Julius Eastman

Crazy Nigger

Genre: MODERN CLASSICAL / AMBIENT

Colour LP

Boomkat Product Review:

A tragically overlooked part of the ‘70s avant-classical canon finally appears on vinyl with Blume’s pressing of Julius Eastman’s ‘Crazy Nigger’ - the first part of his seminal ‘Nigger Series’ including ‘Gay Guerrilla’ and ‘Evil Nigger’, which were all previously only available on the sought-after ‘Unjust Malaise’ 3CD compilation

Julius Eastman (1940-1990) was a prodigious voice within the influential American avant-classical movement of the 1970s. As a composer, pianist, Grammy-nominated vocalist and dancer he brought unique qualities to the downtown minimalist movement most commonly associated with Philip Glass and Steve Reich. But where their music has received no shortage of accolades, by the early ‘80s Eastman’s staggering compositional contributions during the same era were practically unknown beyond tapes circulated between his peers. As Bradford Bailey explains “His place within the context of American classical music - an uncompromising artist of inconvenient identity, rising on the tide of an unavoidable talent, was a threat to the institution’s walls. It’s no surprise that his efforts were forced into the shadows…” With thanks to Mary Jane Leach, however, a wider reappraisal of Eastman’s work began with release of his ‘Nigger Series’ as part of the 3CD ‘Unjust Malaise’ [New World Records, 2005], and the trio of works now appear on vinyl for the first time.

‘Crazy Nigger’ is the first and longest part of the series’. Its provocative title was shocking then and is perhaps now more than ever. However, as the composer explains in an introduction given at Northwestern University found on ‘Unjust Malaise’, his use of the term is anything but derogatory, instead referring to the fundamental role of “field niggers” in the foundation of the American economy, as “not superficial, but elegant… at the ground of things”. From this perceptive base, Julius Eastman radically adapts the instrumental language of classical music to his own, expressive ends, to challenge the restrictions of romantic classical music with more fluid and organically open-ended musical structures.

Composed in 1978, ‘Crazy Nigger’ offers a muscular parallel to the more mannered minimalism of the era. His keys attack in powerful flurries right from the start, cascading complex harmonies that arguably feel more immediate, gloriously voluminous and, heck, “crazed” than work by almost any of his contemporaries. By the track’s hammering climax and lofted conclusion, first time listeners will be under little illusion as to the thrilling power of Eastman’s playing and vision.

It could be said that the difference in Eastman’s music stems from his personal experience as flamboyant, Gay, Black man in the ’70s. Like his contemporary Arthur Russell (he notably conducted Russell’s ‘Tower of Meaning’ and sang on Dinosaur L’s ‘24→24 Music’) and the efforts of Glass and Reich, Eastman’s music unavoidably mirrors the drive of disco and the sprawling fluidity of African music, bridging dimensions in dizzying flights of innovation. But where Reich and Glass are often hailed as forerunners of a certain type of mannered minimal techno, then by that logic, Eastman’s music is a kind of prototype for the breathtaking, headlong rush of Detroit or NYC techno and hardcore for discerning listeners.

And as for the title, perhaps Bradford Bailey puts it best: “You have to wonder, when titling his works - often deploying the vile language of racism and homophobia, if Julius Eastman was consciously forcing white, leftist music fans like myself to choke out words which we actively despise - to recognise polarising truths which are bound to his sounds and the context in which they reside - to see our complicity with unforgivable sin."

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Re-Press Edition of 300. Purple 180g audiophile pressing. Including printed inner sleeve housing a Nagaoka anti-static record sleeve, plus an original insert that functions as Obi

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