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More Recommendations - 50s Era Bop I recently came across this album...
...and love it. The title track is on the soundtrack compilation for The Iron Giant (a favorite film of mine), so I found the album it was originally from and gave it a good listen. I then listened to the album again from start to finish! Jazz fans, what other albums from this genre/era, besides Miles Davis, would you recommend? My preference is for albums that are available on CD (so's I can take it with me!), and I always like studio albums over compilations. Any help would be great! | |
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2 of the best . . .
Art Blakey -- Moanin' John Coltrane -- Giant Steps More to follow. Good night, sweet Prince | 7 June 1958 - 21 April 2016
Props will be withheld until the showing and proving has commenced. -- Aaron McGruder | |
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Exact topic I'm uninformed on. | |
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CinisterCee said: Exact topic I'm uninformed on.
Then it will be for me, and you and everyone we know that is uninformed | |
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RipHer2Shreds said: CinisterCee said: Exact topic I'm uninformed on.
Then it will be for me, and you and everyone we know that is uninformed yes! positive spin! | |
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More classics, among many, for your consideration.
In order: C. Mingus: Mingus Ah Um M. Davis: Milestones Horace Silver: Horace Silver Trio T. Monk: Brilliant Corners Cannonball Adderley: Something Else happy listening! [Edited 10/12/05 13:10pm] Good night, sweet Prince | 7 June 1958 - 21 April 2016
Props will be withheld until the showing and proving has commenced. -- Aaron McGruder | |
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namepeace said: More classics, among many, for your consideration.
In order: C. Mingus: Mingus Ah Um M. Davis: Milestones Horace Silver: Horace Silver Trio T. Monk: Brilliant Corners Cannonball Adderley: Something Else happy listening! [Edited 10/12/05 13:10pm] Thanks for both sets! I'm going to see what I can find. I'm pretty sure my boyfriend has at least two Mingus records (Mingus Mingus Mingus and one other). | |
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Is this really all 1950s?? I'm so bad with anything before the 60s. | |
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namepeace said: 2 of the best . . .
Art Blakey -- Moanin' John Coltrane -- Giant Steps More to follow. Technically, these are examples of post-50s bop. The Blakey is a soul-jazz bop (the first music to to labelled as "Funk") and teh Coltrane is modal bop ( the first move towards "free jazz). Both were recorded in late 50s but follow the "cool jazz" movement that overlaps the actual post-bop period of early 50s. Bonafide 50s bop would include Clifford Brown Max Roach Sonny Rollins Thelonious Monk Note: Clifford Brown and Bud Powell died in an auto accident in 56, so this is considered the end of the first post-bop wave (just like Charlie Parker's death in '55 ended the bop period). test | |
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namepeace said: More classics, among many, for your consideration.
In order: C. Mingus: Mingus Ah Um M. Davis: Milestones Horace Silver: Horace Silver Trio T. Monk: Brilliant Corners Cannonball Adderley: Something Else happy listening! [Edited 10/12/05 13:10pm] Again, technically, these are all late 50s - 60s. They are great nonetheless. test | |
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PFunkjazz said: Again, technically, these are all late 50s - 60s. They are great nonetheless. Fair points, arguable but fair. As you know, Silver and Blakey are 2 of the architects of hard bop, and I believe the Silver session is from 1953. Good night, sweet Prince | 7 June 1958 - 21 April 2016
Props will be withheld until the showing and proving has commenced. -- Aaron McGruder | |
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Maybe you guys can clarify for me then. The album I've been listening to is from 1959 (I believe). Bob, bebop - same thing, right? If 1955 ended the bop period as you said PFunkJazz, what would the Lou Donaldson album be considered? | |
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namepeace said: PFunkjazz said: Again, technically, these are all late 50s - 60s. They are great nonetheless. Fair points, arguable but fair. As you know, Silver and Blakey are 2 of the architects of hard bop, and I believe the Silver session is from 1953. Yea that's a trio date. The poster is a bit confused as he/she is pointing to Lou Donaldson who's identified with soul-jazz (Blues Walk is a '58 session) and mixing in a desire for "50s era bop". Lemme see if I can clarify things. For the record, Silver and Blakey both grew to prominence in the bop period, preceding Parker's death, but when they united to form the Jazz Messengers (by adding horns) that was later in the 50s. [Edited 10/12/05 17:08pm] test | |
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RipHer2Shreds said: Maybe you guys can clarify for me then. The album I've been listening to is from 1959 (I believe). Bob, bebop - same thing, right? If 1955 ended the bop period as you said PFunkJazz, what would the Lou Donaldson album be considered?
Bop (LOL you wrote Bob), be-bop and bebop all refer to the Charlie Parker-Dizzy Gillespie-Thelonious Monk-Max Roach school of late 40s - mid50s bop. Features include faster meters or obscure time signatures based largely on 16 bar changes of covers of the "Great American Songbook", as well as originals. Sometimes just a really great ballad. A later response to bop was "cool" and that featured lush arrangements in mostly slower time signatures. Largely based out on the West Coast, its main practioneers were white or Jewish and the music tended to sounded more "European". Miles Davis, a protege of Parker's with whom he playedtrumpet was a major force in "cool" with his BIRTH OF THE COOL sessions. Acolytes of bop who may have played with the bop innonvaotors, but really just felt the vibe, like Silver and Blakey began their own developmenst and this was called hard bop. This is also seen as a response to the fact that "cool" tended to drive black folks away from jazz. Recordings were on labels like Blue Note Prestige Riverside et al and a number of jukebox hits were generated. Sessions tended to feature mostly original compositions and album covers prominently featured expressions of Black American culture and lifestyles as well as idioms and expressions. As r&b artists like Ray Charles and Sam Cooke, began to borrow from gospel to develop soul, so also did Horace Silver, Art Farmer, Benny Golsn, Bobby Timmons etc etc begin to include gospel into jazz. This led to "soul jazz" which was another form of bop, but emphasized danceable grooves (a key movement towards jazz fusion). Most of the practioneers of hard bop could read music and write charts (experience garnered from military service as well as education opportunities as Blacks migrated from the South and out of agraian occupations). These expressions of originality were key in the search for a black consciousness in 60s free jazz. In a nutshell hard bop encompasses nearly all acoustic jazz that is not big band, free, fusion nor smooth, though it gave birth to free as well as fusion fusion. It continues into modern times with many practioners, particularly the re-bop generation of "young black men in suits" from the 80s (Wynton Marsalis). Post-bop and post-50s-bop are hallmarks delineating when major innovators died, but it's safe to put all bop after Parker's rise in the 40s under this phrase. Whew! Hope this helps. I feel like I'm trying to write history of jazz and this isn't really the best of places. I'll try and post some reommendations. Maybe that's the best way. [Edited 10/12/05 19:12pm] test | |
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PFunkjazz said: RipHer2Shreds said: Maybe you guys can clarify for me then. The album I've been listening to is from 1959 (I believe). Bob, bebop - same thing, right? If 1955 ended the bop period as you said PFunkJazz, what would the Lou Donaldson album be considered?
Bop (LOL you wrote Bob), be-bop and bebop all refer to the Charlie Parker-Dizzy Gillespie-Thelonious Monk-Max Roach school of late 40s - mid50s bop. Features include faster meters or obscure time signatures based largely on 16 bar changes of covers of the "Great American Songbook", as well as originals. Sometimes just a really great ballad. A later response to bop was "cool" and that featured lush arrangements in mostly slower time signatures. Largely based out on the West Coast, its main practioneers were white or Jewish and the music tended to sounded more "European". Miles Davis, a protege of Parker's with whom he playedtrumpet was a major force in "cool" with his BIRTH OF THE COOL sessions. Acolytes of bop who may have played with the bop innonvaotors, but really just felt the vibe, like Silver and Blakey began their own developmenst and this was called hard bop. This is also seen as a response to the fact that "cool" tended to drive black folks away from jazz. Recordings were on labels like Blue Note Prestige Riverside et al and a number of jukebox hits were generated. Sessions tended to feature mostly original compositions and album covers prominently featured expressions of Black American culture and lifestyles as well as idioms and expressions. As r&b artists like Ray Charles and Sam Cooke, began to borrow from gospel to develop soul, so also did Horace Silver, Art Farmer, Benny Golsn, Bobby Timmons etc etc begin to include gospel into jazz. This led to "soul jazz" which was another form of bop, but emphasized danceable grooves (a key movement towards jazz fusion). Most of the practioneers of hard bop could read music and write charts (experience garnered from military service as well as education opportunities as Blacks migrated from the South and out of agraian occupations). These expressions of originality were key in the search for a black consciousness in 60s free jazz. In a nutshell hard bop encompasses nearly all acoustic jazz that is not big band, free, fusion nor smooth, though it gave birth to free as well as fusion fusion. It continues into modern times with many practioners, particularly the re-bop generation of "young black men in suits" from the 80s (Wynton Marsalis). Post-bop and post-50s-bop are hallmarks delineating when major innovators died, but it's safe to put all bop after Parker's rise in the 40s under this phrase. Whew! Hope this helps. I feel like I'm trying to write history of jazz and this isn't really the best of places. I'll try and post some reommendations. Maybe that's the best way. [Edited 10/12/05 19:12pm] Gotcha! Thanks for the read and thanks for the "bob" notice! | |
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Get this obscure masterpiece:
As you can read on the cover, she's being backed up by the SAVAGE due Charles Mingus & Max Roach. Its beyond me how Ms.Scott never got the proper credit she truely deserves. Ya'll will enjoy this, I'm sure | |
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Harlepolis said: Get this obscure masterpiece:
As you can read on the cover, she's being backed up by the SAVAGE due Charles Mingus & Max Roach. Its beyond me how Ms.Scott never got the proper credit she truely deserves. Ya'll will enjoy this, I'm sure I bought this about six months ago on your recommendation, and I love it! | |
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PFunkjazz said: For the record, Silver and Blakey both grew to prominence in the bop period, preceding Parker's death, but when they united to form the Jazz Messengers (by adding horns) that was later in the 50s. [Edited 10/12/05 17:08pm] That all is indeed bible truth. Good night, sweet Prince | 7 June 1958 - 21 April 2016
Props will be withheld until the showing and proving has commenced. -- Aaron McGruder | |
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Clifford Brown / Max Roach...
...At Basin Street tA Tribal Disorder http://www.soundclick.com...dID=182431 "Ya see, we're not interested in what you know...but what you are willing to learn. C'mon y'all." | |
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listen to the cowboy beebop o.s.t. it has..most bost bop related..stuff. | |
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theAudience said: Clifford Brown / Max Roach...
...At Basin Street tA Tribal Disorder http://www.soundclick.com...dID=182431 I was waiting for your input! | |
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RipHer2Shreds said: theAudience said: Clifford Brown / Max Roach...
...At Basin Street tA Tribal Disorder http://www.soundclick.com...dID=182431 I was waiting for your input! Thanks. By the time I saw this, I had to think about what to suggest based on what had already been listed. Then I remembered this goody from my Dad's collection. tA Tribal Disorder http://www.soundclick.com...dID=182431 "Ya see, we're not interested in what you know...but what you are willing to learn. C'mon y'all." | |
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