| Book Review | The Journal of American History, 91.3

You have not been recognized as a subscriber to JAH online. About 158 words from this article are provided below; about 368 words remain.

If you are a individual member of the Organization of American Historians, you may:: • login here if you have already registered for online access.; • Or if you're already logged in register your subscription.
• Set up your online account for the first time.
If you are not a member of the Organization of American Historians, you can:: • Join the OAH and receive many member benefits including print and electronic issues of the Journal of American History.
• Purchase a research pass to gain two-hour access to the entire History Cooperative web site. You will have full access to current issues of the Journal of American History (86.1-present). Note: the Research Pass does not provide access to JSTOR's holdings of the Journal of American History.
Instititutions can:: • Subscribe to this journal and receive print and electronic issues.
• Activate your existing subscription so that we recognize your IP number ranges.

| Book Review | The Journal of American History, 91.3 | The History Cooperative

Book Review

Freedom Is, Freedom Ain't: Jazz and the Making of the Sixties. By Scott Saul. (Cambridge: Harvard University Press, 2003. xiv, 394 pp. $29.95, ISBN 0-674-01148-1.)

This book begins with a scream: Charles Mingus caterwauling over the churn of "Haitian Fight Song" (1957). Along with the saxophonist John Coltrane, the mercurial bassist-composer-bandleader Mingus is at the heart of Scott Saul's meditation on jazz and the civil rights movement. Saul wants us to understand hard bop and other jazz-inspired artistic forms as participating in the same modes of political thought as the black freedom movement.

Just as so many political activists in the 1950s and 1960s tried to embody a prefigurative politics—creating counterinstitutions like freedom schools, grassroots political parties, and alternative media that would anticipate the world they desired—so the musicians of hard bop gave voice to a world beyond the Cold War consensus, where everyday people might be virtuosos and provocateurs at once. (p. 6)

. . .

There are about 368 more words in this article. Please log in (or, if you are not yet an authorized user, please go to the User Setup page) to gain full access rights. Or if you're already logged in register your subscription.