Exact topic I'm uninformed on.

CinisterCee said:

Then it will be for me, and you and everyone we know that is uninformed

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]

2 of the best . . .



Art Blakey -- Moanin'




John Coltrane -- Giant Steps


More to follow.

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.

PFunkjazz said:

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.

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?

RipHer2Shreds said:

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]

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

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]

Clifford Brown / Max Roach...



...At Basin Street


tA

Tribal Disorder

http://www.soundclick.com...dID=182431

theAudience said:

I was waiting for your input!