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Product details
File Size: 1832 KB
Print Length: 464 pages
Publisher: NYRB Classics (February 23, 2016)
Publication Date: February 23, 2016
Sold by: Amazon Digital Services LLC
Language: English
ASIN: B00X2E2MW0
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This booked changed my life, literally. I started a jazz tour in Harlem 21 years ago after discovering a few of the landmarks described in this memoir. Then I opened a jazz club (short-lived), on the street where Mezzrow describes selling under the Tree of Hope in front of Connie's Inn. I give the book out at the jazz singers concerts I produce as door prizes. This is the kind of book where you can point randomly to any sentence in the book and decide to read the whole thing - the language is fresh and metaphors and similes are almost all unique. The story is illuminating about the early assimilation of jazz into the larger society from prohibition era Chicago on; and Mezzrow's focus is on jazz as a catalyst for integration - all told through anecdotes that take you right there.
Vividly reports on the hip music scene of the 1920s and 1930s. Extremely prophetic on many topics including beatnik literature (Kerouac etc), rock n roll, hip hop, counterculture, persisting American racism, and legalized weed (ironically, just becoming illegal as this book takes place). Keith Richards tipped me to this title in his own book "A Life." Mezzrow's title seems to be a model for Richards' book, not to mention his rock n roll life.
Milton "Mezz" Mezzrow is considered a minor player in the in 20th century jazz pantheon by most notable specialty critics. In fact, he's pretty much been relegated to the musical dustheap and likely would have been entirely forgotten.but for one thing: he left an indelible historical mark with, "Really the Blues" (RtB). RtB is a catalogue of his Mezz's obsession with black culture, an infatuation he pursued beyond mere fancy: he enthusiastically and wholeheartedly identified himself as black. His second marriage was to a black woman (an outrage at the time) but his first marriage was to black music: he was incarnated as, "Poppa Jazz". RtB is both an invaluable resource for students of the genre and a poignant story of a life in music.Unfortunately for Mezz, his music has been eclipsed by his contemporaries. These men and women were the giants of jazz. They simultaneously inspired him and they pretty much sent his own efforts into oblivion. As his music has been re-issued, you can judge for yourself if that judgement is deserved.Following a somewhat unusual trajectory, especially given his middle-class, Jewish background, Mezz spent time in a reformatory. He also served time on Riker's Island. He cobbled together a precarious existence and, in so far as he is generally remembered these days, it's as an early, enthusiastic and unapologetic consumer and seller of weed. In fact, his moniker, "Mezz" is inextricably linked to fine cannabis. That's not necessarily bad: it's just not exactly the legacy Mezz would have self-selected. Still, as a tireless promotor of jazz and an inexhaustible catalyst for the formation of various bands, he deserves recognition if for nothing but that effort, even though these transient groupings collapsed after a few gigs. That's paradoxical, as the players were amongst the best in the world.Mezz and his co-author Bernard Wolfe have mostly relied on the then current hip patois of black jazzmen to tell the story. Much of the lingo is now archaic, but (providentially), there is a glossary of terms and the arcana of the musical techniques and styles is explained in the appendix (3 of them) so as to not detract from the narrative . A handy afterword delves further into Mezz's "trans-racial" transmogrification. Wolfe's appearance as a co-author is explained in the final section of the book. In addition to providing literary aid to the project, Wolfe is primarily known as the personal secretary of "The Red Prince", Leon Trotsky a man not known for musical preoccupations. It's hard to discern who wrote what in the book, but that's a good thing: it reads as if it's 100% Mezz pushing the pen.Strangely for a NYRB publication, there are several editing errors (Count Basie appears several times as "Count Basic") and a yen hok isn't used to prepare weed, despite the glossary definition. Another bizarre aspect of the printing is the morphing fonts appearing occasionally in the text. These are minor annoyances that in no way detract from the narrative.In addition to the thorough cataloguing of just about every immortal of the early jazz era (and Mezz knew and played with them all), the ambience created by the book is entirely convincing. Mezz's addiction to hop (opium); the depictions of the comradery amongst prisoners on Riker's Island; the clubs and dives; the apotheosis of black jazzmen are all unaffectedly portrayed.Maybe it's attributable to Mezz's relentless and maybe quixotic pursuit of musical perfection that finally imparts a somewhat melancholy air to the book. "Pure" jazz of the New Orleans variety and its adaptation as the "Chicago Style" were seemingly short lived. Maybe it's the influence of Wolfe's association with the purist and doomed Trotsky that adds this poignant element to the book, but it seems that the flameout was blindingly fast and left Mezz increasingly at odds with popular music. It seems that others could adapt, but Mezz generally was unswerving in this dedication to the pure form.
Published the year I was born this is a great personal history of both this country in post WWII era but also a very interesting saga about a white man's love affair with the Blues. Written in a 'jivin style' akin to the times this is a book to read slowly and savor going back in time to when Bluesstarted going mainstream. Thank you New York Review of Books for reissuing this book. And thank you to the Wall Street Journal for the excellent review that brought this book to my attention.
Often considered a highly unreliable autobiography, 'Really the Blues' is really an insight into the personality of Mezz Mezzrow rather than a factual retelling of his life events. Milton 'Mezz' Mesirow was a Jewish-American jazz clarinetist born in 1899 in Chicago. Mezz quickly showed a penchant for jazz music, like his mentor Louis Armstrong, for whom he briefly may have served as manager.Although Milton "Mezz" Mesirow is generally remembered as one of the best jazz musicians, Mesirow was in-fact a very technically skilled clarinetist and quite knowledgable about the workings of the jazz music industry. Milton's life was often a product of the demands of the music industry which he found himself.His personality could best be viewed as a reflection of the rough-and-tumble environment of mob-controlled, Prohibition-era Chicago. Due to the uncertainty of the circumstances abound, Mezz was a fearless rebel-rouser. He took risks, such as smuggling some twenty joints into a New York night club. He was stopped and caught by the police, a violation for which he was arrested and taken to jail. When he arrived, Mezzrow successfully persuaded the officials to let him stay in a black section of the segregated prison by convincing them that he was African American.In addition to music, race-relations emerges as a theme in the autobiography. Mezz married a black woman, played music like a black person, and was more interested in black culture than in white culture. Mezz also dealt marijuana in spades. His marijuana dealing perhaps earned him higher distinction than his jazz playing. In the lingo of the time, "Mezz" became slang for marijuana. Milton also gained the nickname "Muggles King," at the time "muggles" being a slang word for marijuana.The writing style featured by Mezz and Bernard Wolfe makes 'Really the Blues' a fast-paced and entertaining read. Mezz's narrative style in 'Really the Blues' is self-assuring, reading as if Mezz were in the room and actively trying to engage the reader. Consequently, the insight that the reader gets into Mesirow's psyche comes not just from the stories, but in large part from the narrative style itself. Mesirow is revealed to the reader through his contemporary grammar, liberal syntax, and the nonchalant method by which he organizes his book.Reading 'Really the Blues' is an experience unto itself. Mezz takes the reader on a ride through another time, an era defined largely by the times. The reader is also given an entertaining educational look at the life of an important, if somewhat marginalized early jazz musician, Milton "Mezz" Mesirow.
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