Louis Proyect: The Unrepentant Marxist

September 15, 2014

My life in politics

Filed under: autobiographical,comedy — louisproyect @ 12:31 am

This is an interview I gave to a graduate student in Texas on September 13, 2014. It is focused on my experience in Houston, Texas in the early to mid 70s but also deals with my prior experiences as well as those after I left Houston. The silent films will hopefully compensate for the uselessness and drudgery of my life in politics.

Some day, either after I croak or Joyce Brabner croaks, my comic book memoir will make its way on the Internet. In the meantime, this should do. I don’t think there’s much more that has to be said that can’t be said in an hour. This should be of interest to those who feel some affection toward me or to those who hate my guts. Those in-between will scratch their heads in wonderment about my wayward walk through the American left.

September 13, 2014

Altina

Filed under: art,Film,Jewish question — louisproyect @ 5:42 pm

Altina Schinasi, the subject of the documentary “Altina” that opened yesterday at the IFC in New York, was like Peggy Guggenheim—a member of the Jewish haut bourgeoisie who opted for a bohemian life in the arts.

The daughter of a Turkish Sephardic Jew who made a fortune in the nascent machine-rolled cigarette industry after migrating to the USA in the 1890s (his factory was on 120 and Broadway, now the location of Columbia University Teacher’s College and my old office), she lived a life of great privilege. The 35-room Schinasi mansion, now a New York City landmark, is and was the only privately owned and fully detached home in the city.

Inside the Schinasi mansion

Her entry into the art world was through the back door. She made a name for herself as a window dresser in New York’s chichi department stores and from there into fashion design. Her biggest achievement was the harlequin eyeglasses that became a fashion accessory for women defying Dorothy Parker’s doggerel: “Men don’t make passes at women who wear glasses.”

Like many wealthy Jews, her sympathies were with the left. This, of course, was still at a time when a sense of noblesse oblige existed and before the state of Israel converted this layer into the equivalent of Good Germans.

She became close to Georg Grosz, the German expressionist painter and Communist after he went into exile in the USA and won a nomination for best documentary of 1960 about Grosz’s struggle against Nazism. During the worst days of the Red Scare, she hid blacklisted director John Berry in her Beverly Hills mansion until he could make a getaway to Europe.

After completing this film, she turned her attention to Martin Luther King, Jr.’s Freedom March, for which to she acquired film rights. Vittorio De Sica, the Italian director of “The Bicycle Thief” and a Communist sympathizer, was to direct the film. But since the civil rights movement remained controversial in the early 60s, she failed to line up funding.

Her most celebrated artwork, once again eschewing the rarefied atmosphere of the galleries, was her “chairacters”, furniture that had a vaguely erotic feel as the image below would indicate:

Peggy Guggenheim had the reputation for having a ravenous sexual appetite and supposedly slept with 1,000 men in Europe. Altina Schinasi was probably a runner-up if we take the word of her last husband at face value. Her last husband Celestino Miranda, a decades-younger Cuban refugee she had taken on as a studio assistant, tells us that she was a tiger in bed even in her seventies. Altina Schinasi died in 1999 at the age of 92. This remarkable documentary will give you a flavor of the Jewish wealthy when they were at their best.

September 12, 2014

Sweden and the Renaissance of Marxist Crime Stories

Filed under: Counterpunch,crime,popular culture,Sweden,television — louisproyect @ 2:36 pm

From Beck to Wallander

Sweden and the Renaissance of Marxist Crime Stories

by LOUIS PROYECT

For fans of Stieg Larsson’s Dragon Tattoo novels and the film adaptations both American and Swedish it inspired, I have good news about similar crime stories that appeared on Swedish television originally and that can be seen on Netflix, Amazon and on other commonly available sources.

For reasons to be explained momentarily, there are good reasons why Marxists like Larsson decided to write what can arguably be called pulp fiction. Foremost in Larsson’s mind was the need to create a nest egg for his long-time partner who unfortunately has run into conflicts with Larsson’s father and brothers over the author’s estate. (Larsson, who died unexpectedly from a heart attack, did not leave a will.) While there are undoubtedly sharp observations about the dark side of Swedish society in his novels, his main goal was to tell compelling stories with memorable characters. If that is the sort of thing you are looking for in popular culture, then the existence of other Swedish works in this genre should be most welcome.

Full article

 

 

September 11, 2014

The Angry Arab: bad hairdo, worse politics

Filed under: Syria — louisproyect @ 1:08 pm

 

 

Screen shot 2014-09-11 at 9.04.48 AM

When I checked my blog this morning, I saw a number of page views emanating from Asad AbuKhalil’s (aka the Angry Arab) blog, the man with a bad hairdo and worse politics.


This is now the second time he has referred to me as a “Trotskyite”, showing a grasp of my politics that can be compared to George W. Bush’s command of Marxist value theory. Frankly, I don’t mind being called a “Trotskyite”. I get called worse things 5 times a week by anonymous trolls.

But the real problem is trying to engage with this professor who at one time had a publicist capable of landing him guest spots on Bill Maher’s show. Now he has lapsed into the obscurity he well deserves.

In terms of believing that the “US is secretly backing Assad against FSA”, I have never said anything like that. (How would the Angry Arab know what I believe since there is zero evidence that he is familiar with my blog that regularly finds fault with the Trotskyist movement on one score or another.)

Instead I have said that Baathists and IS were attacking the FSA from different angles. The Angry Arab, like most of the “anti-imperialist” left has written 1000 articles (all as superficial as the one above) making an amalgam between the FSA and jihadism. Now that this analysis lies on the ground in a smoldering rubble, he is at a loss presumably to explain why he screwed up so royally. Maybe he would be better informed if he became one of my regular readers rather than relying on WSWS.org or Global Research for his talking points.

September 10, 2014

The Marxist roots of Swedish detective novels

Filed under: literature,popular culture,Sweden — louisproyect @ 5:36 pm

From “Stieg Larsson: the Real Story of the Man Who Played With Fire” by Jan-Erik Petterson:

ABOUT A WEEK AFTER THE FIRST Swedish anti-Vietnam War demonstration and the same year the Swedish police were nationalized, the detective story Roseanna by Maj Sjowall and Per Wahloo was published. This was the book which was to introduce the revolution in Swedish detective fiction and without which Jan Guillou’s Hamilton books, Henning Mankell’s Wallander series and Stieg Larsson’s Millennium Trilogy could probably never have been written.

Sjowall and Wahloo threw out the old props of the ingenious sleuth assembling the suspects in the manor house library and instead placed the real, unromantic, crime-solving police centre stage.

Roseanna was just the start of a carefully devised plan. The man-and-wife team had decided they would produce exactly ten novels over ten years, published under the collective rubric of The Story of a Crime. The books would use the detective story format to reflect and analyse contemporary Sweden. More than that: they would, in Per Wahloo’s words, ‘rip open the belly of an ideologically impoverished society’.

Per Wahloo had already had some novels published, mostly political thrillers, but Maj Sjowall, who worked for the weekly press, was new to fiction. Both were politically committed and way to the left of the ruling Social Democrats.

Their views were not entirely surprising, even though several years ahead of their time. But the literary venture was a bold one. Crime fiction was middle class. In the circles they moved in they certainly got no brownie points for writing in that medium. Even from a commercial perspective, thrillers were no guarantee of success. The publishing director at Norstedts, Lasse Bergstrom, wrote in his memoirs, Bokmarken (Bookmarks), that he was rather disappointed when Wahloo, whom he already knew well, came to the office with Maj Sjowall to propose their project.

`But my disappointment was in total ignorance of what was to come,’ was his later terse comment on his reaction at the time.

Sjowall and Wahloo wanted to try something new, something daring and unexpected. To hell with traditions, even those of the Labour movement. They would write for a broad public and make it so easy and exciting that the bitter pill of the authors’ social critique would slide down without meeting any resistance.

And weren’t class divisions in society a crime in themselves, anyway? And shouldn’t they be depicted as such?

From Sjowall—Wahloo onwards, the Swedish crime novel — oddly enough given its context — has been a genre with a strong tendency to the Left.

Fortunately for the authors, it was as if the era itself was crying out for a fresh sort of literature. The expansive, realistic, elaborate epic felt played out. What was needed now was something more in keeping with the pulse of the new decade — edgy, nerve-tingling, straight to the point.

At that period, the documentary form predominated in all the arts. Truth carried more weight than fiction. Within the space of a few years the book market was flooded with current affairs and reportage. Sjowall—Wahloo, despite opting for the novel, were in perfect accord with the trend. Their blow-by-blow accounts of meetings in police headquarters, interrogations of witnesses and suspects, post-mortem reports and so forth convinced the reader that these procedures were completely true to life.

Such devices would go on to become the staple for all Swedish crime writers.

Sjowall and Wahloo were aware too of crime fiction traditions other than the Swedish, just as Stieg Larsson was thirty years on. In the USA Dashiell Hammett had introduced the hard-boiled school of crime fiction with his novels about the private detective Sam Spade. Hammett was an anti-fascist and member of the American Communist Party, and wrote about a society that seldom showed any mercy to anyone born on the wrong side of the tracks. And in France Georges Simenon had created his Chief Superintendent Jules Maigret, who not only solved crimes but also sought to analyse their cause and was able to feel sympathy for the perpetrators.

Sjowall and Wahloo had found a useful model in the American crime writer Ed McBain and his novels about the 87th Police Precinct in the fictional town of Isola. McBain depicts the cops Steve Carella, Meyer Meyer, Bert Kling and their laborious daily grind confronting a criminality of steadily increasing ruthlessness. These books were fine examples of the police procedural, detective stories where the efforts of the team are much more important than an individual detective hero’s flashes of insight. Maj Sjowall and Per Wahloo decided to learn from McBain and even translated some of his books into Swedish.

Roseanna introduces a Swedish police team at the Homicide Bureau in Stockholm. They are Detective Inspector Martin Beck (later superinten-dent and head of the National Homicide Bureau of the Central Bureau of Investigation) and his assistants Lennart Kollberg and Fredrik Melander. The cast is gradually augmented: Gunvald Larsson, Einar Minn, Ake Stenstrom (who is murdered in the fourth book and succeeded by Benny Skacke), and also Stenstrom’s former girlfriend Asa Torell.

This is the team that battles to solve various crimes and more often than not succeeds. Yet in the final analysis they always lose. In contrast to the crime stories of the 1950s, no equilibrium is restored in the police procedurals of the 1960s and 1970s. Society itself is constantly producing new and more serious, more audacious and better-organized types of crime. The Sjowall—Wahloo books are not reading matter for the optimistic.

These novels are about the triumphs and impotence of the collec-tive. Young individualists and careerists who are too self-important are bullied and cut down to size, not least by Lennart Kollberg. But the biggest difference of all in comparison with earlier crime novels lies in something more elusive: in the language, the style, the atmosphere:

The little black car hurtled forward through the darkness precisely and implacably, as if it were a weightless craft in space.

The buildings tightened along the road and the city rose up beneath its dome of light, huge and cold and desolate, stripped of everything but hard naked surfaces of metal, glass and concrete.

Not even in the city centre was there any street life at this hour of the night. With the exception of an occasional taxi, two ambulances and a squad car, everything was dead. The police car was black with white fenders and rushed quickly past on its own bawling carpet of sound.

The traffic lights changed from red to yellow to green to yellow to red with a meaningless mechanical monotony.

Here, at the beginning of The Abominable Man, the authors manage to get everything into one short sequence — the forward movement, the suspense of the thriller, the doom-laden feeling of imminent calamity, together with an evocation of the new Swedish capitalist society as they see it — cold, desolate, inhuman.

Something really had happened to Swedish crime fiction.

THE SJOWALL-WAHLOO BOOKS were written from the outset in a restrained objective style, but by degrees the text became more inter-spersed with ironical and critical comments on everything from beer prices and fashions to government foreign policy and the incompetence of the police force and its top management.

What the authors diagnosed in the mid-1960s was a welfare state degenerating, no longer class-equalizing but class-dividing, where people were oppressed by assembly lines and rationalizations, where original residential town centres were being demolished and the urban populace pushed out to so-called dormitory towns.

And the social drama was escalating as the volumes were being written. Vietnam demonstrations were attracting thousands of participants, police and demonstrators clashed, a tennis tournament in Bastad between Sweden and Rhodesia was disrupted by riots, a students’ union building in Stockholm was occupied, a wave of wildcat strikes hit the whole country, the Establishment was rocked by the IB Affair of secret service malpractice, and a hostage drama on Norrmalmstorg and a terrorist attack on the West German embassy brought Stockholm to the attention of the world.

Politics had moved out on to the streets. Violence was making itself felt.

The authorial voice became more explicit as The Story of a Crime progressed. At the very end of the last volume, as some of the main characters are sitting playing party games, it becomes over-explicit:

They all turned their papers over and drew more squares. When Kollberg was ready, he looked at Martin Beck and said, ‘The trouble with you, Martin, is just that you’re in the wrong job. At the wrong time. In the wrong part of the world. In the wrong system.’

‘Is that all?’

‘More or less,’ said Kollberg. ‘My turn to start? Then I say X. X as in Marx.’

This final scene in The Terrorists is dated 10 January 1975. Four months later NLF troops marched into Saigon and the USA left Vietnam. The war that had brought the youth of the West to their feet was over. In Cambodia the Khmer Rouge took power and ushered in a period of unimaginable terror.

The Left to which Sjowall and Wahloo felt they belonged was about to experience disillusionment and factionalism. Nothing was straightforward any more. The unique combination of anger and hope that had swept the emotions along during the dramatic years when The Story of a Crime was being written was gone, never to return.

Maj Sjowall and Per Wahltio had wanted to write for the people and not for the Swedish Academy or the broadsheet newspaper critics. As a result they became the critics’ favourites, which was to have a decisive impact on the Swedish crime novel. Because it was this interplay of effective popular storytelling, widespread media attention and positive reactions on the arts pages that brought the Swedish crime fiction vogue into being and allowed it to flourish.

With the praise came honours and prizes. In 1968 the authors received the Edgar Allan Poe Award, the highest accolade for a crime novel, for The Laughing Policeman. Now even the most dismissive of readers could bury themselves in a Martin Beck police thriller with a clear conscience.

It was not long before the Sjowall—Wahloo police team progressed into the film world. Martin Beck has been played by such stars as Keve Hjelm, Gosta Ekman, Carl Gustaf Lindstedt and Peter Haber. A German version of The Man Who Went up in Smoke featured Derek Jacobi in the role of Beck. Walter Matthau was given the part in the Hollywood version of The Laughing Policeman and Jan Decleir in a Dutch film of The Locked Room.

Ironically, it has only been in later years, with the industrial production of Martin Beck films on standardized thriller lines (twenty-six so far) that the protagonist has become well known to a really wide audience. Yet the Martin Beck and Gunvald Larsson we meet there have almost nothing in common with the classic detective story characters that Sjowall and Wahloo created.

Steven Salaita press conference

Filed under: Steven Salaita — louisproyect @ 11:56 am

September 9, 2014

Merriment in the Kremlin

Filed under: Russia — louisproyect @ 8:22 pm

putinPutin makes his entrance into a Kremlin ballroom

 

20140110_anthony-roth-costanzo-as-orlofsky_33The party is in progress, soon to be joined by the Russian leader

Screen shot 2014-09-10 at 12.39.57 PM

 

Steven Salaita statement

Filed under: Steven Salaita,Syria — louisproyect @ 6:56 pm

Statement of Steven Salaita September 9, 2014 University of Illinois at Urbana-Champaign

My name is Steven Salaita. I am a professor with an accomplished scholarly record; I have been a fair and devoted teacher to hundreds of undergraduate and graduate students; I have been a valued and open-minded colleague to numerous faculty across disciplines and universities. My ideas and my identity are far more substantive and complex than the recent characterizations based on a selected handful of my Twitter posts.

I am here today at the University of Illinois to speak against my termination by the Administration from a tenured faculty position because of the University Administration’s objections to my speech that was critical of recent Israeli human rights violations. The Administration’s actions have caused me and my family great hardship. Even worse, the Administration’s actions threaten principles of free speech, academic freedom, and critical thought that should be the foundation of any university.

Since 2006, I have been a faculty member of the English Department at Virginia Tech, where I earned lifetime tenure. On the basis of my scholarship and teaching record, and after substantial vetting, in 2013 I was enthusiastically recruited to join the faculty in the American Indian Studies program of UIUC. In October 2013, I accepted an offer from the interim Dean of the College of Liberal Arts and Sciences to join the University as a professor with lifetime tenure, which I accepted. The offer letter specifically referenced the University’s adherence to the 1940 Principles of Academic Freedom codified by the AAUP.

In preparation for my new position, I resigned my tenured position at Virginia Tech; my wife resigned her professional position at the University as well. We got rid of our Virginia home and took on considerable expense in preparation for our move here. Two weeks before my start date, and without any warning, I received a summary letter from University Chancellor Phyllis Wise informing me that my position was terminated, but with no explanation or opportunity to challenge her unilateral decision. As a result, my family has no income, no health insurance, and no home of our own. Our young son has been left without a preschool. I have lost the great achievement of a scholarly career – lifetime tenure, with its promised protections of academic freedom.

As hard as this situation is on me personally, the danger of the University’s decision has farther reaching implications. Universities are meant to be cauldrons of critical thinking; they are meant to foster creative inquiry and, when at their best, challenge political, economic, or social orthodoxy. “Tenure – a concept that is well over a hundred years old – is supposed to be an ironclad guarantee that University officials respect these ideals and do not succumb to financial pressure or political expediency by silencing controversial or unpopular views. I have devoted my entire life to challenging prevailing orthodoxies, critiquing architectures of power and violence in the US and abroad and surfacing narratives of people – including Palestinians and Native Americans – who are subject to occupation, marginalization, and violence.

The Chancellor and Board of Trustees are apparently displeased by messages I posted on my personal Twitter account that were critical of recent atrocities committed by the Israeli government, which the United Nations referred to as “criminal.” My Twitter messages are no doubt passionate and unfiltered; they reflect my deep dismay at the deaths of more than 2,000 innocent Palestinians, over 500 of them children.

In recent statements, Chancellor Wise and the Board of Trustees said that the University Administration found the tone of my tweets “uncivil” and raised questions about my ability to inhabit the University environment. This is a perilous standard that risks eviscerating the principle of academic freedom. My comments were not made in a classroom or on campus; they were made through my personal Twitter account. The University’s policing and judgment of those messages places any faculty member at risk of termination if University administrators deem the tone or content of his or her speech “uncivil” without regard to the forum or medium in which the speech is made. This is a highly subjective and sprawling standard that can be used to attack faculty who espouse unpopular or unconventional ideas.

Even more troubling are the documented revelations that the decision to terminate me is a result of pressure from wealthy donors – individuals who expressly dislike my political views. As the Center for Constitutional Rights and other groups have been tracking, this is part of a nationwide, concerted effort by wealthy and well-organized groups to attack pro-Palestinian students and faculty and silence their speech. This risks creating a Palestinian exception to the First Amendment and to academic freedom. The ability of wealthy donors and the politically powerful to create exceptions to bedrock principles should be worrying to all scholars and teachers.

Finally, my scholarship and strong student evaluations over the course of many years, along with the University’s enthusiastic recruitment of me as a faculty member, thoroughly belie Chancellor Phyllis Wise’s only recently-stated concern about my civility and respectfulness. As my colleagues and students will attest, I am a passionate advocate for equality, a fair and open- minded instructor, and highly collegial. No legitimate evidence exists for any claims or insinuations to the contrary, which have severely damaged my reputation and my prospects for future employment.

During this challenging time, I am deeply grateful to the many hundreds of people and prominent organizations who have raised their voices in defense of the principles of academic freedom, including the nearly 18,000 individuals who have signed a petition demanding corrective action and the numerous faculty around the world who are boycotting the University until I am reinstated. The students and instructors gathered here have shown themselves to be exemplars of everything to which a university should aspire.

I am here to reaffirm my commitment to teaching and to a position with the American Indian Studies program at UIUC. I reiterate the demand that the University recognize the importance of respecting the faculty’s hiring decision and reinstate me. It is my sincere hope that I can – as a member of this academic institution – engage with the entire University community in a constructive conversation about the substance of my viewpoints on Palestinian human rights and about the values of academic freedom. This is, as we say in my profession, a “teaching moment.” We must all strive together to make the most of it.

Gerald Wilson dies at 96; multifaceted jazz musician

Filed under: music,obituary — louisproyect @ 1:27 pm

Don Heckman, the author of the obit below, has had a distinguished career as a jazz musician and jazz historian and journalist. I organized a jazz festival at Bard College in 1965 that included the Don Heckman-Ed Summerlin band. I am glad to see that Don is still going strong.

Gerald Wilson dies at 96; multifaceted jazz musician

Obituary: Grammy-nominated jazz musician Gerald Wilson was 96
Gerald Wilson, who died Monday, shaped jazz with dynamic movements and the elegant grace of a modern dancer
‘I’m a musician, but first and foremost, a jazz musician,’ said trumpeter Gerald Wilson, who died Monday

Gerald Wilson, a bandleader, trumpeter, composer, arranger and educator whose multifaceted career reached from the swing era of the 1930s to the diverse jazz sounds of the 21st century, has died. He was 96.

Wilson, who had been in declining health, died Monday at his home in Los Angeles, two weeks after contracting pneumonia, said his son, jazz guitarist Anthony Wilson.

In a lifetime that spanned a substantial portion of the history of jazz, Wilson’s combination of articulate composition skills with a far-reaching creative vision carried him successfully through each of the music’s successive new evolutions.

He led his own Gerald Wilson Orchestras — initially for a few years in the mid-1940s, then intermittently in every succeeding decade — recording with stellar assemblages of players, continuing to perform live, well after big jazz bands had been largely eclipsed by small jazz groups and the ascendancy of rock music.

Seeing and hearing Wilson lead his ensembles — especially in his later years — was a memorable experience for jazz fans. Garbed in well tailored suits, his long white hair flowing, Wilson shaped the music with dynamic movements and the elegant grace of a modern dancer.

Asked about his unique style of conducting by Terry Gross on the NPR show “Fresh Air” in 2006, he replied: It’s “different from any style you’ve ever seen before. I move. I choreograph the music as I conduct. You see, I point it out, everything you’re to listen to.”

That approach to conducting, combined with the dynamic quality of his music, had a significant impact on the players in his ensembles.

Wilson’s mastery of the rich potential in big jazz band instrumentation was evident from the beginning. Although he was not pleased with his first arrangement — a version of the standard “Sometimes I’m Happy” written in 1939, when he was playing trumpet in the Jimmie Lunceford band — he was encouraged by Lunceford and his fellow players to write more. “Hi Spook,” his first original composition for big band, followed and was quickly added to the Lunceford repertoire. Soon after, Wilson wrote a brightly swinging number titled “Yard Dog Mazurka” — a popular piece that eventually became the inspiration for the Stan Kenton hit “Intermission Riff.” It was the beginning of an imaginative flow of music that would continue well into the 21st century.

“His pieces are all extended, with long solos and long backgrounds,” musician/jazz historian Loren Schoenberg told the New York Times in 1988. “They’re almost hypnotic. Most are seven to 10 minutes long. Only a master can keep the interest going that long, and he does.”

In addition to his compositions, Wilson was an arranger with the ability to craft songs to the styles of individual performers, as well as the musical characteristics of other orchestras. It was a skill that kept him busy during the periods when he was not concentrating on leading his own groups.

“I may have done more numbers and orchestrations than any other black jazz artist in the world,” he told the Los Angeles Sentinel. “I did 60-something for Ray Charles. I did his first and second country-western album. I wrote a lot of music for Count Basie, eight numbers for his first Carnegie Hall concert,” he said.

He also provided arrangements and compositions for such major jazz artists as Duke Ellington, Dinah Washington, Billie Holiday, Sarah Vaughan, Dizzy Gillespie, Ella Fitzgerald, Nancy Wilson and others, as well as — from various genres — Bobby Darin, Harry Belafonte, B.B. King and Les McCann.

Wilson’s longstanding desire to compose for symphony orchestra came to fruition with “Debut: 5/21/72,” commissioned for the Los Angeles Philharmonic in 1972 by the Philharmonic’s musical director, Zubin Mehta. His “Theme for Monterey,” composed as a commission by the Monterey Jazz Festival in 1997, received two Grammy nominations. In 2009, on his 91st birthday, he conducted the premiere of his six-movement work, “Detroit Suite,” a tribute to the city in which his music career began, commissioned by the Detroit International Jazz Festival.

Gerald Stanley Wilson was born Sept. 4, 1918, in Shelby, Miss. He began to take piano lessons with his mother, a schoolteacher, when he was 6. After purchasing an instrument from the Sears Roebuck catalog for $9.95, he took up the trumpet at age 11. The absence of a high school for African Americans in segregated Shelby made it necessary for him to begin his secondary school studies in Memphis. But a trip with his mother to the Chicago World’s Fair in 1933 stimulated a desire to move north, and he was sent to live with friends in Detroit, where he attended and graduated from the highly regarded Cass Technical High School.

An adept trumpeter while still in his teens, Wilson played at Detroit’s Plantation Club before joining the Chic Carter Band touring band. In 1939 he replaced trumpeter-arranger Sy Oliver in the Jimmy Lunceford Orchestra, then one of the nation’s most prominent swing bands.

Wilson served in the U.S. Navy at the Great Lakes Naval Training Center during World War II, then moved to Los Angeles, forming his own big band in 1944. Despite the band’s almost immediate success, with nearly 50 recorded pieces and a string of national bookings in its first years of existence, Wilson was not satisfied with his own personal level of craftsmanship. He disbanded the ensemble to spend a few years filling in what he believed were gaps in his music education. He also went on the road with the Count Basie Band and Dizzy Gillespie’s group.

Throughout the 1950s and ’60s, Wilson was an established participant in L.A.’s busy music scene, arranging, composing for jazz and pop singers, big bands, films and television, while continuing to be active with his own orchestra. Eager to pass on his knowledge and experience, he taught jazz courses at what is now Cal State Northridge, Cal State L.A. and UCLA, and had a radio program on KBCA-FM (105.1) from 1969 to 1976.

As he moved into his 60s, Wilson viewed the commercial activity of his earlier years as the foundation that allowed him to concentrate on his creative efforts.

He had worked hard, he told the Boston Globe, so that in his later years he would no longer “have to go hustling any jobs. I have written for the symphony. I have written for the movies, and I have written for television. I arrange anything. I wanted to do all these things. I’ve done that. Now I’m doing exactly what I want, musically, and I do it when I please. I’m a musician, but first and foremost, a jazz musician.”

Besides his wife and his son, Wilson is survived by daughters Jeri and Nancy Jo, and four grandchildren.

news.obits@latimes.com

September 8, 2014

FSA is coming back into power very soon to liberate Syria from Assad & ISIS

Filed under: Syria — louisproyect @ 11:55 pm

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