Tim Keane wrote an essay on jazz writer Albert Murray for Hyperallergic. He touched on Murray’s life and his work examining modernist art and jazz:
In Murray’s view, jazz converts psychological pain and its vernacular offshoots into ritualized, polytonal, integrated music and dance. Jazz adapts and expands the written scores that the musician follows and ultimately surpasses; its best improvisers are extemporizing formalists learning from and competing with the innovations of peers, collaborators, and forerunners. Its refinements universalize the particular, dissolving personal history and psychosocial baggage, and call participants into the mythic dimension — an aesthetic realm that involves getting on the dusty dance floor.
There was also a brief critique of Murray’s 1970 essay collection, The Omni-Americans:
The book dismantles American Black separatism as a regressive, escapist fantasy that cedes the premise of white supremacy — the Balkanization of the country by race — to the nation’s bigots. Though he necessarily deploys them to make his points, misleading or reductive labels infuriate Murray, who believes that being American involves being neither wholly Black nor wholly white, while insisting that Blackness be defined as a characteristic as primarily American as whiteness has been since the country’s founding.
Fifty years on, such liberal hypocrisy is endemic to hyper-gentrified gluten-free neighborhoods, where Black Lives Matter posters hang in the windows of pricey condos, boutiques, and galleries — stretches of real estate that once housed working-class Black families and businesses.