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Black Music
In the essay “Jazz and the White Critic” LeRoi Jones observes: “Most jazz critics have been white Americans, but most important jazz musicians have not been.” In Black Music, his perceptive and provocative collection of articles, reviews, profiles, interviews, liner notes, and new essays, Jones has offered a remedy of sorts. In brilliant discussions of Billie Holiday, Thelonious Monk, Coleman Hawkins, Lester Young, Charlie Parker, John Coltrane, Ornette Coleman, Sonny Rollins, Cecil Taylor, Archie Shepp, Don Cherry, and Sun-Ra, he examines each musician’s personality, background, musical ambitions, accomplishments, and disappointments, to illuminate both the context and spirit of jazz.
224 pages, Paperback
First published November 30, 1966
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About the author
Amiri Baraka
155 books397 followersPoems and plays, such as
Dutchman
(1964), of American writer Amiri Baraka originally Everett LeRoi Jones focus on racial conflict.
He attended Barringer high school. Coyt Leverette Jones, his father, worked as a postal supervisor and lift operator. Anna Lois Russ Jones, his mother, worked as a social worker.
He studied at Rutgers, Columbia, and Howard universities but left without a degree and attended the new school for social research. He won a scholarship to Rutgers in 1951, but a continuing sense of cultural dislocation prompted him to transfer in 1952 to Howard. He studied philosophy and religion, major fields. Jones also served three years in the air force as a gunner. Jones continued his studies of comparative literature at Columbia University. An anonymous letter accused him as a Communist to his commanding officer and led to the discovery of Soviet literature; afterward, people put Jones on gardening duty and gave him a dishonorable discharge for violation of his oath of duty.
In the same year, he moved to Greenwich Village and worked initially in a warehouse for music records. His interest in jazz began in this period. At the same time, he came into contact with Beat Generation, black mountain college, and New York School. In 1958, he married Hettie Cohen and founded Totem Press, which published such Beat Generation icons as Jack Kerouac and Allen Ginsberg.
Jones in July 1960 visited with a delegation of Cuba committee and reported his impressions in his essay Cuba libre . He began a politically active art. In 1961, he published Preface to a Twenty Volume Suicide Note , a first book. In 1963, Blues People: Negro Music in White America of the most influential volumes of criticism, especially in regard to the then beginning free jazz movement, followed. His acclaimed controversy premiered and received an Obie Award in the same year.
After the assassination of Malcolm X (1965), Jones left his wife and their two children and moved to Harlem. His controversial revolutionary and then antisemitic.
In 1966, Jones married Sylvia Robinson, his second wife, who later adopted the name Amina Baraka. In 1967, he lectured at San Francisco State University. In 1967, he adopted the African name Imamu Amear Baraka, which he later changed to Amiri Baraka.
In 1968, he was arrested in Newark for allegedly carrying an illegal weapon and resisting arrest during the riots of the previous year, and people subsequently sentenced him to three years in prison; shortly afterward, Raymond A. Brown, his defense attorney, convinced an appeals court to reverse the sentence. In that same year, Black Music, his second book of jazz criticism, collected previously published music journalism, including the seminal Apple Cores columns from Down Beat magazine. In the late 1960s and early 1970s, Baraka penned some similar strongly anti-Jewish articles to the stance at that time of the Nation of Islam to court controversy.
Around 1974, Baraka himself from Black nationalism as a Marxist and a supporter of third-world liberation movements. In 1979, he lectured at Africana studies department of State University of New York at Stony Brook. In 1980, he denounced his former anti-Semitic utterances, declaring himself an anti-Zionist.
In 1984, Baraka served as a full professor at Rutgers University, but was subsequently denied tenure. In 1989, he won a book award for his works as well as a Langston Hughes award.
In 1990, he co-authored the autobiography of Quincy Jones, and 1998 , he served as supporting actor in Bulworth, film of Warren Beatty. In 1996, the red hot organization produced Offbeat: A Red Hot Soundtrip, and Baraka contributed to this acquired immune def
He attended Barringer high school. Coyt Leverette Jones, his father, worked as a postal supervisor and lift operator. Anna Lois Russ Jones, his mother, worked as a social worker.
He studied at Rutgers, Columbia, and Howard universities but left without a degree and attended the new school for social research. He won a scholarship to Rutgers in 1951, but a continuing sense of cultural dislocation prompted him to transfer in 1952 to Howard. He studied philosophy and religion, major fields. Jones also served three years in the air force as a gunner. Jones continued his studies of comparative literature at Columbia University. An anonymous letter accused him as a Communist to his commanding officer and led to the discovery of Soviet literature; afterward, people put Jones on gardening duty and gave him a dishonorable discharge for violation of his oath of duty.
In the same year, he moved to Greenwich Village and worked initially in a warehouse for music records. His interest in jazz began in this period. At the same time, he came into contact with Beat Generation, black mountain college, and New York School. In 1958, he married Hettie Cohen and founded Totem Press, which published such Beat Generation icons as Jack Kerouac and Allen Ginsberg.
Jones in July 1960 visited with a delegation of Cuba committee and reported his impressions in his essay Cuba libre . He began a politically active art. In 1961, he published Preface to a Twenty Volume Suicide Note , a first book. In 1963, Blues People: Negro Music in White America of the most influential volumes of criticism, especially in regard to the then beginning free jazz movement, followed. His acclaimed controversy premiered and received an Obie Award in the same year.
After the assassination of Malcolm X (1965), Jones left his wife and their two children and moved to Harlem. His controversial revolutionary and then antisemitic.
In 1966, Jones married Sylvia Robinson, his second wife, who later adopted the name Amina Baraka. In 1967, he lectured at San Francisco State University. In 1967, he adopted the African name Imamu Amear Baraka, which he later changed to Amiri Baraka.
In 1968, he was arrested in Newark for allegedly carrying an illegal weapon and resisting arrest during the riots of the previous year, and people subsequently sentenced him to three years in prison; shortly afterward, Raymond A. Brown, his defense attorney, convinced an appeals court to reverse the sentence. In that same year, Black Music, his second book of jazz criticism, collected previously published music journalism, including the seminal Apple Cores columns from Down Beat magazine. In the late 1960s and early 1970s, Baraka penned some similar strongly anti-Jewish articles to the stance at that time of the Nation of Islam to court controversy.
Around 1974, Baraka himself from Black nationalism as a Marxist and a supporter of third-world liberation movements. In 1979, he lectured at Africana studies department of State University of New York at Stony Brook. In 1980, he denounced his former anti-Semitic utterances, declaring himself an anti-Zionist.
In 1984, Baraka served as a full professor at Rutgers University, but was subsequently denied tenure. In 1989, he won a book award for his works as well as a Langston Hughes award.
In 1990, he co-authored the autobiography of Quincy Jones, and 1998 , he served as supporting actor in Bulworth, film of Warren Beatty. In 1996, the red hot organization produced Offbeat: A Red Hot Soundtrip, and Baraka contributed to this acquired immune def
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Displaying 1 - 30 of 49 reviews
October 2, 2020
I'd never read Baraka prior to this and I'm impressed at his ability to tie music, sociology and spirituality together to help the listener get inside what's happening with this one truly original American musical form. I spent some time going through this relatively short book as I was doing a lot of listening right along with it. I've been a jazz fan for decades, and a music fan generally my entire life. It's my primary passion and has inspired self-reflection, historical examination (personal and on a societal level) and is responsible for how I've made a living as well - music/radio/media programming and radio presenting.
The theme of the black experience or soul actually being the primarily foundational element that has manifested this music is nothing new per se but Baraka has the ability to make you "see" how this is so. I don't know how else to explain it. I'm still trying to learn all I can about this soul because this IS the soul of America and our only hope for saving the god awful mess we have in 2020. I'm so tired of racist denials in our country from the same people who then turn around and denigrate black people for not doing more for themselves. Get the fuck out of here. There is no more beautiful purely American form than black music. Every other form of modern American music has been appropriated from that and the rest is a carryover from Europe. And this priceless art has been created not only in spite of oppression but directly out of it - they have transformed the cruelty that this country has never stopped giving into a gift to the world. This is a powerful book and has allowed me to hear jazz in a way I never have over decades of listening. But I AM knocking off a star for the misogyny and homophobia you can detect in the tone. I'm aware that this was the "norm" in the 60s and the book shouldn't be cast aside because of it but there were a couple of cringe-worthy sentences. Still essential reading not only for music fans but for a better understanding of the emotional process behind beautiful black art.
The theme of the black experience or soul actually being the primarily foundational element that has manifested this music is nothing new per se but Baraka has the ability to make you "see" how this is so. I don't know how else to explain it. I'm still trying to learn all I can about this soul because this IS the soul of America and our only hope for saving the god awful mess we have in 2020. I'm so tired of racist denials in our country from the same people who then turn around and denigrate black people for not doing more for themselves. Get the fuck out of here. There is no more beautiful purely American form than black music. Every other form of modern American music has been appropriated from that and the rest is a carryover from Europe. And this priceless art has been created not only in spite of oppression but directly out of it - they have transformed the cruelty that this country has never stopped giving into a gift to the world. This is a powerful book and has allowed me to hear jazz in a way I never have over decades of listening. But I AM knocking off a star for the misogyny and homophobia you can detect in the tone. I'm aware that this was the "norm" in the 60s and the book shouldn't be cast aside because of it but there were a couple of cringe-worthy sentences. Still essential reading not only for music fans but for a better understanding of the emotional process behind beautiful black art.
November 2, 2025
“But the point of living seems to me to get to your actual feelings, as, say, these musicians want always to get to theirs. If you can find out who you are (you're no thing), then you can find out what you feel. Because we are our feelings, or our lack of them.
The music, possible feeling, is here. Where ever you are. All you have to do is listen. Listen!”
The music, possible feeling, is here. Where ever you are. All you have to do is listen. Listen!”
February 22, 2015
From his perch in and above the Five Spot in the 50's and 60's, Baraka saw players like John Coltrane and Ornette Coleman take shape. This collection of jazz and cultural criticism from that time is sharp, passionate, and wry:
"His accents are from immediate emotional necessity rather than the sometimes hackneyed demands of a pre-stated meter, in which one cymbal is beat on coyly in the name of some fashionable soulforce."
Interviews with the vanguard of the New Music are insightful, as Baraka gives these intellectual, spiritual musicians wide berth to reflect on the experience of being a black musician in America. Baraka himself writes that "Black Music is African in origin, African-American in totality". Hence jazz music, American music, is powered by an "impulse, the force that pushes you to sing," that "makes reference to a central body of cultural experience". The African experience on American shores.
Baraka digs the music deeply; listening to Coltrane in Birdland evokes an exuberant challenge to the hip:
"If you can hear, this music will make you think a lot of weird and wonderful things. You might even become one of them."
"His accents are from immediate emotional necessity rather than the sometimes hackneyed demands of a pre-stated meter, in which one cymbal is beat on coyly in the name of some fashionable soulforce."
Interviews with the vanguard of the New Music are insightful, as Baraka gives these intellectual, spiritual musicians wide berth to reflect on the experience of being a black musician in America. Baraka himself writes that "Black Music is African in origin, African-American in totality". Hence jazz music, American music, is powered by an "impulse, the force that pushes you to sing," that "makes reference to a central body of cultural experience". The African experience on American shores.
Baraka digs the music deeply; listening to Coltrane in Birdland evokes an exuberant challenge to the hip:
"If you can hear, this music will make you think a lot of weird and wonderful things. You might even become one of them."
August 29, 2014
Gran libro sobre música, raza y política. Una adecuada manera de recuperar el legado musical más importante del siglo xx
January 23, 2024
O livro começa com um ensaio de Baraka comentando como existem poucos críticos negros falando sobre jazz, um estilo de música essencialmente preto. Dá pra tirar o tom do resto do livro a partir disso, mas resumi-lo apenas a isso seria um tanto insensível.
O livro contém vários ensaios críticos de álbuns, entrevistas com músicos e crônicas do Baraka no período em que os musicistas negros de jazz estavam tentando abrir portas nos Estados Unidos para um novo tipo de fazer música.
Aliás, recomendo ir lendo aos poucos, para ir ouvindo cada referência musical (que não são poucas) citadas, foi o que eu fiz e foi uma baita imersão musical.
Além disso, o livro é um documento histórico que retrata um período bem específico mas importantíssimo para o jazz, e vai além, Baraka não mede palavras pra tecer comentários ácidos e se manifestar politicamente.
Mas seu auge está exatamente no último ensaio do livro, Baraka toca na ferida e menciona nominalmente diversos grupos musicais brancos para criticá-los.
Para além de uma ode ao jazz livre, influenciado pelos movimentos libertários negros desse período, esse texto é um manifesto político pela cultura e expressão negra na sociedade ocidental.
O livro contém vários ensaios críticos de álbuns, entrevistas com músicos e crônicas do Baraka no período em que os musicistas negros de jazz estavam tentando abrir portas nos Estados Unidos para um novo tipo de fazer música.
Aliás, recomendo ir lendo aos poucos, para ir ouvindo cada referência musical (que não são poucas) citadas, foi o que eu fiz e foi uma baita imersão musical.
Além disso, o livro é um documento histórico que retrata um período bem específico mas importantíssimo para o jazz, e vai além, Baraka não mede palavras pra tecer comentários ácidos e se manifestar politicamente.
Mas seu auge está exatamente no último ensaio do livro, Baraka toca na ferida e menciona nominalmente diversos grupos musicais brancos para criticá-los.
Para além de uma ode ao jazz livre, influenciado pelos movimentos libertários negros desse período, esse texto é um manifesto político pela cultura e expressão negra na sociedade ocidental.
December 7, 2018
I've had this book since I was a teenager, and had read bits and pieces over the years, but had never read it from cover to cover until now. It's a collection of LeRoi Jones' (aka Amiri Baraka) 1961-67 short pieces on jazz - magazine articles, liner notes, record reviews, etc. On reading the whole shebang, I found it interesting, dated, enlightening, and exasperating in turn.
Part of the "exasperating" part came from Baraka's pat dismissal of music he didn't like. I'll cite just one example. In his review of Into the Hot, a 1961 album that was split between Cecil Taylor and John Carisi, Baraka goes into great detail about Taylor's pieces, and is quite insightful about the strength and importance of these recordings. Then he dismisses Carisi's quite beautiful half of the record with one sentence: "John Carisi's music is cool progressive, you dig?"
But rather than dwell on the negatives, here are some positive or interesting things I found in these pages:
The 1963 essay "Jazz and the White Critic," which was not the angry diatribe I expected, but a thoughtful examination of the relationship between music and culture.
Early profiles of Wayne Shorter, Dennis Charles, Don Cherry, Archie Shepp, and Bobby Bradford, and a mid-career portrait of Roy Haynes.
"The Dark Lady of the Sonnets," his liner notes to a Billie Holiday album - as deep and oblique as one would expect from a poet of Baraka's caliber.
A 1961 piece called "The Jazz Avant-Garde," which is dated, wrong about a lot of things, and utterly fascinating as a report from the front lines as "the new thing" was developing.
For those interested in the 1960s free jazz scene, this book is well worth reading. Just be warned that everything has not held up equally well. And that the last essay, "The Changing Same (R & B and the New Black Music)" is kind of a mess.
Part of the "exasperating" part came from Baraka's pat dismissal of music he didn't like. I'll cite just one example. In his review of Into the Hot, a 1961 album that was split between Cecil Taylor and John Carisi, Baraka goes into great detail about Taylor's pieces, and is quite insightful about the strength and importance of these recordings. Then he dismisses Carisi's quite beautiful half of the record with one sentence: "John Carisi's music is cool progressive, you dig?"
But rather than dwell on the negatives, here are some positive or interesting things I found in these pages:
The 1963 essay "Jazz and the White Critic," which was not the angry diatribe I expected, but a thoughtful examination of the relationship between music and culture.
Early profiles of Wayne Shorter, Dennis Charles, Don Cherry, Archie Shepp, and Bobby Bradford, and a mid-career portrait of Roy Haynes.
"The Dark Lady of the Sonnets," his liner notes to a Billie Holiday album - as deep and oblique as one would expect from a poet of Baraka's caliber.
A 1961 piece called "The Jazz Avant-Garde," which is dated, wrong about a lot of things, and utterly fascinating as a report from the front lines as "the new thing" was developing.
For those interested in the 1960s free jazz scene, this book is well worth reading. Just be warned that everything has not held up equally well. And that the last essay, "The Changing Same (R & B and the New Black Music)" is kind of a mess.
November 16, 2024
Anyone who writes a play called “The Toilet” is okay by me. I first discovered Amiri Baraka in high school as a playwright but only much later did I learn he was also a music critic under his old name LeRoi Jones. BLACK MUSIC is a collection of his writings on “the new thing,” jazz of the late 1950s into the mid-1960s. He champions all the out-there expressionists in language that pushes for the extremes, with a point that is worked razor sharp. It’s a fun read and made he go back and listen to all the giants who walked among us then.
January 31, 2008
Indispensable for students of American music. Amiri Baraka is one of the grand deans of music and cultural criticism. This book presents a sizable swath of his writings from the late 50's through the early 70's. While his prose can get a little 'purple,' it's far more readable than many others mining the same area. It's a highly useful text when discussing the current culture wars in American music.
April 25, 2015
DIG THIS !!! What can I say that others haven't already said about this book? A must-read for any fan of bebop jazz.
February 21, 2025
“He has a fresh aggressive sound on alto, a horn which can sound like white squeaky ladies under the wrong heart”
December 14, 2024
Muy buenaso
April 3, 2023
Me llevó varias noches terminarlo, pero al fin pude darle final.
Black Music, es un interesante relato contado en primera persona por quien fuera uno de los críticos de Jazz más reconocidos en la comunidad negra norteamericana. Y me refiero a comunidad negra, pues este libro de Amiri Baraka esta lleno de segregacionismo, y su autor deja deja claro una y otra vez, su literal disgusto hacia los “blancos” que se vinculan a la escena Jazz como periodistas y críticos musicales, a quienes tilda de oportunistas y usurpadores de un arte musical y cultural 100% negro.
Pareciera que en su entendimiento, los únicos que pueden y tienen derecho a hablar, hacer y a escribir de Jazz son los “negros”.
Pero quitando esta crítica racista del medio, la cual resulta en un llamado de atención al negocio de la música en general, este libro resulta en una especie de panfleto revolucionario del Jazz.
Hay varios pensamientos que me llamaron la atención por su atemporalidad, dejándome ver que no solo en NY como la meca de la música, sino que en todo el mundo y en toda la música, hay mafia y mediocridad... por ejemplo esta frase: “llevo mucho tiempo impresionado por el hecho de que los dueños de los clubes de jazz sean los únicos empresarios que no sepan absolutamente nada del producto que trafican”. Me parece que este párrafo le habla a tantos dueños de clubes de música y organizadores de festivales hoy en día, ¿no les parece?.
-
En fin, este libro -Black Music / Free Jazz y Conciencia Negra 1959 -1967 (Editorial Caja Negra) de Amiri Baraka (1934-2014)- es una suerte de guía turística atemporal de los años dorados del Jazz en New York; es como una cápsula del tiempo piloteada por Amiri, quien además de hablarnos de las leyendas, nos lleva en algunos de sus capítulos a recorrer estilos, bares, lounges y sitios clandestinos de los 50´s y 60´s para escuchar Jazz, narrando de una manera muy vivida su experiencia en cada uno de estos lugares, donde escuchó y se relacionó con los grandes: Mingus, Monk, Billie Holiday, Sonny Rollins, John Coltrane, Cecil Taylor y más.
Resulta en una guía poderosa del Jazz? NO.
Pero es definitivamente un documento que suma a la historia del Jazz como uno de los baluartes norteamericanos más poderosos que hay en la historia de la música y nos guía en el camino de regreso a la verdadera alma negra de esta música invitándonos a reflexionar con esta frase: “cualquier presente debe incluir todo el pasado que se necesite para iluminarlo”.
Black Music, es un interesante relato contado en primera persona por quien fuera uno de los críticos de Jazz más reconocidos en la comunidad negra norteamericana. Y me refiero a comunidad negra, pues este libro de Amiri Baraka esta lleno de segregacionismo, y su autor deja deja claro una y otra vez, su literal disgusto hacia los “blancos” que se vinculan a la escena Jazz como periodistas y críticos musicales, a quienes tilda de oportunistas y usurpadores de un arte musical y cultural 100% negro.
Pareciera que en su entendimiento, los únicos que pueden y tienen derecho a hablar, hacer y a escribir de Jazz son los “negros”.
Pero quitando esta crítica racista del medio, la cual resulta en un llamado de atención al negocio de la música en general, este libro resulta en una especie de panfleto revolucionario del Jazz.
Hay varios pensamientos que me llamaron la atención por su atemporalidad, dejándome ver que no solo en NY como la meca de la música, sino que en todo el mundo y en toda la música, hay mafia y mediocridad... por ejemplo esta frase: “llevo mucho tiempo impresionado por el hecho de que los dueños de los clubes de jazz sean los únicos empresarios que no sepan absolutamente nada del producto que trafican”. Me parece que este párrafo le habla a tantos dueños de clubes de música y organizadores de festivales hoy en día, ¿no les parece?.
-
En fin, este libro -Black Music / Free Jazz y Conciencia Negra 1959 -1967 (Editorial Caja Negra) de Amiri Baraka (1934-2014)- es una suerte de guía turística atemporal de los años dorados del Jazz en New York; es como una cápsula del tiempo piloteada por Amiri, quien además de hablarnos de las leyendas, nos lleva en algunos de sus capítulos a recorrer estilos, bares, lounges y sitios clandestinos de los 50´s y 60´s para escuchar Jazz, narrando de una manera muy vivida su experiencia en cada uno de estos lugares, donde escuchó y se relacionó con los grandes: Mingus, Monk, Billie Holiday, Sonny Rollins, John Coltrane, Cecil Taylor y más.
Resulta en una guía poderosa del Jazz? NO.
Pero es definitivamente un documento que suma a la historia del Jazz como uno de los baluartes norteamericanos más poderosos que hay en la historia de la música y nos guía en el camino de regreso a la verdadera alma negra de esta música invitándonos a reflexionar con esta frase: “cualquier presente debe incluir todo el pasado que se necesite para iluminarlo”.
November 25, 2024
read this because of discussion on a London Rev. of Books podcast. listened to as many of the discs discussed as possible while reading. My favorite jazz era. that was pretty great and enriching but the real reason to read this is the essay at the end. very glad I did. still hugely important maybe more important now. racism in america is like the onion cliche. was also just reading an interview with Joseph Oneil in the New York Review of Books in which he talks about the fascist undercurrents and beliefs currently in play here. https://www.nybooks.com/online/2024/1... Kind of terrifying but replace the fascist word in the essay with racist and i think what comes to mind is that america is fundamentally racist but not fascist. so mulling that thought over. O'Neill is calling for attitudes and actions of alertness to address the fascism (will this work?); can it work with racism which is both fundamental and foundational here?
May 23, 2023
Really interesting to learn about the evolution of types of Jazz and the evolution of famous musicians from the time period. This book recommends a large number of jazz musicians and jazz albums alongside discussing how each musician went about finding their own sound.
I liked how the book combined articles written throughout the 60’s that referenced gigs that Baraka attended and how such big names were all working together and learning and playing off each other. The final chapter was really insightful into how jazz music originated in the African-American community and the important role it played in allowing expression throughout a heavily persecuted history.
I liked how the book combined articles written throughout the 60’s that referenced gigs that Baraka attended and how such big names were all working together and learning and playing off each other. The final chapter was really insightful into how jazz music originated in the African-American community and the important role it played in allowing expression throughout a heavily persecuted history.
January 2, 2023
Made me remember why I love reading about music!!!
Splendid all the new things I learned. A heart full of joy and excitement of the big curiosity I have for learning more about sound, spirit and jazz
Splendid all the new things I learned. A heart full of joy and excitement of the big curiosity I have for learning more about sound, spirit and jazz
Read
June 7, 2012Strong, mostly short essays, especially those that point out the failures of jazz criticism. Built for those who already have a solid foundation in jazz musicians/history.
November 16, 2017
Although Jones can come of as pretty pretentious at times, I learned a lot about music and jazz. I'm grateful for this book.
July 2, 2020
I think it's the best work by LeRoi Jones
September 23, 2018
The "new" music of the avant garde jazz had many detractors and critics. LeRoi Jones became a champion and defender of a new wave of jazz. Jones literally lived with this music living above the iconic Five Spot in the 50's and 60's. This book is not ONLY jazz writing and reviews. It is also at times a political statement against the racism that informed jazz criticism and writing from that time. "Jazz And The White Critic" the first essay contained in this collection should give you some idea of what to expect. Jones makes scathing indictments of the establishment that both wants to judge music based on European standards rather than the African-American standards of which this music is based. Jones writes with a knowing eye as not only did he listen to these giants of the new wave, Coltrane, Murray, Sun Ra, Taylor, Coleman, etc. he also knew them on a personal level so rather than feeling detached from the proceedings you are getting essays from a true insider. I liked this book so much I got "Blues People" by Jones as well. Review of that one forthcoming.
August 17, 2025
Há um jazz mais duro de roer, e este livro explica quem foram, nos anos 60, os exploradores desse novo movimento — Ornette Coleman, Coltrane, Cecil Taylor e outros que gravaram discos que pedem uma escuta ativa, curiosa e deliberada, distante do zapping do Spotify. LeRoi Jones, poeta, crítico, militante e homem polémico, escreve como quem escreve contra o esquecimento: a música não é só música, é a respiração inteira de um povo, memória feita resistência. Não acaricia o leitor branco — empurra-o, fere-o, lembra-lhe que o jazz nasceu da dureza e da beleza de uma luta. E, talvez por isso, ainda hoje esta música soe como um lembrete de que a liberdade se defende também com raízes fundas na terra.
September 21, 2020
This book is primarily reprints of reviews, articles, and essays from various Jazz publications, mainly Downbeat by LeRoi Jones, now known as Amari Baraka. He did not write with someone like me as a perceived audience and in the early 60s when most of these were written, I would not have understood a word of this, as I was not yet 10 years old. Six decades later, I still cant get a grip on what he's talking about, even after listening to all of the people he wrote about, met, and even played with a couple of them. It's all OK; as I said, I am not his audience. I am aware that these are important writings. I just dont understand them.
June 6, 2024
Esperaba un libro menos específico en cuanto a términos musicales y creo que ayuda el hecho de ser músico para entenderlo, pero aún así sé que no he pillado mucho porque de jazz no controlo especialmente.
El contenido social no obstante me ha encantado, además creo que el hecho de a veces ser tan detallista en cómo interpretan los músicos aporta a lo social también.
En definitiva, he sacado muchas listas de reproducción con música en la que nunca me había metido, y me ha hecho ver al jazz (y al R&B aunque lo menciona menos) con una perspectiva más profunda. Lo recomiendo especialmente si tienes conocimientos de música.
El contenido social no obstante me ha encantado, además creo que el hecho de a veces ser tan detallista en cómo interpretan los músicos aporta a lo social también.
En definitiva, he sacado muchas listas de reproducción con música en la que nunca me había metido, y me ha hecho ver al jazz (y al R&B aunque lo menciona menos) con una perspectiva más profunda. Lo recomiendo especialmente si tienes conocimientos de música.
March 17, 2020
I checked this out of the library and the original edition was published under LeRoi Jones before he went by Amiri Baraka.
Didn’t realize he wrote about jazz and interesting to read about Coltrane, Shorter, Pharaoh Sanders, Sun Ra, Archie Shepp and others when they were in the early stages of their careers and artistic output. That said, this does come off as dated in parts (culled from pieces Jones/Baraka wrote in ‘62 - ‘67) and I found the first and last chapter hard to read because of that. Still is a great time capsule about these artists for any jazz fan.
Didn’t realize he wrote about jazz and interesting to read about Coltrane, Shorter, Pharaoh Sanders, Sun Ra, Archie Shepp and others when they were in the early stages of their careers and artistic output. That said, this does come off as dated in parts (culled from pieces Jones/Baraka wrote in ‘62 - ‘67) and I found the first and last chapter hard to read because of that. Still is a great time capsule about these artists for any jazz fan.
July 12, 2021
Un análisis lúcido y chocante para un lector, como es mi caso, poco familiarizado con los procesos de creación musical del mundo del jazz. Y también poco familiarizado con las luchas raciales y sociales de los Estados Unidos iniciadas el siglo pasado y que continúan hasta hoy. Desde una actuación comprometida, y apasionada por este estilo de música, se atacan buena parte de los males sociales que asolaban (y asolan) la sociedad estadounidense. Un análisis certero, fiel, y tremendamente rítmico.
December 16, 2022
Profoundly written.
I have previously read Blues People, which focuses on Blues, as the title suggests.
This book focuses on jazz, and conveys an extra passion. As intellectual as the author's appreciation of jazz is, there is also a rapture for it that was not there with the Blues writing. In the final section where the two bodies of work are really tied together, at times his prose starts to resemble scat.
That being said, it is from a specific point in time. If you are not into jazz, it may not hold you, and there are some things that will poke at white fragility.
I have previously read Blues People, which focuses on Blues, as the title suggests.
This book focuses on jazz, and conveys an extra passion. As intellectual as the author's appreciation of jazz is, there is also a rapture for it that was not there with the Blues writing. In the final section where the two bodies of work are really tied together, at times his prose starts to resemble scat.
That being said, it is from a specific point in time. If you are not into jazz, it may not hold you, and there are some things that will poke at white fragility.
September 3, 2023
This book has a different temporal weight because it is, for the most part, a collection of Baraka’s columns from the period. Taken individually they are interesting and well-written, but they were written for an audience long past. Museum pieces. And as a collection, have too much sameness to hold my interest. The final essay, a longer piece comparing jazz with r&b, is thought-provoking.
Not just incidentally, book is inspiring a few jazz purchases, so I can hear what Baraka so poetically wrote.
Not just incidentally, book is inspiring a few jazz purchases, so I can hear what Baraka so poetically wrote.
April 6, 2022
Los artículos más cortos me han ayudado a hacerme una cronología del Free Jazz americano y su contexto, aunque a veces eran una marea de nombres que abrumaban un poco, pero en cuanto sitúas a las 7-8 figuras esenciales, poner el resto de coordenadas es más fácil.
Lo que sí que me ha parecido mucho más interesante han sido los últimos artículos, más extensos y mucho más teóricos (se nota que no están escritos como articulitos de revista sino que Baraka tiene más espacio para explayarse).
Lo que sí que me ha parecido mucho más interesante han sido los últimos artículos, más extensos y mucho más teóricos (se nota que no están escritos como articulitos de revista sino que Baraka tiene más espacio para explayarse).
January 3, 2026
Read a lot of this in college and I decided to pick it up again. There’s some really great bite-sized writing in here by someone who was a part of the NY scene in the mid 60’s. Nice first hand accounts of contemporary giants of jazz. The last chapter gets a bit kooky. Not sure I would be a fan of his later writing, but I’d definitely recommend this for anyone interested in the subject.
June 19, 2019
Excelente libro sobre la historia del jazz consta desde lo más pequeño desde los jams desde conversaciones importantes que marcaron la historia ! Es el mejor crítico de jazz que he leído hasta el momento.
February 3, 2025
Muuuuy bueno! Si te gusta leer de música es imprescindible! Te caen todas las fichas. No solo de la industria, que es otra forma de colonizar y robar sino porque política y socialmente se extrapola a todo, este libro demanda recuperación histórica.
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