The black revolt began in the 1960s in the United States under the leadership of figures like Martin Luther King and Malcolm X is already bearing fruit with the accession to power of the first African-American president of the country's history. If we felt strongly about the role of politicians in that occasion, the musical face of this revolution is also essential. Back on the free jazz and blaxploitation, unknown on this side of the ocean. James Brown (1933-2006), Isaac Hayes (1942-2008), Nina Simone (1933-2003), three key figures of the claim of equality sought by African-Americans have unfortunately not able to attend the arrival the power of Barack Obama to the presidency of the United States. This is the

opportunity to return to the power of these black musicians on the conscience of the arrival of a black power in the early 1960s, about the characteristics of their music, and its real role (soundtrack a revolt or detonator). To understand the musical aspect of black power, we must turn to a wrong kind beloved and often misunderstood: the free jazz. By focusing on the genesis of this branch of the heirs of the libertarian blues, we understand the process of thinking Afro-Americans at the time. This is the thesis of one of the few books in French on the subject, 'Free Jazz Black Power' Philippe Carles and Jean-Louis Comolli. Unlike the conventional wisdom that declares that "music soothes morals", the book argues that there is no music or antisocial apolitical. Want to impose, as in our time, a unified music, a music store, a "universal music that form the body to listen indifferent" is a political act far from neutral. The free jazz advocates and defends the opposite of this ideology. As Archie Shepp: "It is not possible to skip three children and a church is left without something in your cultural experience." Far from being a reflection of the struggles of blacks in the United States, free is the end, the symbolic event. Diverse music, diverse, varied in excess, it is now difficult to define. Its main representatives are called Archie Shepp, Ornette Coleman, Albert Ayler, Don Cherry. They are often accused of "not knowing play" to do "anything" to create the "brothel" ... and they do it on purpose! The chaos (apparent) of free jazz is presented as a response from the white slave master. African-American music par excellence-down blues, jazz was "recovered" by whites after the war. At the forefront of jazz cool-1950s there are only white stars (with the notable exception of Miles Davis): Chet Baker, Lee Konitz, Dave Brubeck, Gerry Mulligan and Stan Getz. The free jazz therefore achieve Symbolically the hope of many black politicians: the return to Africa. How it manifests itself on? By a rule of biking on the melody: the jazzmen multiplient different rhythms at the same time, while playing dissonance. The pillars of the free jazz do not play more than one, but several instruments, sometimes simultaneously, and seek to give the taste of a variety of folk instruments and traditional African, but also India 's Asia, South America ... The music is pure spirit, but leaves the body speak: there are the recordings of jazz free grunts, screams, onomatopoeia ... Bref tensions and injuries suffered by blacks reappear in their music: the black power seen by the free jazz, it is the instrumental will symbolize the violence experienced by blacks. And if the whites do not understand, so much the better: for advocates of free jazz the most extreme , whites can never understand their pain legacy of slavery.