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1950s in jazz

By the end of the 1940s, the nervous energy and tension of bebop was replaced with a tendency towards calm and smoothness, with the sounds of cool jazz, which favoured long, linear melodic lines. It emerged in New York City, as a result of the mixture of the styles of predominantly white swing jazz musicians and predominantly black bebop musicians, and it dominated jazz in the first half of the 1950s. The starting point were a series of singles on Capitol Records in 1949 and 1950 of a nonet led by trumpeter Miles Davis, collected and released first on a ten-inch and later a twelve-inch as the Birth of the Cool. Cool jazz recordings by Chet Baker, Dave Brubeck, Bill Evans, Gil Evans, Stan Getz and the Modern Jazz Quartet usually have a "lighter" sound which avoided the aggressive tempos and harmonic abstraction of bebop. Cool jazz later became strongly identified with the West Coast jazz scene, but also had a particular resonance in Europe, especially Scandinavia, with emergence of such major figures as baritone saxophonist Lars Gullin and pianist Bengt Hallberg. The theoretical underpinnings of cool jazz were set out by the blind Chicago pianist Lennie Tristano, and its influence stretches into such later developments as Bossa nova, modal jazz, and even free jazz. See also the list of cool jazz and West Coast musicians for further detail.

Fats Pichon on an LP cover in the 1950s
Dixieland Records 78

Hard bop, an extension of bebop (or "bop") music that incorporates influences from rhythm and blues, gospel music, and blues, especially in the saxophone and piano playing, developed in the mid-1950s, partly in response to the vogue for cool jazz in the early 1950s. The hard bop style coalesced in 1953 and 1954, paralleling the rise of rhythm and blues. Miles Davis' performance of "Walkin'" the title track of his album of the same year, at the first Newport Jazz Festival in 1954, announced the style to the jazz world. The quintet Art Blakey and the Jazz Messengers, fronted by Blakey and featuring pianist Horace Silver and trumpeter Clifford Brown, were leaders in the hard bop movement along with Davis. (See also List of Hard bop musicians)

Modal jazz recordings, such as Miles Davis's Kind of Blue, became popular in the late 1950s. Popular modal standards include Davis's "All Blues" and "So What" (both 1959), John Coltrane's "Impressions" (1963) and Herbie Hancock's "Maiden Voyage" (1965). Later, Davis's "second great quintet", which included saxophonist Wayne Shorter and pianist Herbie Hancock, recorded a series of highly acclaimed albums in the mid-to-late 1960s. Standards from these sessions include Shorter's "Footprints" (1966) and Eddie Harris's "Freedom Jazz Dance" (1966).

In Brazil, a new style of music called bossa nova evolved in the late 1950s. The free jazz movement, coming to prominence in the late 1950s, spawned very few standards. Free jazz's unorthodox structures and performance techniques are not as amenable to transcription as other jazz styles. However, "Lonely Woman" (1959) a blues by saxophonist Ornette Coleman, is perhaps the closest thing to a standard in free jazz, having been recorded by dozens of notable performers.[1]

1950s jazz standards

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1950–1954

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Sonny Rollins played in Thelonious Monk's and Miles Davis's bands in the 1950s before starting a successful solo career. With Davis, he composed the standards "Airegin", "Doxy" and "Oleo".

1955–1959

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1950

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Main article: 1950 in jazz

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1951

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Main article: 1951 in jazz

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1952

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Main article: 1952 in jazz

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1953

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Main article: 1953 in jazz

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1954

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Main article: 1954 in jazz

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1955

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Main article: 1955 in jazz

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1956

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Main article: 1956 in jazz

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1957

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Main article: 1957 in jazz

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1958

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Main article: 1958 in jazz
 
Jazz pianist Billy Strayhorn in 1958

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1959

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Main article: 1959 in jazz

Events

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Deaths

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Awards

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References

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  1. ^ [1] Archived 2010-10-03 at the Wayback Machine
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  3. ^ a b c d e f g h i j k l m n o p Listed in The Real Vocal Book
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  6. ^ a b c d e f g h i j k l m n o p Listed in The Real Jazz Book
  7. ^ Au Privave at jazzstandards.com – retrieved on April 29, 2009
  8. ^ The Real Book, Volume I, p. 37
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  13. ^ Lullaby of Birdland at jazzstandards.com – retrieved on April 29, 2009
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  15. ^ My One and Only Love at jazzstandards.com – retrieved on February 20, 2009
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  17. ^ That's All at jazzstandards.com – retrieved on February 20, 2009
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  19. ^ When I Fall in Love at jazzstandards.com – retrieved on April 29, 2009
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  21. ^ Here's That Rainy Day at jazzstandards.com – retrieved on February 20, 2009
  22. ^ The Real Book, Volume I, p. 175
  23. ^ Jordu at jazzstandards.com – retrieved on February 20, 2009
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  25. ^ The New Real Book, Volume II, p. 175
  26. ^ Satin Doll at jazzstandards.com – retrieved on February 20, 2009
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  38. ^ Fly Me to the Moon (in Other Words) at jazzstandards.com – retrieved on February 20, 2009
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  41. ^ Joy Spring at jazzstandards.com – retrieved on April 29, 2009
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  47. ^ Solar at jazzstandards.com – retrieved on February 20, 2009
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  51. ^ Canadian Sunset at jazzstandards.com – retrieved on February 20, 2009
  52. ^ Con Alma at jazzstandards.com – retrieved on February 20, 2009
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  54. ^ Nica's Dream at jazzstandards.com – retrieved on April 29, 2009
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  74. ^ See page 20 of the Fall 1993 issue of Letter from Evans (http://www2.selu.edu/orgs/34skid/html/23.pdf Archived 2011-07-17 at the Wayback Machine) where Earl Zindars says "I know that it is [100-percent Bill's] because he wrote it over at my pad where I was staying in East Harlem, 5th floor walkup, and he stayed until 3 o'clock in the morning playing these six bars over and over."
  75. ^ https://www.npr.org/2010/10/08/92185496/bill-evans-on-piano-jazz 35m30s – On being asked about the issue by the interviewer (Marian McPartland), Evans said "The truth is I did [write the music]... I don't want to make a federal case out of it, the music exists, and Miles is getting the royalties"
  76. ^ Desafinado at jazzstandards.com – retrieved on February 20, 2009
  77. ^ The Real Book, Volume I, p. 108
  78. ^ The Real Book, Volume I, p. 151
  79. ^ Giant Steps at jazzstandards.com – retrieved on February 20, 2009
  80. ^ The Real Book, Volume I, p. 157
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  82. ^ Goodbye Pork Pie Hat at jazzstandards.com – retrieved on April 24, 2009
  83. ^ A Felicidade at jazzstandards.com – retrieved on February 20, 2009
  84. ^ Killer Joe at jazzstandards.com – retrieved on April 29, 2009
  85. ^ The Real Book, Volume II, p. 229
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  89. ^ My Favorite Things at jazzstandards.com – retrieved on February 20, 2009
  90. ^ The Real Book, Volume I, p. 285
  91. ^ Naima at jazzstandards.com – retrieved on February 20, 2009
  92. ^ The Real Book, Volume I, p. 293
  93. ^ The New Real Book, Volume II, p. 238
  94. ^ The Real Book, Volume I, p. 306
  95. ^ Sidewinder at jazzstandards.com – retrieved on April 29, 2009
  96. ^ The Real Book, Volume I, p. 355
  97. ^ So What at jazzstandards.com – retrieved on February 20, 2009
  98. ^ The Real Book, Volume I, p. 364
  99. ^ Take Five at jazzstandards.com – retrieved on February 20, 2009
  100. ^ The Real Book, Volume I, p. 397
  101. ^ Notice bibliographique CHICAGO MUSETTE / John SERRY et son accordéon | BnF Catalogue général – Bibliothèque nationale de France
  102. ^ Chicago Musette – John Serry on vintagemuisic.fm
  103. ^ Chicago Musette – John Serry et son accordéon – John Serry Sr. performing on accordion on youtube.com
  104. ^ Kaplan, Fred (2009-05-31). "How 1959 Changed the City and the World". New York Magazine. Retrieved 2010-01-02.

Bibliography

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