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It professes and appears at first glance to be about life touring on the road, but instead reveals itself as a collection of essays about subjects as diverse as bandmates, romance, and of course music.
The tone Marsalis takes is very reminiscent of his good friend, Stanley Crouch, who wrote most of the liner notes for Marsalis' albums. However, while Crouch can come off as losing a ferocious battle against the English language, Marsalis seems earthy, clever, and insightful.
Marsalis writes like a musician or every black preacher worth a drive. He has a cadence. A strong cadence. A cadence that finds resonation in the soul. He developes writing themes like any good improviser should.
It is clear that Marsalis has spent time with noted writer Albert Murray, whose book "Stomping the Blues" finds a kindred heart in "Swing Sweet . . ."
Readers receive a sneak peak at Marsalis' Pulitzer-prize winning epic "Blood on the Fields" as some of the sights of this book reappear in that work. Readers also find themselves agreeing with Marsalis' view of rap ("Rappers have funny haircuts") and misunderstandings of jazz.
Photographer Frank Stewart provides visual compliments to the text in fine black and white fashion. Perhaps the belle of this ball is the out of fucus shot of the late Dizzy Gillespie with an in-focus sillouette of Marsalis in the foreground.
"Swing Sweet home blues" is a great book that people who like jazz would love and those who don't understand jazz owe to themselves to check out.
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