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Free Jazz/Black Power$
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Philippe Carles and Jean-Louis Comolli

Print publication date: 2015

Print ISBN-13: 9781628460391

Published to University Press of Mississippi: May 2016

DOI: 10.14325/mississippi/9781628460391.001.0001

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PRINTED FROM Mississippi SCHOLARSHIP ONLINE (www.mississippi.universitypressscholarship.com). (c) Copyright University Press of Mississippi, 2020. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in MSSO for personal use.date: 03 December 2020

Cultural Colonization

Cultural Colonization

Chapter:
(p.31) 3. Cultural Colonization
Source:
Free Jazz/Black Power
Author(s):

Philippe Carles

Jean-Louis Comolli

, Grégory Pierrot
Publisher:
University Press of Mississippi
DOI:10.14325/mississippi/9781628460391.003.0004

This chapter looks at jazz in the time period between its commercialization in the 1920s and the bebop era in the mid-1940s. Jazz turned into harmless, expected entertainment music, formatted for the white mainstream. In the process these characteristics most pertaining to African American experience were erased. Jazz critics integrated this flawed vision of the essence of jazz. Early critics defended jazz’s status as art, conforming it to Western cultural and aesthetic criteria. Later, serious jazz critics from France developed an equally problematic, racially essentialist vision of jazz. Its flaws were fully revealed with the rise of bebop, which they deemed blasphemy against “true jazz” whose rules they had created themselves.

Keywords:   Jazz criticism, Swing, Entertainment, Essentialism, True Jazz

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