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    The 1950's and New Jazz Substyles: Hard Bop/Soul Jazz

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    Mackenzie Hansen
    This document summarizes the development of several jazz styles that emerged in the 1950s, including cool jazz, hard bop, and modal jazz. Cool jazz originated on the West Coast in the 1950s and was characterized by relaxed tempos, unusual instrumentation, and arrangements with no comping instruments. Hard bop emerged in the mid-1950s, particularly in New York, and had a bluesy, gospel-influenced sound driven by tenor sax and aggressive drumming. Major figures in the development of hard bop included Horace Silver, Art Blakey and the Jazz Messengers, the Clifford Brown/Max Roach Quintet, and Sonny Rollins. The document also provides overviews of influential jazz artists Charles

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    The 1950's and New Jazz Substyles: Hard Bop/Soul Jazz

    Uploaded by

    Mackenzie Hansen
    75 views3 pages
    This document summarizes the development of several jazz styles that emerged in the 1950s, including cool jazz, hard bop, and modal jazz. Cool jazz originated on the West Coast in the 1950s and was characterized by relaxed tempos, unusual instrumentation, and arrangements with no comping instruments. Hard bop emerged in the mid-1950s, particularly in New York, and had a bluesy, gospel-influenced sound driven by tenor sax and aggressive drumming. Major figures in the development of hard bop included Horace Silver, Art Blakey and the Jazz Messengers, the Clifford Brown/Max Roach Quintet, and Sonny Rollins. The document also provides overviews of influential jazz artists Charles

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    History of Jazz

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    Chapt 8JH HBop Outline Copy

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    This document summarizes the development of several jazz styles that emerged in the 1950s, including cool jazz, hard bop, and modal jazz. Cool jazz originated on the West Coast in the 1950s and was characterized by relaxed tempos, unusual instrumentation, and arrangements with no comping instruments. Hard bop emerged in the mid-1950s, particularly in New York, and had a bluesy, gospel-influenced sound driven by tenor sax and aggressive drumming. Major figures in the development of hard bop included Horace Silver, Art Blakey and the Jazz Messengers, the Clifford Brown/Max Roach Quintet, and Sonny Rollins. The document also provides overviews of influential jazz artists Charles

    Copyright:

    © All Rights Reserved
    Download as DOCX, PDF, TXT or read online from Scribd
    Download as docx, pdf, or txt
    75 views3 pages

    The 1950's and New Jazz Substyles: Hard Bop/Soul Jazz

    Uploaded by

    Mackenzie Hansen
    This document summarizes the development of several jazz styles that emerged in the 1950s, including cool jazz, hard bop, and modal jazz. Cool jazz originated on the West Coast in the 1950s and was characterized by relaxed tempos, unusual instrumentation, and arrangements with no comping instruments. Hard bop emerged in the mid-1950s, particularly in New York, and had a bluesy, gospel-influenced sound driven by tenor sax and aggressive drumming. Major figures in the development of hard bop included Horace Silver, Art Blakey and the Jazz Messengers, the Clifford Brown/Max Roach Quintet, and Sonny Rollins. The document also provides overviews of influential jazz artists Charles

    Copyright:

    © All Rights Reserved
    Download as DOCX, PDF, TXT or read online from Scribd
    Download as docx, pdf, or txt
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    The document discusses the development of several jazz styles in the 1950s including Cool Jazz, Hard Bop, and Modal Jazz. It also profiles several influential musicians like Miles Davis and John Coltrane.

    Hard Bop developed in the 1950s as a style that brought jazz closer to its roots in blues and gospel music. It had a funkier, more rhythmically driven sound compared to Bebop and was influenced by the church.

    Notable groups included Art Blakey and the Jazz Messengers as well as the Clifford Brown/Max Roach Quintet. Musicians mentioned include Horace Silver, Art Blakey, Clifford Brown, and Sonny Rollins.

    The 1950s And New Jazz Substyles

    Cool Jazz Third Stream Hard Bop Modal

    Cool Jazz 1950 Hard Bop 1955


    West Coast New York, Detroit, Philly
    (Woody Herman and Stan Kenton)
    More whites More blacks
    Alto sax Tenor sax
    Tempos more relaxed (drummers used brushes) Hard driing, more aggressive (backbeat feel on the
    2&4 / used sticks)
    Used Counterpoint and polyphony (sometimes no More Blues / gospel based (funky at times)
    comping instrument)
    More arranged Less arranged than Cool
    Used unusual instruments (i.e. French horn, tuba, Standard Bop instrumentation (tenor, trumpet, bone
    oboe, strings, bass clarinet, etc) and rhythm)
    Use of odd meters / polyrhythms Lots of chord changes, key changes, and used fast
    tempos

    2 major technological innovations of the late 40s and early 50s recording industry that included both the
    use of magnetic tape (eventually 2 inch) and the introduction of the 22 1/3 Long Play records (made of
    vinyl)

    ___________________________________________________________________________________________________________________________
    Hard Bop/Soul Jazz
    A Return to Roots

    As Bebop and Cool were more cerebral, there was a movement to bring jazz back to the masses. This new
    style was funky and influenced by Gospel music. The term soul was connected to the church and speaks
    of the emotional content of the music while the term funky had a more earthy association. This music was
    blues based and had a happy, danceable sound through highly rhythmical melodies and less complex
    harmonies than Bebop

    Performers
    - Horace Silver (piano) and Art Blakey (drums) led first real Hardbop jazz ensemble. Horace Silver left
    Blakely in 56. Came from racially mixed family (black, white, Portuguese, Indian). Not considered a
    virtuoso pianist, but his trademark is his groove infected comping style and use of the tremolo effect. He is
    an excellent composer and has written many jazz standards such as Doodlin, The Preacher, Sister
    Sadie, and Filthy McNasty Doodlin'

    Art Blakey and the Jazz Messengers


    First album was in 1956 without Silver but the Jazz Messengers become a school unto themselves. Blakey
    studied in Africa and brought back several techniques like playing the sides of the drums with sticks and
    altering the pitch with his elbow. He became most known for his hard drive and pulsating rhythm. He was
    known for using his hi-hat on 2&4. Not a subtle drummer. Many jazz greats played with Blakey including
    Kenny Dohram, James Moody, Lee Morgan, Benny Golson, Bobby Timmons, Wayne Shorter, Freddie
    Hubbard, Cedar Walton, Bobby Watson and the Marsalis Brothers, all of whom extended the techniques
    first introduced in Bebop.
    Moanin'
    Clifford Brown / Max Roach Quintet
    Started by drummer Max Roach in 1954 with Clifford Brown. Brown died in 1956 in a car accident, but was
    considered one of the best jazz trumpeters at that time. He had a fast, highly articulated style and could
    string together long lines of eighth notes and was also known for tight and interesting arrangements. Some
    consider this group to be an extension of the bands that Max had a few years earlier with Charlie Parker
    when he transferred the pulse of the drums from bass drum to the hi-hat and the ride cymbal.
    Powells Prances

    Sonny Rollins (tenor sax).


    Sonny replaced Harold Land in the Quintet in 1955. Sonyn has since gone on to be sonsidered one of the
    most important voices on the tenor sax in modern times. He has a very melodic approach to soloing and
    shows and approach that blends both Cool and Bop. He is also noted for taking breaks throughout his
    carreer. Studied with Monk, willing to experiment with new ideasm and also loves the music of Trinidad
    (his mother was from there) particularly the Calypso. Sonny has written many tunes including Oleo,
    Doxy, Airegin, Blue 7, St. Thomas.
    St. Thomas

    Charles Mingus 1922--1979 Bassist, composer, and bandleader


    1. Interesting family history / mixed race
    2. Out of Bebop tradition played with Charlie Parker
    3. Racial issues (Red Norvo Trio / TV show story
    4. Moved to NY and started Jazz Composers Collective
    5. Politics part of his music. Haitian Fight Song / Fables / Freedom
    6. Evokes musicians from earlier periods such as: Jelly Roll Morton, Duke Ellington, and Lester Young
    Hora Decubitus Dolpy/ Bass Clar on A Train
    7. Died of Lou Gehrigs Disease. Ashes taken to Mexico by Sue.
    He led both large and small ensembles. His piano-less quartet with friend and
    great saxophonist Eric Dolphy. (tell about argument on What Love) Mingus
    taught by rote, used collective improv, used mixed meters/in and out of time,
    and was influenced by gospel, classical, the blues, and Duke Ellington

    Miles Davis 1926-1991 Trumpet, composer, bandleader, innovator


    1. Born in Alton, Illinois / middle class family (his dad was a dentist)
    2. Left for NY to study at Julliard ended up living with Parker
    3. First major project as a leader was Birth of the Cool 1949 / 50
    4. Played both Hard bop and Cool jazz in the 50s
    5. Recorded album Kind of Blue all in one take in 1959 (begins Modal jazz)
    6. Recorded with his Quintet throughout the 60s
    7. Recorded In a Silent Way in 68 (begins fusion jazz)
    8. Leaves the scene for a while in the 70s due to sickness and drug abuse but returns in 1980 (Man
    With Horn) plays until his Death in 1991. So What It Could Happen to you

    Miles was a musical icon. Responsible for at least 3 major stylistic changes
    and was also noted for developing great young players. He never like to look back. A great trumpet
    player. But was very economical and picky of note choices. Miles is also noted for 2 very famous
    quintets: the 50s Quintet with John Coltrane (sax), Red Garland (piano), Philly Jo Jones (drums) and
    Paul Chambers (bass) The 60s Quintet was Wayne Shorter (sax), Herbie Hancock (piano), Ron Carter
    (bass) and Tony Williams (drums)

    John Coltrane 1926-1967 saxophonist/improviser/composer

    Some of his more notable musical innovations include:


    Running changes, sheets of sound, and overall arrhythmic approach to modal / free improvisation. He was
    a great innovator of hardbop, modal, and free jazz styles. Giant Steps is a hardbop tune and was actually
    designed as an exercise to challenge him to play in 3 very different key areas.

    We will talk about Coltrane more in chapter 9 Giant Steps

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