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Jazz MattersSound, Place, and Time since Bebop$
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David Ake

Print publication date: 2010

Print ISBN-13: 9780520266889

Published to California Scholarship Online: May 2012

DOI: 10.1525/california/9780520266889.001.0001

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PRINTED FROM CALIFORNIA SCHOLARSHIP ONLINE (www.california.universitypressscholarship.com). (c) Copyright University of California Press, 2018. All Rights Reserved. Under the terms of the licence agreement, an individual user may print out a PDF of a single chapter of a monograph in CALSO for personal use (for details see www.california.universitypressscholarship.com/page/535/privacy-policy-and-legal-notice).date: 18 September 2018

Sex Mob and the Carnivalesque in Postwar Jazz

Sex Mob and the Carnivalesque in Postwar Jazz

Chapter:
(p.54) Three Sex Mob and the Carnivalesque in Postwar Jazz
Source:
Jazz Matters
Author(s):

David Ake

Publisher:
University of California Press
DOI:10.1525/california/9780520266889.003.0004

This chapter discusses the carnivalesque, which is one of jazz's “lower” manifestations, and is largely derived from literary theorist Mikhail Bakhtin. Bakhtin believed that the carnivalesque can help people understand or make sense of the improper outbursts in the supposedly serious setting of recent jazz, while it also reveals other meanings and practices which are common throughout the genre. The chapter focuses on several sounds and images offered by the band Sex Mob, and shows how a carnivalesque aesthetic still persists in modern times to stop the severe, elitist, or solipsistic attitudes of modern jazz.

Keywords:   carnivalesque, Mikhail Bakhtin, modern jazz, Sex Mob, carnivalesque aesthetic

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