Hard Bop and Its Critics Author(s): David H. Rosenthal Source: The Black Perspective in Music, Vol. 16, No. 1 (Spring, 1988), pp. 21-29 Stable URL: http://www.jstor.org/stable/1215124 Accessed: 23/01/2009 19:08 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit organization founded in 1995 to build trusted digital archives for scholarship. We work with the scholarly community to preserve their work and the materials they rely upon, and to build a common research platform that promotes the discovery and use of these resources. For more information about JSTOR, please contact
[email protected]. http://www.jstor.org Hard Bop And Its Critics BY DAVID H. ROSENTHAL THTARD BOP, as a dominant school of jazz, flourished between 1955 and 1965-a decade unrivalled by any other in jazz history for the number of musically brilliant records that were issued. The decade's masterpieces included drummer Art Blakey's Ugetsu (Fantasy/OJC 090), trumpeter Miles Davis's Kind of Blue (Columbia Jazz Masterpieces CJ-40579), tenor-saxophonist Sonny Rollins's Saxophone Colossus (Fantasy/OJC 291), alto-saxo- phonist Jackie McLean's Let FreedomRing (Blue Note 84106), bassist Charles Mingus's Mingus Ah Um (Columbia Jazz Masterpieces CJ- 40648), and pianist Thelonious Monk's Brilliant Corners (Fantasy/ OJC 026).