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Hard BopJazz and Black Music, 1955–1965$
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David H. Rosenthal

Print publication date: 1994

Print ISBN-13: 9780195085563

Published to Oxford Scholarship Online: October 2011

DOI: 10.1093/acprof:oso/9780195085563.001.0001

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Chapter:
(p.151) 9 Changes
Source:
Hard Bop
Author(s):

David H. Rosenthal

Publisher:
Oxford University Press
DOI:10.1093/acprof:oso/9780195085563.003.0010

This chapter explores what most underscored the need for jazz and hard bop to change: basically a sameness in the way that the musicians were playing (so that they merely followed the giants that nourished bebop and hard bop by innovation). True, jazz players could crop up, but unless they did more than play the same old blues and the same old funk, jazz would be unable to develop as a means of expression comparable to the machine of raw energy that it was in previous years. Yes, there were exceptions. Ornette Coleman, for example, sizzled in a scene that was slowly fading and introduced new energy unseen since bebop. Coleman was hailed by many as a genius, because in spite of the doubts raised against his technical ability, he was always able to churn out music that was fresh. This chapter juxtaposes these two different scenes, which introduced a tension that allowed hard bop to linger for longer, but, however was unable to push it to new heights.

Keywords:   Ornette Coleman, jazz, hard bop, blues, funk, music

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