Current of Music is a very important addition to Adorno’s bibliography.
“Adorno mentions in a letter [to Rudolf Kolisch, 12 July 1940] that [for one of the sections of his planned book ‘Current of Music’] he planned to use an English translation of his 1936 essay ‘Uber Jazz’ (‘On Jazz’). He speaks, however, in a later letter [to Friedrich Pollock, 3 October 1940], of wanting to conjoin this essay with a substantial body of new research materials. For, while he was living in the United States, Adorno had become aware that what he had known of jazz in Germany, and as he presented it in his early essay, was limited. He was thus making research visits to Harlem and had sought assistance from experts such as the American composer Milton Babbit – who would have nothing to do with him. But, in any event, Adorno never wrote anything new for this section” – Robert Hullot-Kentor, editor’s introduction to Current of Music.
This is only one of the electric points of interest in this third volume from the collected posthumous writings of Adorno. Vol 3 was published in German in 2006, in English in 2009 – but most of the work, some 480 pages, was originally written in English when Adorno was in the USA. Adorno had help with his English grammar – a heavy Teutonic style no doubt – from people like George Simpson who was a young American communist. In a 1969 essay, Adorno acknowledges him for ‘making the first attempts to transform my [Adorno’s] distinctive efforts into American sociological language’ (Adorno 1969:146).
Current of Music offers a whole lot more than these snippets however, and its a shame it was left as a draft in his lifetime (but then he had Minima Moralia to write), Current includes a course on good listening, and an entire unpublished theory of the listener(s) that suggests rethinking the usual dismal dismissal of Adorno as some sort of elite purist who thought mere circulation was epiphenomenal.