Bop

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Bop, or be-bop in its full name, was a young jazz man's answer to the more conservative prevailingly swing music of the time. Developed in New York City during the early 40s, bop hit the international scene in 1945 and took everyone by surprise with its energetic and radical approach to swing jazz music. In the hands of innovators such as Dizzy Gillespie, Charlie Parker and Bud Powell, the old swing music was given much faster tempos and more spare accompaniments from the rhythm section which opened up space for rapid fire pyrotechnical solos. Still a favorite genre in jazz music schools around the world, many clubs still feature be-bop to this day, but today's bop sounds tamer and calmer than the original item.

bop top albums

Showing only albums and live's | Based on members ratings & JMA custom algorithm | 24 hours caching

THELONIOUS MONK Monk's Music Album Cover Monk's Music
THELONIOUS MONK
4.81 | 14 ratings
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CHARLIE PARKER Bird And Diz (aka The Genius Of Charlie Parker #4 aka Une Rencontre Historique) Album Cover Bird And Diz (aka The Genius Of Charlie Parker #4 aka Une Rencontre Historique)
CHARLIE PARKER
4.92 | 5 ratings
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THELONIOUS MONK Misterioso Album Cover Misterioso
THELONIOUS MONK
4.94 | 4 ratings
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SONNY STITT Constellation Album Cover Constellation
SONNY STITT
5.00 | 3 ratings
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THELONIOUS MONK Monk's Dream Album Cover Monk's Dream
THELONIOUS MONK
4.65 | 13 ratings
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ARTURO SANDOVAL Swingin' Album Cover Swingin'
ARTURO SANDOVAL
5.00 | 2 ratings
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SONNY STITT Tune-Up! Album Cover Tune-Up!
SONNY STITT
5.00 | 2 ratings
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BEN WEBSTER The Consummate Artistry of Ben Webster (aka King Of The Tenors) Album Cover The Consummate Artistry of Ben Webster (aka King Of The Tenors)
BEN WEBSTER
5.00 | 2 ratings
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THELONIOUS MONK Genius of Modern Music Album Cover Genius of Modern Music
THELONIOUS MONK
4.84 | 3 ratings
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CLIFFORD BROWN Memorial Album Cover Memorial
CLIFFORD BROWN
4.83 | 3 ratings
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THELONIOUS MONK With John Coltrane at Carnegie Hall Album Cover With John Coltrane at Carnegie Hall
THELONIOUS MONK
4.64 | 7 ratings
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THELONIOUS MONK Criss Cross Album Cover Criss Cross
THELONIOUS MONK
4.62 | 8 ratings
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This list is in progress since the site is new. We invite all logged in members to use the "quick rating" widget (stars bellow album covers) or post full reviews to increase the weight of your rating in the global average value (see FAQ for more details). Enjoy JMA!

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Hoboken, NJ 1980
Live album
BARNEY KESSEL
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Mønk
Live album
THELONIOUS MONK
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Live In Vegas
Live album
JOE PASS
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Beat
Album
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Undertones
Album
AL MUIRHEAD
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The Prestige Albums
Boxset / Compilation
MILES DAVIS
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Nightconcert
Live album
ERROLL GARNER
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Valentine’s Day 1964 Live
Live album
BEN WEBSTER
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The Classic Albums Collection 1954-1964
Boxset / Compilation
ROY HAYNES
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Live at the Jazz Mill 1954 - Vol 2
Live album
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Complete Last Recordings
Boxset / Compilation
THELONIOUS MONK
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Buvette Club,Rock Island February 1953
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bop Music Reviews

THELONIOUS MONK Thelonious Monk / Sonny Rollins (aka Work aka The Genius Of Thelonious Monk)

Split · 1956 · Bop
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js
“Thelonious Monk/Sonny Rollins” is one of those thrown together affairs pulled from three different sessions, in fact Rollins does not even appear on every track. Such records are often unsatisfactory, but this one is different as it presents a very coherent musical vision. Some ‘experts’ call this an EP, while others call it an LP. The truth is, with about 18 minutes on the first side and 16 on the back, it falls sort of in between, but possibly closer to an LP. The first recording session for this record took place in November 1953 and featured the Thelonious Monk Quintet, of which Rollins was a member. The second session was in September ‘54 and featured Monk’s trio sans Rollins of course. The last session was in October ‘54 and featured the Rollins’ quartet, of which Monk was the pianist. The track order on this record mixes these sessions up in a way that makes total sense and adds to the feeling of a congruous record.

The playing on here is brilliant, Monk’s career was nearing a peak and he sounds relaxed and happy, far different from the inconsistent performances that came much later in his career. Rollins is also in fine form, supplying endless melodic variations over Monk’s more blunt and percussive accompaniment. The Monk trio cuts feature Art Blakey on drums, whose short solos are inventive displays of metric trickery and phrase manipulation that is a perfect compliment to Monk’s approach to music. The choice of tunes on here is also good. Side one opens with Rollins joyfully flying over two well known upbeat standards, and closes with the Monk trio playing a lesser known Monk original, “Work”, that is quite abstract compared to the two openers. Side two opens with Monk’s trio playing “Nutty”, a piece that appears on many Monk recordings, and closes with his quintet playing another odd Monk favorite, “Friday the 13th”, on which Rollins shows he can easily handle Monk’s peculiar musical creations. This may not be the top record that Monk put out, but it holds up well against many of his best.

DIZZY GILLESPIE Diz And Getz

Boxset / Compilation · 1955 · Bop
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“Diz and Getz” is a re-issue that combines two previous albums, “The Dizzy Gillespie and Stan Getz Sextet” and “More of the Dizzy Gillespie and Stan Getz Sextet”. “The Dizzy Gillespie-Stan Getz Sextet” may not seem like a particularly imaginative album title, but when that album came out in the early 50s, grouping those two artists together was all it took to grab people’s attention in anticipation of what they may come up with. In those days, Dizzy was the master of east coast high energy be-bop, while Getz was the king of west coast cool, this may have seemed like an unlikely pairing at first, but when they recorded together, they meshed and pushed each other to come up with a sum that was even greater than its talented parts. Adding to the attention grabbing aspects of the record, the backup band is an all-star one with Max Roach on drums, Oscar Peterson on piano, Ray Brown on bass, and Herb Ellis on guitar.

“Diz and Getz” opens on fire as they take on a high speed bopped out version of Ellington’s “It don’t Mean a Thing…”, Getz shows he can hang with some of the best high speed soloists of the time as his fiery solo is sandwiched in between Dizzy and Oscar’s euphoric rides. This number is followed by the recognizable melody of Ellington’s “I Let a Song Go Out of My Heart”, which finds the band in a more relaxed mode. This swing groove will also carry over to the following track, “Exactly Like You”. On both of these numbers Dizzy often plays in a softer mode, possibly a nod to Stan’s west coast sensibilities. Throughout the entire record, Stan and Diz engage in creative interplay, often both will state a melody at the same time, in their own style, which then comes together in unexpected ways. Max Roach’s interesting and unorthodox approach to the drums also adds to that element of surprise. The first side of “Diz and Getz” closes with the ballad, “Talk of the Town”, on which Getz’s main talent shows through. At this time he was already becoming known as one of the smoothest ballad players since Lester Young, who happened to be his main influence.

Side two of “Diz and Getz” opens with a high speed blues-bop jam that builds in intensity as the solos are passed from Oscar to Herb, then Stan and finally Dizzy. When Gillespie hits his ride, Herb Ellis’ loud ferocious comping pushes Dizzy to new heights in a wonderfully chaotic buildup. This track is followed by a mellow blues original by Dizzy which he recorded with a different lineup from the all-star cast that makes up the rest of this album. This doesn’t mean there is a drop off in the quality of the playing though, Oscar Peterson may be a technically brilliant player, but Wade Legge’s more lyrical approach may be more interesting. The third cut, “Girl of my Dreams”, continues with the mellow vibe, this time with the all-star support group back on board. The final two cuts are two different versions of “Siboney”, first played as an up-tempo bop number, and secondly, in a Latin jazz style. These final two tracks are possibly the highlight of the album as Stan and Dizzy both turn in inspired solos. Its also interesting to note that Stan and Diz will continue their interest in Latin jazz, with Diz going in an Afro-Cuban direction, while Stan will pursue the Bossa-Nova fad.

DIZZY GILLESPIE Dizzy Gillespie - Stan Getz Sextet : More Of The Diz And Getz Sextet

Album · 1954 · Bop
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The late 1953 recording session that brought us “The Dizzy Gillespie-Stan Getz Sextet” yielded enough top notch material that the folks at Verve quickly followed that one with “More of the Diz and Getz Sextet”, which was made up of four more tracks from that initial recording session, plus one newer track that Dizzy recorded with a different band. The quality of the tracks on “More of Diz and Getz” is fairly comparable to the first album, if they are slightly lesser tracks, it isn’t by much.

This album opens with a high speed blues-bop jam that builds in intensity as the solos are passed from Oscar to Herb, then Stan and finally Dizzy. When Gillespie hits his ride, Herb Ellis’ loud ferocious comping pushes Dizzy to new heights in a wonderfully chaotic buildup. This track is followed by a mellow blues original by Dizzy which he recorded with a different lineup from the all-star cast that makes up the rest of this album. This doesn’t mean there is a drop off in the quality of the playing though, Oscar Peterson may be a technically brilliant player, but Wade Legge’s more lyrical approach may be more interesting. The third cut, “Girl of my Dreams”, continues with the mellow vibe, this time with the all-star support group back on board. The final two cuts are two different versions of “Siboney”, first played as an up-tempo bop number, and secondly, in a Latin jazz style. These final two tracks are probably the highlight of the album as Stan and Dizzy both turn in inspired solos. Its also interesting to note that Stan and Diz will continue their interest in Latin jazz, with Diz going in an Afro-Cuban direction, while Stan will pursue the Bossa-Nova fad.

In later years, these two different albums of material by this sextet will be combined into one album under various re-issue titles. Whatever the title, any of these albums are highly recommended for fans of high quality be-bop.

DIZZY GILLESPIE The Dizzy Gillespie - Stan Getz Sextet

Album · 1954 · Bop
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js
“The Dizzy Gillespie-Stan Getz Sextet” may not seem like a particularly imaginative album title, but when this album came out in the early 50s, grouping those two artists together was all it took to grab people’s attention in anticipation of what they may come up with. In those days, Dizzy was the master of east coast high energy be-bop, while Getz was the king of west coast cool, this may have seemed like an unlikely pairing at first, but when they recorded together, they meshed and pushed each other to come up with a sum that was even greater than its talented parts. Adding to the attention grabbing aspects of this record, the backup band is an all-star one with Max Roach on drums, Oscar Peterson on piano, Ray Brown on bass, and Herb Ellis on guitar.

The album opens on fire as they take on a high speed bopped out version of Ellington’s “It don’t Mean a Thing…”, Getz shows he can hang with some of the best high speed soloists of the time as his fiery solo is sandwiched in between Dizzy and Oscar’s euphoric rides. This number is followed by the recognizable melody of Ellington’s “I Let a Song Go Out of My Heart”, which finds the band in a more relaxed mode. This swing groove will also carry over to the following track, “Exactly Like You”. On both of these numbers Dizzy often plays in a softer mode, possibly a nod to Stan’s west coast sensibilities. Throughout the entire record, Stan and Diz engage in creative interplay, often both will state a melody at the same time in their own style which then comes together in unexpected ways. Max Roach’s interesting and unorthodox approach to the drums also adds to that element of surprise. The album closes with the ballad, “Talk of the Town”, on which Getz’s main talent shows through as he was already becoming known as one of the smoothest ballad players since Lester Young.

This is an ‘album’ from the early days, which means a 10” record and about twenty minutes of music. In later years, this record, plus other material that was recorded that day, will come out on various LPs, often with tiles such as “Diz and Getz”. This session features some of the best jazz musicians of all time in a one time only get together, and they don’t disappoint as they work together as if they had been together a long time. Its the relaxed and creative musical conversation that takes place among the participants that puts this album on the 'genius' level.

ILLINOIS JACQUET Illinois Jacquet (aka Banned In Boston)

Album · 1963 · Bop
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Illinois Jacquet may no longer be a household name, but in the 40s and 50s he was considered one of the top saxophonists of the early bop, and later swing eras. His sound was often purposefully brusque and rough with a tendency toward piercing extreme’s in register that foreshadowed the strong over the top approach of 60s free jazzers like Albert Alyer and Archie Shepp. When 1963 rolled around, bop was becoming somewhat of an anachronism, in fact Illinois spent the first part of the year with a foray into the new soul jazz sound, but when he cut the self-titled “Illinois Jacquet” for Epic later in 63, it was for playing classic be-bop with some influences from the new hard bop sound and crowd pleasing jump blues. This record may have been somewhat out of step with 63, but removed from its time period, it now sounds like another classic bop record recorded by the originators of the sound who knew how to play it right. Like most musical genres, from country to punk, be-bop sounds best when played by those who made it up, modern players just don’t capture that enthusiastic, somewhat flippant and informed sly attitude that gives the music its main appeal.

“Illinois Jacquet” (later titled “Banned in Boston”) opens with the jump blues of “Frantic Fanny”, and then proceeds through a variety that includes bluesy swing grooves, ballads and some up-tempo be-bop fire. The ballads range from the lovely “Stella by Starlight”, to the borderline corniness of “Imagination”, but possibly the top ballad number is Jacquet’s direct and understated reading of Ravel’s “Reverie”, one of the finest versions of this popular classic that you will find. Of the be-bop numbers, nothing tops the high energy of “Indiana (Back Home Again)”, once again played by folks who know how to play this right, making this album less of an anachronism in today’s world, but more of an important time capsule. This album does not contain some of the more exuberant and fierce playing of Jacquet’s early career, but its still a good solid bop recording, albeit recorded in 1963.

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