Really the Blues

Zusatztext American counter-culture classic Really the Blues [is] a stylized oral history that anticipates the Beat novel Really the Blues is part quixotic adventure novel! part inside-scoopMezzrow's voice is funny! impulsive! full of itself and often spectacularly scatological.Listening to Mezz is tremendous funthe book's true literary inheritance is its styleone of the great! flawed! jubilant! jive-talking characters of American literature. Martin Riker! The Wall Street Journal The mighty Mezz was at once the greatest digger! the greatest chronicler! the greatest celebrator of [jazz] culture! as well as being a principal actor on its main stage and contributor of its most characteristic fragrancethe pungent aroma of burning bush. Albert Goldman! High Times Mezz Mezzrow's rambunctious enthusiasm for jazz and the world it shaped and defined keeps the pages turning...The lost world of the Jazz Age comes alive in these pages! replete with all the Chi-town bounce and streetwise braggadocio that came with the risqué territory...Mezzrow's love of the music and the 'bandid' lifestyle is palpable and infectious! giving his story a novelistic verve. In many ways! Mezz is the Augie March of jazz. Matt Hanson! The Arts Fuse As to the books of Bernard Wolfe! his extraordinary imagination! his range of styles and genres! should alone qualify him for a conspicuous role in 20th-century American literature. Thomas Berger Really the Blues returns us...to the roots of rock! to the roots certainly of beat and hence to the beginnings of the sixties counterculture through an extended look into the life of a Jewish boy...who turned his back on the middle class and all it had to offer to blow jazz in 'more creep joints and speakeasies and dancehalls than the law allows.' Brooke Horvath! Review of Contemporary Fiction An intense! sincere and honest book. It makes all the novels with jazz backgrounds seem as phony as an Eddie Condon concert.Bucklin Moon! The New Republic An autobiography such as was never seen before beneath the moon.Ben Ray Redman! The American Mercury Informationen zum Autor Mezz Mezzrow (18991972) was born Milton Mesirow in Chicago to a Jewish family as respectable as Sunday morning. As a teenager, however, he was sent to Pontiac Reformatory for stealing a car; there he learned to play the saxophone and decided to devote his life to the blues. Beginning in the 1920s, he had an intermittent career as a sideman in jazz groups, and struck up friendships with many of the greats of the day, including Louis Armstrong and Bix Beiderbecke. Enamored of African American culture, he helped channel it to whiter and wider audiences, backing and producing significant recordings by Frankie Newton, Teddy Wilson, Sidney Bechet, and Tommy Ladnier, among others, and helping to spark the New Orleans revival of the late 1930s. In the 1940s, Mezzrow started his own record label, King Jazz Records. He spent the last years of his life in Paris. Bernard Wolfe (19151985) was born in New Haven and attended Yale University, where he studied psychology. An active member of the labor movement, he moved to Mexico for eight months in 1937 to work as personal secretary and assistant to Leon Trotsky. In subsequent years, Wolfe held disparate jobsfrom serving in the Merchant Marines to working as a pornographic novelist to editing Mechanix Illustrated while writing fiction and science fiction. His best-known work is the 1959 novel The Great Prince Died , a fictional account of Trotsky's assassination. Among his other books are The Late Risers , In Deep, Limbo , and Logan's Gone . Ben Ratliff has been a jazz and pop critic for The New York Times since 1996 and has written four books including The Jazz Ear: Conversati...

ldquo;American counter-culture classic Really the Blues [is] a stylized oral history that anticipates the Beat novel…Really the Blues *is part quixotic adventure novel, part inside-scoop…Mezzrow’s voice is funny, impulsive, full of itself and often spectacularly scatological….Listening to “Mezz” is tremendous fun…the book’s true literary inheritance is its style…one of the great, flawed, jubilant, jive-talking characters of American literature.” —Martin Riker, *The Wall Street Journal

“The mighty Mezz was at once the greatest digger, the greatest chronicler, the greatest celebrator of [jazz] culture, as well as being a principal actor on its main stage and contributor of its most characteristic fragrance—the pungent aroma of burning bush.” —Albert Goldman, *High Times

• “Mezz Mezzrow’s rambunctious enthusiasm for jazz and the world it shaped and defined keeps the pages turning...The lost world of the Jazz Age comes alive in these pages, replete with all the Chi-town bounce and streetwise braggadocio that came with the risqué territory...Mezzrow’s love of the music and the ‘bandid’ lifestyle is palpable and infectious, giving his story a novelistic verve. In many ways, Mezz is the Augie March of jazz.” —Matt Hanson, The Arts Fuse

“As to the books of Bernard Wolfe, his extraordinary imagination, his range of styles and genres, should alone qualify him for a conspicuous role in 20th-century American literature.” —Thomas Berger

“Really the Blues returns us...to the roots of rock, to the roots certainly of beat and hence to the beginnings of the sixties counterculture through an extended look into the life of a Jewish boy...who turned his back on the middle class and all it had to offer to blow jazz in ‘more creep joints and speakeasies and dancehalls than the law allows.’ ”—Brooke Horvath, Review of Contemporary Fiction

“An intense, sincere and honest book. It makes all the novels with jazz backgrounds seem as phony as an Eddie Condon concert.”—Bucklin Moon, The New Republic
 
“An autobiography such as was never seen before beneath the moon.”—Ben Ray Redman, The American Mercury

Auteur

Mezz Mezzrow (1899–1972) was born Milton Mesirow in Chicago to a Jewish family “as respectable as Sunday morning.” As a teenager, however, he was sent to Pontiac Reformatory for stealing a car; there he learned to play the saxophone and decided to devote his life to the blues. Beginning in the 1920s, he had an intermittent career as a sideman in jazz groups, and struck up friendships with many of the greats of the day, including Louis Armstrong and Bix Beiderbecke. Enamored of African American culture, he helped channel it to whiter and wider audiences, backing and producing significant recordings by Frankie Newton, Teddy Wilson, Sidney Bechet, and Tommy Ladnier, among others, and helping to spark the New Orleans revival of the late 1930s. In the 1940s, Mezzrow started his own record label, King Jazz Records. He spent the last years of his life in Paris.

Bernard Wolfe (1915–1985) was born in New Haven and attended Yale University, where he studied psychology. An active member of the labor movement, he moved to Mexico for eight months in 1937 to work as personal secretary and assistant to Leon Trotsky. In subsequent years, Wolfe held disparate jobs—from serving in the Merchant Marines to working as a pornographic novelist to editing Mechanix Illustrated—while writing fiction and science fiction. His best-known work is the 1959 novel The Great Prince Died, a fictional account of Trotsky’s assassination. Among his other books are The Late Risers, In Deep, Limbo, and Logan’s Gone.

Ben Ratliff has been a jazz and pop critic for The New York Times since 1996 and has written four books including The Jazz Ear: Conversations over Music and Coltrane: The Story of a Sound. His latest book is *Every Song …