Frank Kofsky (1935–1997)

This book is definitely a product of its time (1970), with a lot of overheated Marxist rhetoric and more than a few arguments directed at straw men. Kofsky favors anecdotes and hyperbole over research and data. Which is a shame, since the book's main argument seems sound: White club owners, label heads and promoters make a more stable living than black jazz musicians, and this is directly related to the racist culture of the United States. His point that most critics are essentially publicists due to their fear of losing favor with record labels and management is surely as true today as it was in the late '60s, if not more so. The last third or so of the book deals more with aesthetics, particularly John Coltrane's music, and the tone is more measured. The themes of this book are ones that needed addressing, and to some extent most remain relevant today, but this is a polemic, a screed, not scholarship, and as history I'd approach it with caution.… (meer)