Hard Bop: Jazz and Black Music 1955-1965Oxford University Press, 1993 M09 9 - 224 páginas It's nineteen fifty-something, in a dark, cramped, smoke-filled room. Everyone's wearing black. And on-stage a tenor is blowing his heart out, a searching, jagged saxophone journey played out against a moody, walking bass and the swish of a drummer's brushes. To a great many listeners--from African American aficionados of the period to a whole new group of fans today--this is the very embodiment of jazz. It is also quintessential hard bop. In this, the first thorough study of the subject, jazz expert and enthusiast David H. Rosenthal vividly examines the roots, traditions, explorations and permutations, personalities and recordings of a climactic period in jazz history. Beginning with hard bop's origins as an amalgam of bebop and R&B, Rosenthal narrates the growth of a movement that embraced the heavy beat and bluesy phrasing of such popular artists as Horace Silver and Cannonball Adderley; the stark, astringent, tormented music of saxophonists Jackie McLean and Tina Brooks; the gentler, more lyrical contributions of trumpeter Art Farmer, pianists Hank Jones and Tommy Flanagan, composers Benny Golson and Gigi Gryce; and such consciously experimental and truly one-of-a-kind players and composers as Andrew Hill, Sonny Rollins, John Coltrane, Thelonious Monk, and Charles Mingus. Hard bop welcomed all influences--whether Gospel, the blues, Latin rhythms, or Debussy and Ravel--into its astonishingly creative, hard-swinging orbit. Although its emphasis on expression and downright "badness" over technical virtuosity was unappreciated by critics, hard bop was the music of black neighborhoods and the last jazz movement to attract the most talented young black musicians. Fortunately, records were there to catch it all. The years between 1955 and 1965 are unrivaled in jazz history for the number of milestones on vinyl. Miles Davis's Kind of Blue, Charles Mingus's Mingus Ah Um, Thelonious Monk's Brilliant Corners, Horace Silver's Further Explorations--Rosenthal gives a perceptive cut-by-cut analysis of these and other jazz masterpieces, supplying an essential discography as well. For knowledgeable jazz-lovers and novices alike, Hard Bop is a lively, multi-dimensional, much-needed examination of the artists, the milieus, and above all the sounds of one of America's great musical epochs. |
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... there is no point in pretending otherwise: his view of the jazz universe, the thoughts contained in these pages, were the mother's milk that started and guided me in my life as a jazz pianist. As my family continues struggling with the ...
... there is no point in pretending otherwise: his view of the jazz universe, the thoughts contained in these pages, were the mother's milk that started and guided me in my life as a jazz pianist. As my family continues struggling with the ...
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... there were many of them in Philadelphia at that time, including his friend Kenny Rodgers, who played alto sax. He and Kenny were the stars at Mastbaum Tech. Lee was very welldisciplined. Very jovial, with a great sense of humor—an ...
... there were many of them in Philadelphia at that time, including his friend Kenny Rodgers, who played alto sax. He and Kenny were the stars at Mastbaum Tech. Lee was very welldisciplined. Very jovial, with a great sense of humor—an ...
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... There was a very healthy music scene in the community taverns at that time, aside from the fact that there were people like Tommy Monroe who ran music workshops for young musicians, or Owen Marshall's big band workshop with new music he ...
... There was a very healthy music scene in the community taverns at that time, aside from the fact that there were people like Tommy Monroe who ran music workshops for young musicians, or Owen Marshall's big band workshop with new music he ...
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... there and jam. I was with the bands at the time, and I would come in and out of town. When I was in the city, we ... there would be guys that couldn't play as well as some of the other guys. Still, they had the opportunity to get up ...
... there and jam. I was with the bands at the time, and I would come in and out of town. When I was in the city, we ... there would be guys that couldn't play as well as some of the other guys. Still, they had the opportunity to get up ...
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... There were many, many giants that would come in there to play. People like Dizzy, Charlie Parker, Denzil Best, Harold West, Shadow Wilson. Sometimes the late Sid Catlett would come in. Monk, Sir Charles Thompson, Bud Powell, Freddie ...
... There were many, many giants that would come in there to play. People like Dizzy, Charlie Parker, Denzil Best, Harold West, Shadow Wilson. Sometimes the late Sid Catlett would come in. Monk, Sir Charles Thompson, Bud Powell, Freddie ...
Contenido
A New Mainstream | |
The Scene | |
The Lyricists | |
Tenors and Organs | |
The Power of Badness | |
Monk Mingus Miles and Trane | |
Changes | |
The Last of Hard | |
Notes | |
Selected Hard Bop Discography | |
Index | |
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Adderley album Art Blakey Art Farmer artists audience avantgarde ballads bass bassist beat bebop Benny big band Blue Note Records bop’s Bud Powell Burrell Cannonball Capo Press Charlie Parker Clark Clifford Brown clubs Coleman combo composer compositions dance Dizzy Gillespie Dorham drummer early sixties Ellington Elmo Hope ensemble Fantasy feeling Freddie funky gigs Golson Gryce guys hard bop hard boppers harmonic Hill Hill’s Horace Silver improvisation J.J. Johnson Jackie McLean Jazz Messengers jazz musicians jazz’s jazzmen Jimmy Smith John Coltrane Jones Kelly Kenny Lee Morgan liner notes listeners live Lockjaw Mainstream Max Roach melodic Miles Davis Mingus Mingus’s modern jazz Monk’s Nat Hentoff Ornette phrases pianist piano playing Prestige quintet repr rhythm section rhythmic saxophone scene session soloist solos Sonny Rollins soul jazz sound style swing tempo tenor saxophonist Thelonious Monk theme there’s things Tommy Flanagan Trane trio trombonist trumpeter tunes Turrentine York young musicians