Hard Bop: Jazz and Black Music 1955-1965
Oxford University Press, 1993 M09 9 - 223 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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album Art Blakey Art Farmer artists audience ballads bass bassist beat bebop Benny big band Blue Note Records bop's Bud Powell Cannonball Capo Press Charlie Parker Clifford Brown clubs Coleman combo composer compositions Dameron dance Dizzy Gillespie Dorham drummer early sixties Ellington Elmo Hope ensemble featuring feeling Freddie funky gigs Golson Gryce guys hard bop hard boppers harmonic heroin 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 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 Tadd tempo tenor saxophonist Thelonious Monk theme things Tina Brooks tion Tommy Flanagan Trane trio trumpeter tunes Turrentine York young musicians
Página 82 - So it is no accident that the source of Hip is the Negro for he has been living on the margin between totalitarianism and democracy for two centuries. But the presence of Hip as a working philosophy in the sub-worlds of American life is probably due to jazz, and its knife-like entrance into culture, its subtle but so penetrating influence on an avant-garde generation...
Página 18 - I saw the best minds of my generation destroyed by madness, starving hysterical naked, dragging themselves through the negro streets at dawn looking for an angry fix...
Página 140 - framework" on piano so that they are all familiar with my interpretation and feeling and with the scale and chord progressions. . . . Each man's particular style is taken into consideration. They are given different rows of notes to use against each chord but they choose their own notes and play them in their own style, from scales as well as chords, except where a particular mood is indicated. In this way I can keep my own compositional flavor . . . and yet allow the musicians more individual freedom...
Página 51 - I wouldn't care if he came up on the bandstand in his BVD'S and with one arm, just so long as he was there," he told Nat Hentoff, in a widely quoted statement.
Página 83 - Negro discovered and elaborated a morality of the bottom, an ethical differentiation between the good and the bad in every human activity from the go-getter pimp (as opposed to the lazy one) to the relatively dependable pusher or prostitute. Add to this, the cunning of their language, the abstract ambiguous alternatives in which from the danger of their oppression they learned to speak ("Well, now, man, like I'm looking for a cat to turn me on ") , add even more the profound sensitivity of the Negro...
Página 39 - In fact, if you can't manage to put tinges of Spanish in your tunes, you will never be able to get the right seasoning, I call it, for jazz.
Página 149 - Working with Monk brought me close to a musical architect of the highest order. I felt I learned from him in every way — through the senses, theoretically, technically. I would talk to Monk about musical problems, and he would sit at the piano and show me the answers just by playing them.
Página 82 - American life is probably due to jazz, and its knife-like entrance into culture, its subtle but so penetrating influence on an avant-garde generation— that post-war generation of adventurers who (some consciously, some by osmosis) had absorbed the lessons of disillusionment and disgust of the Twenties, the Depression, and the War. Sharing a collective disbelief in the words of men who had too much money and controlled too many things, they knew almost as powerful a disbelief in the socially monolithic...
Página 146 - There was one time in his past that he devoted to multichorded structures. He was interested in chords for their own sake. But now it seemed that he was moving in the opposite direction to the use of fewer and fewer chord changes in songs. He used tunes with free-flowing lines and chordal direction. This approach allowed the soloist the choice of playing chordally (vertically) or melodically (horizontally).
What the Music Said: Black Popular Music and Black Public Culture
Mark Anthony Neal
Vista previa limitada - 1999
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