Amazon.com Review
Jazz and fiction haven't invariably made a happy marriage. Often the jazz element seems incidental--an excuse to set the denouement in a smoky nightclub. Every now and then, however, a book appears in which the very texture of the prose is inseparable from the music, and Albert Murray's
The Seven League Boots is a perfect example. The third and penultimate installment in a series, the novel revolves around an Alabama-bred bass player named Scooter. When the story opens, the Swing Era is in full flower. Scooter has just graduated from college, and he's immediately enlisted to play with the Bossman--a pianist and composer with a more-than-casual resemblance to Duke Ellington. Like Ellington's music, Murray's prose is a marvelous mixture of lyrical and gutbucket tonalities. And as the Bossman's orchestra tours the United States, Scooter undertakes a journey of discovery, in which centuries of American history are comically or tragically encapsulated.
--This text refers to an out of print or unavailable edition of this title.
From Publishers Weekly
The young black hero of Murray's Train Whistle Guitar and The Spyglass Tree comes of age in this ambitious and vibrant conclusion to the trilogy, set in the 1920s. Here, Scooter has been nicknamed Schoolboy, for his new college degree. A talented bass player, Schoolboy is called to join the ensemble led by the legendary and innovative Bossman. A series of one-night stands eventually takes the band to L.A. for an extended stay. Although promised to a girl back home, Schoolboy acquires two lovers there. The first, Gayneele Whitlow, an "old down home broad," is a familiar fixture to the band; but it is for movie star Jewel Templeton that he takes a leave from the band. Though new to the jazz scene, Jewel becomes Schoolboy's patron, offering her home, her staff and herself in exchange for a foothold in the jazz world that fascinates her. Studio sessions and club dates keep Schoolboy busy, but the itch to be on the road returns. Even so, Jewel takes him abroad to experience Europe; it is only by leaving that continent, and her, that he learns what to come home to. Murray faithfully evokes the world of early black jazz here-as much through his prose, which soars, glides and hops in an energetic rush, as through his richly detailed evocations of various cities and landmark sites. Keenly observant and intensely curious, Schoolboy makes an engaging narrator, completing a story that, after three volumes, is as vital as the period in black American history that it evokes so well.
Copyright 1995 Reed Business Information, Inc.
--This text refers to an out of print or unavailable edition of this title.
