Hard Bop

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Cool jazz's reign as the prevalent jazz style after bop's demise was short lived as many jazz players, especially on the east coast, wanted to return to a style of jazz that had a little more grit and aggression. Hard bop was a return to some of the ascetics of bop, but also offered some new differences. Hard bop brought back the faster tempos of the bop era, but in hard bop the harmonic changes did not come in such rapid fire succession and musicians found themselves stretching out on longer modal style solos. The new emphasis on albums rather than singles also led to longer songs. Hard bop players also began to bring more influences from the church, blues and RnB into jazz which foreshadowed the coming of soul jazz. Despite an influx of avant-garde jazz in the 60s, hard bop remained the prevalent jazz style until the emergence of fusion in the late 60s. Hard bop has enjoyed many revivals over the years and remains one of the most enduring and popular styles in jazz. Miles Davis is considered an early innovator in the field of hard bop, but Art Blakey and the many musicians who played in his Jazz Messengers are considered to be the epitome of the style.

hard bop top albums

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JOHN COLTRANE Blue Train Album Cover Blue Train
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4.74 | 69 ratings
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WES MONTGOMERY The Incredible Jazz Guitar of Wes Montgomery Album Cover The Incredible Jazz Guitar of Wes Montgomery
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MILES DAVIS 'Round About Midnight (aka Miles Davis) Album Cover 'Round About Midnight (aka Miles Davis)
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4.72 | 45 ratings
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HORACE SILVER Horace Silver And The Jazz Messengers Album Cover Horace Silver And The Jazz Messengers
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LEE MORGAN City Lights Album Cover City Lights
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CHARLES MINGUS Mingus Mingus Mingus Mingus Mingus Album Cover Mingus Mingus Mingus Mingus Mingus
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hard bop Music Reviews

SONNY ROLLINS Plus 4 (aka 3 Giants!)

Album · 1956 · Hard Bop
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Mssr_Renard
Sonny Rollins Plus 4 is essentially the Clifford Brown - Max Roach Quintet, but with Sonny Rollins, who replaced Harold Land.

The reason why this album is released under the name Sonny Rollins, is because he is the leader on this album, also supplying two original compositions, in addition to three standards.

This albums is also the last album to feature Brown and pianist Richie Powell, as they both die in a carcrash, later that year.

On a side-note, there is also a album under the name Max Roach Plus 4, but that album was recorded after the death of both Brown and Powell, and features both Rollins and bassist George Morrow. Trumpeteer Kenny Dorham, and pianists Ray Bryant and Bill Wallace replace Brown and Powell.

On this Rollins plus Four, you hear the original Brown/Roach Quintet as it also featured on the marvelous live album On Basin Street (recorded january, februari 1956). This album was recorded in march.

The quality of playing is high, as the band is very tight, maybe the tightest rhythmsection (Roach, Morrow, Powell) imaginable, and the solo's of Rollins and Brown are great. They are both on fire and their phrasing and delivery fit very well.

Most songs are mid- and uptempo, really delivering a punch. This album is an essential hard-bop album and also is an important historical document, because it is the last (studio)album with Brown and Powell.

ART BLAKEY Impulse!!!!! Art Blakey!!!!! Jazz Messengers!!!!!

Album · 1961 · Hard Bop
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Mssr_Renard
This line-up of The Jazz Messengers (Blakey, Fuller, Morgan, Shorter, Timmons, Merritt) is a very special line-up. It is the first line-up as a sextet, adding master-trombonist Fuller to the line-up. It will also be the last one with Bobby Timmons, who will be replaced by Cedar Walton on the next albums.

Fuller not only shows his soulful trombone-playing but also writes the first composition on this record, showing how good a composer he actually is.

The weirdest thing about this album, is that the only original is said composition by Fuller. All the others (who are excellent composers) have not contributed. All the other five compositions are standards.

But the band really know how to play these standards, with that special Jazz Messengers-sound. They all sound nothing like we've heard before. I must say that this is the most beautiful version of Invitation I have heard uptil now.

The playing on this album is more than excellent. The album is full force Hard Bop wich is kind of odd, as it is released on Impulse!. One would expect a more out-there album, but on the other hand, what would you expect of a Jazz Messengers album.

An unique album in the history of hardbop as it pairs Fuller and Timmons, who both have a very soulful and bluesy approach.

The solo's of Morgan and Shorter are also of very high standard and the whole album sounds warm and cosy. This is really an underrated and lesser known Jazz-Messengers album, but I can sure recommend it to anyone.

YUSEF LATEEF The Golden Flute

Album · 1966 · Hard Bop
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Mssr_Renard
Like the other Impulses this is not Lateefs best work. But still it is of high standard. Lateef is not only a gifted saxophone-player but also one of the best jazz-flautists I know.

On this album most songs are straight forward hardbop with saxophone and rhythmsection, but there are some surprises, like the playful 'Exactly Like You' with some upbeat oboe-playing. An uplifting song, and if the oboe is not your instrument, I can understand, but I really enjoy the oboe in jazz.

The absolute high-point of this album is the titletrack, a wonderful and adventurous composition with some excellent interplay in the rhythmsection. The fluteplaying here is really beautiful as is the cymbalwork and the mallet-played tomtoms by Roy Brooks jr. The compositions is very mysterious and has an middle-eastern flavour. Not only a highpoint of this album, but a highpoint in jazz-flute-history.

I can understand that the Impulse!-albums of Lateef to some are a bit of disappointment. But on the other hand, the playing is magnificent and the production is really good. In fact the Impulses of Lateef are great hard/post bop albums with some excellent suprises. They are not freejazz, avant garde or out-there or the new thing, but enjoyable nevertheless.

GEORGE COLEMAN The George Coleman Quintet In Baltimore

Live album · 2020 · Hard Bop
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Steve Wyzard
BLISTERING!

For all of those who may not yet be convinced that George Coleman belongs on any short list of the All-Time Great tenor sax players, may I kindly refer you to this recently re-discovered recording? Yes, this is another "lost" concert tape that is now available for wider distribution among those of us who were far too young to be there or to know what was going on at the time. And based on this performance, we missed out on a lot because the evidence can now be provided that those in actual attendance must have been floored.

Recorded on May 23, 1971 at Baltimore's Famous Ballroom, this set (5 songs, 46:56) has very few source tape issues and definitely sounds much better than the majority of the "recently unearthed" concerts that have flooded the marketplace over the last 10 years. There are almost no "dropouts", and the band is mic'd in such a way that no one is heard wandering off into the next room. From the band I was only previously familiar with Coleman and pianist Albert Dailey, but Danny Moore (trumpet), Larry Ridley (bass), and Harold White (drums) are all exemplary performers and are given much space for soloing.

And what of Mr. Coleman himself? After taking John Lewis's "Afternoon in Paris" as a warm-up, his ferocious solo in Clifford Brown's "Sandu" has to be heard to be believed. Then there's his utter explosion at the end of an unrecognizably breakneck "I Got Rhythm". The band slow down ever so slightly for "Body and Soul". Moore sits out while Coleman runs the gamut for almost 7 minutes. This set closes with another Clifford Brown composition, "Joy Spring", also taken at a blistering tempo with an amazing sax/drums duo.

Let it be said right here that George Coleman should be far better known than he is, and this album (while it's still available) is all the ammunition needed to emphasize the point. And while he's always remembered for his times with Max Roach and Miles Davis, and for appearing on Herbie Hancock's Maiden Voyage, his career since than has been one of a much lower profile, but not one of much lesser accomplishments. Here's hoping the George Coleman Quintet In Baltimore album is the first step toward changing the consensus of marginalization.

LARRY YOUNG Into Somethin'

Album · 1964 · Hard Bop
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Mssr_Renard
I initially gave this album 3,5* but am inclined to give it a 4*-rating and I want to explain why.

At first I thought this album was rather tame, and because I like blues and hard rock, I was used to growling Hammonds (Uriah Heep for instance). I already was familiar with jazz-organ through Soulive, but found that band a bit on the tame side aswell.

But I was fooled. Although the guitar and hammond are clean (no effects) they are not tame. The quartet featured here know how to swing and play a tight and infectious groove. Of course if you have Evin Jones, here the sole rhythmsection, you know you've got a groove going on.

The three soloists (Young, Green and Rivers) are from different worlds but here they play the blues. Four compositions by Young and one composition by Green. Green's Plaza de Toros is in my opinion the best composition on this record, and the organ-solo seems to go on forever, wich is great, because I cannot get enough of this song.

Although Green, Young and Rivers play very well and have outstanding solos the most prominent player here must be Elvin. His cymbal work is simply marvelous. The bell on this ride-cymbal is what makes this album so addictive.

I have no idea if this line-up is featured on any other record (I'll have to look into it), but this quartet is one-of-a-kind and to my recollection only Soulive (with Sam Kininger on saxophone) have done something similar.

Now I have the task to dig more deep into Young's discography and while at it, I can dig deeper into Green's discography aswell.

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