Albert Murray – författare

If Gabriel Garc’a M‡rquez had chosen to write about Pakistani immigrants in England, he might have produced a novel as beautiful and devastating as Maps for Lost Lovers. Jugnu and Chanda have disappeared. Like thousands of people all over Enland, they were lovers and living together out of wedlock. To Chanda’s family, however, the disgrace was unforgivable. Perhaps enough so as to warrant murder.As he explores the disappearance and its aftermath through the eyes of Jugnu’s worldly older brother, Shamas, and his devout wife, Kaukab, Nadeem Aslam creates a closely observed and affecting portrait of people whose traditions threaten to bury them alive. The result is a tour de force, intimate, affecting, tragic and suspenseful.From the Trade Paperback edition.

This absorbing collection of letters spans a decade in the lifelong friendship of two remarkable writers who engaged the subjects of literature, race, and identity with deep clarity and passion.The correspondence begins in 1950 when Ellison is living in New York City, hard at work on his enduring masterpiece, Invisible Man, and Murray is a professor at Tuskegee Institute in Alabama. Mirroring a jam session in which two jazz musicians "trade twelves"—each improvising twelve bars of music around the same musical idea-their lively dialog centers upon their respective writing, the jazz they both love so well, on travel, family, the work literary contemporaries (including Richard Wright, James Baldwin, William Faulkner and Ernest Hemingway) and the challenge of racial inclusiveness that they wish to pose to America through their craft. Infused with warmth, humor, and great erudition, Trading Twelves offers a glimpse into literary history in the making—and into a powerful and enduring friendship.From the Trade Paperback edition.

The highly acclaimed novelist and biographer Albert Murray tells his classic memoir of growing up in Alabama during the 1920s and 1930s in South to a Very Old Place. Intermingling remembrances of youth with engaging conversation, African-American folklore, and astute cultural criticism, it is at once an intimate personal journey and an incisive social history, informed by "the poet''s language, the novelist''s sensibility, the essayist''s clarity, the jazzman''s imagination, the gospel singer''s depth of feeling" (The New Yorker)."His perceptions are firmly based in the blues idiom, and it is black music no less than literary criticism and historical analysis that gives his work its authenticity, its emotional vigor and its tenacious hold on the intellect...[It] destroys some fashionable socio-political interpretations of growing up black."--Toni Morrison, The New York Times Book Review

Murray gives readers the redefined essence of his lifetime meditation on the blues as this musical style informs American life. Here are incisive essays on writing, music, and art that go beyond the social-science fiction of Negrohood to describe in no uncertain terms what it means to be American.

By “our premier writer about jazz and the blues...and a fictional tale spinner in the grand Southern tradition” (Washington Post Book World), The Spyglass Tree is a deeply affecting novel of elegant, lyrical reminiscence and profound sophistication about a young black man’s advent into the world of academia—an imaginary Alabama college—in the 1930s.Admist the excitement of the world of ideas and adventures with new friends, Scooter sallies into “the territory of the blues,” where recollection becomes legend. Here he learns to deal with the vicissitudes of life—the complexities of family ties and camaraderie, his sexuality, pride of excellence in school, the darker realities of history and human passion—through confrontation and improvisation, and with style and courage.“[The Spyglass Tree] strikes a perfect balance between the black folk tradition and Faulknerian rumination....One reads this very fine novel for the glissando effect of its language, the vibrancy of its characters and the unabashed pleasure Mr. Murray takes in nostalgia for its own sake...with level-headed clarity and honesty.”—The New York Times Book Review

The break-out novel by an unrecognized master--"a fictional tale spinner in the grand Southern tradition" (Washington Post Book World). Told from the point of view of a young Alabama college graduate in the 1920s, this brilliant novel recounts the exploits of a legendary jazz composer and his band on a tour that becomes a heroic journey "equivalent to the seven league strides of heroes in rocking chair story times."

In this visionary book, Murray takes an audacious new look at black music and, in the process, succeeds in changing the way one reads literature. Murray''s subject is the previously unacknowledged kinship between fiction and the blues. Both, he argues, are virtuoso performances that impart information, wisdom, and moral guidance to their audiences; both place a high value on improvisation; and both fiction and the blues create a delicate balance between the holy and the obscene, essential human values and cosmic absurdity. Encompassing artists from Ernest Hemingway to Duke Ellington, and from Thomas Mann to Richard Wright, The Hero and the Blues pays homage to a new black aesthetic.

By “our premier writer about jazz and the blues . . . and a fictional tale spinner in the grand Southern tradition” (Washington Post Book World), The Spyglass Tree is a deeply affecting novel of elegant, lyrical reminiscence and profound sophistication about a young black man’s advent into the world of academia—an imaginary Alabama college—in the 1930s.Admist the excitement of the world of ideas and adventures with new friends, Scooter sallies into “the territory of the blues,” where recollection becomes legend. Here he learns to deal with the vicissitudes of life—the complexities of family ties and camaraderie, his sexuality, pride of excellence in school, the darker realities of history and human passion—through confrontation and improvisation, and with style and courage.“[The Spyglass Tree] strikes a perfect balance between the black folk tradition and Faulknerian rumination. . . . One reads this very fine novel for the glissando effect of its language, the vibrancy of its characters and the unabashed pleasure Mr. Murray takes in nostalgia for its own sake . . . with level-headed clarity and honesty.”—The New York Times Book Review

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.