a
> problem, how can a always hot musician influence so much a musician Blesh
> believed was sweet?
> And this is what confuse people! Because there are romantic descriptions to
> deal with this.
> So, Murray omitting Oliver or for that same matter any list is questionnable,
> at the time Bunk and George Lewis were rediscovered they weren't as able to
> deal with Blues texture too much. That era is over since the 1920's are over.
> But, Murray could say that on Bunk because Bunk was from the old times!
> However, Oliver had Jazz Babies Blues and Alligator and Krooked Blues and
> Canal Street Blues, and other that were some of the best Blues in Jazz ever
> recorded IMO. I don't believe he omitted Oliver, maybe he didn't hear the
> right records or just forgot about him or had a short selevtive or
> representative list.
Tel/FAX: +44 20 8521 1098
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