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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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The Power of Badness

The Power of Badness

Chapter:
(p.117) 7 The Power of Badness
Source:
Hard Bop
Author(s):

David H. Rosenthal

Publisher:
Oxford University Press
DOI:10.1093/acprof:oso/9780195085563.003.0008

In the introduction, it was mentioned that jazzmen strove to create “badness” in their music, and even exhibited “badness” in their personal lives. This chapter explores that badness, which goes beyond defying conventions. Yes, hard bop has a “badness” that translates into funkiness, but it also turns out that the hard bop produced by the jazzmen of the period often expressed and provoked troubling emotions. This further separates it from soul jazz, which, in the words of Stanley Turrentine, is meant “to help people relax and enjoy.” Hard boppers strove not only to be bad; they strove to be “superbad.” This led to songs that were “a true fusion of black pop culture's cathartic possibilities and intense physicality with ‘Art’ of the most demanding kind.”.

Keywords:   badness, jazz, hard bop, funky music, soul jazz, Stanley Turrentine

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