Cover

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Frontmatter

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Contents

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Introduction to the New Edition

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pp. vii-xvi

The Sixties, when Four Lives in the Bebop Business was written, were as wide open as American culture has been during my sixty-seven years. The Sixties were a garden of controversy, and, . . .

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Introduction to the Original Edition

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pp. xvii-xxiv

Ornette Coleman, Cecil Taylor, Herbie Nichols, and Jackie McLean-four profoundly different but closely related lives in the bebop business, that peculiar cross-poEination of show . . .

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I. Cecil Taylor

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pp. 1-76

JEANNE PHILLIPS is a black woman who has devoted much of her adult life to modem jazz. She is particular and serious, and is frequently seen in her large, . . .

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II. Ornette Coleman

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pp. 77-150

IN THE JAZZ circles of New York in the fall of 1959. there was an unusual feeling of apprehension and anticipation in the air. There was a musician coming. . . .

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III. Herbie Nichols

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pp. 151-177

THERE IS A KIND of culpability in the discovery of dead artists in that it seems almost criminal, certainly exploitative, even within the approved limits of capitalism, . . .

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IV. Jackie McLean

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pp. 178-235

THE OTHER MUSICIANS treated in this book have all been outsiders throughout their jazz careers. They have never been involved with the mainstream of jazz playing, . . .

Selected Bibliographies and Discographies

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pp. 237-243

Index

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pp. 245-249