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
JOHN COLTRANE
4.74 | 69 ratings
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JOHN COLTRANE Live at Birdland Album Cover Live at Birdland
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4.82 | 18 ratings
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WES MONTGOMERY The Incredible Jazz Guitar of Wes Montgomery Album Cover The Incredible Jazz Guitar of Wes Montgomery
WES MONTGOMERY
4.85 | 13 ratings
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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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4.88 | 9 ratings
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LEE MORGAN
4.88 | 8 ratings
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DEXTER GORDON
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CHARLES MINGUS Mingus Mingus Mingus Mingus Mingus Album Cover Mingus Mingus Mingus Mingus Mingus
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4.63 | 22 ratings
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hard bop Music Reviews

DAVID HAZELTINE Blues For Gerry

Album · 2023 · Hard Bop
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Carmel
With the hutzpa of a brilliant polychord on a perfectly tuned Steinway and the elegance of a gently whispered standard melody, David Hazeltine steps back into the limelight with his latest gem, "Blues for Gerry." This album is a creative journey and a nostalgic trip down the Criss Cross memory lane, marking Hazeltine's first venture as a leader with the label in over a decade. The spirit of Gerry Teekens, Criss Cross' original founder, resonates in each measure, subtly tracing the evocative, rhythmic undertones this album delivers.

This compelling set of music, recorded in a whirlwind six-hour session, brings together the genius of modern jazz luminaries - Peter Washington and Joe Farnsworth - conjuring a magnetic synergy throughout the album. It's like savoring a rich blend of vintage wine, each track bearing its unique flavor yet still reflecting the distinct Criss Cross signature. By revisiting the essential "blues" that Gerry Sr. loved so dearly, Hazeltine crafts an intimate tribute that is as much about the past as it is about the future of jazz. So, sit back, tune in, and let the vibrant echoes of Hazeltine's piano, Washington's double bass, and Farnsworth's drums serenade your senses. Class is in session, folks - and the subject is "Blues for Gerry."

"Here Again," a dynamic Hazeltine opener that quenches your thirst for swing with the trio's elastic execution, is a track that serves as a tone-setting beacon, priming your ears for the sonic discoveries that lie ahead.

Hazeltine's interpretation of "Tangerine" is an instant stand-out, his masterful arrangement infusing the standard with an irresistible Latin flair. His chord voicings here are a veritable work of beauty, expertly sprinkled across the canvas of the rhythm section, painting a vibrant, pulsating picture.

The eponymous "Blues for Gerry" and "Firm Roots" dial the swing-o-meter back up, featuring a rich tempo spectrum that offers a delightful dance between the medium and the up-tempo. Again, Washington and Farnsworth prove themselves a formidable swing machine, supplying a steady, infectious rhythm that Hazeltine adorns with his polished lines and syncopation.

Midway through the album, we traverse the familiar terrain of "Body and Soul," "It Could Happen to You," and "Skylark," standards that have been visited and revisited countless times in jazz history. However, the trio breathes fresh life into these oft-trodden harmonic footprints. Hazeltine leads the charge, his inventive approach to harmony offering a refreshing outlook that frames these standards in an entirely new light. It's like revisiting a beloved book, only to discover that new chapters have been added. These performances are the album's heart, marking a memorable juncture in this real jazz musical journey.

As we round off this melodious journey through "Blues for Gerry," it becomes increasingly clear that Hazeltine has, once again, penned a radiant chapter in the narrative of jazz. This album doesn't just pay homage to the genre's roots and points towards its promising future. The potent collaboration with Washington and Farnsworth has given rise to a body of work that dances deftly on the delicate edge of tradition and innovation.

Suppose there's one truth to be gleaned from Hazeltine's latest opus. In that case, it's the reaffirmation of the pianist's exceptional ability to fuse swing, harmonic complexity, and emotional authenticity in a single, seamless, musical breath. In a world that can sometimes feel devoid of swing, "Blues for Gerry" offers a much-needed swing infusion, a record that makes you tap your foot, nod your head, and let the blues sway your spirit. Class is dismissed, but the music continues.

RODNEY WHITAKER Oasis : Music Of Gregg Hill

Album · 2022 · Hard Bop
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Carmel
Rodney Whitaker's "Oasis: The Music of Gregg Hill," a musical canvas colored with bold strokes of intellect, sentiment, and compositional artistry. Whitaker, a beacon of jazz education and an accomplished double bassist, presents us with an inspired interpretation of Hill's compositions, offering listeners an intimate look into the heart and soul of the genre.

Whitaker, a distinguished professor, and director of jazz studies at the Michigan State University College of Music, has solidified his standing as a vanguard in the jazz world. His remarkable journey, from playing with the Lincoln Center Jazz Orchestra and the Roy Hargrove Quintet to his influential contributions as an educator, reflects the depth of his commitment to this timeless art form.

On "Oasis: The Music of Gregg Hill," Whitaker brings together a quintet of renowned jazz virtuosos – Bruce Barth on piano, Terell Stafford on trumpet, Tim Warfield on saxophone, and Dana Hall on drums – to breathe life into Hill's compositions. Each track serves as an auditory feast, boasting stellar solos, fluid textures, dynamic momentum, and an unyielding swing that resonates throughout the album. Rockelle Fortin’s vocals add a lyrical dimension to four tracks, setting the tone with the high-octane opener, "Betty's Tune."

Hill’s compositions and Whitaker's arrangements are intrinsically symbiotic, both contributing to a resounding harmony that makes "Oasis: The Music of Gregg Hill" a compelling auditory tapestry. The result is a collection of tracks that not only pay homage to the rich tradition of jazz, but also challenge and expand the genre's boundaries with their innovative approaches and rhythmic experiments.

In the auditory delight of this album, Whitaker is indeed a foundational rock, grounding the music's diverse phases and moods with his firm, rhythmic anchor. From the compelling tempo of "Puppets" and the nuanced playfulness of "The Jazzdiddy Waltz," to the soulful resonance of "Blues for Gregg," each composition comes alive under Whitaker's deft touch and his thoughtful interpretation of Hill's musical vision.

Each of the 10 compositions by Hill on this album are imbued with a distinct sense of dynamism and intrigue, leading listeners on an unpredictable, yet deeply satisfying, sonic journey. Hill's compositions, under Whitaker's interpretation, become a playground for mood swings, wherein each unexpected turn or nuanced variation presents an opportunity to delve deeper into the captivating narrative of the music.

Hill, a prolific composer who only began composing after retiring from a career far from the world of jazz, uses the classic jazz standard as his creative springboard, crafting songs that are not only engaging but also resoundingly memorable.

"Oasis: The Music of Gregg Hill" serves as a testament to Whitaker's enduring versatility and deep-rooted connection to the language of jazz. The signature of Hill's composing style lies in his ingenious manipulation of mood and his daring explorations that tells stories, explores emotions, and invites listeners to step into the vibrant world of jazz.

ANTHONY E NELSON JR Swinging Sunset

Album · 2023 · Hard Bop
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js
Anthony E. Nelson Jr. is a powerhouse tenor sax player who usually records contemporary hard bop with a gospel influence. On his latest album, “Swinging Sunset”, he delves into the music of his youth and pays tribute to the classic Hammond B3 trios on the east coast in the 50s and 60s. B3 jazz has been making a big comeback lately, often with contemporary RnB and funk influences, but for this very special outing, Nelson and his crew purposefully leave out anything modern sounding and go for that classic retro sound that used to be popular in lounges in Harlem and big cities in nearby New Jersey. The Hammond trio is very much an urban east coast thing as it never really caught on with west coast bands who were more into bongos, flutes, French horns and the occasional sitar. Classic B3 jazz is very much a no-nonsense blue collar thing that was made for people who wanted to party, not just sit and listen.

The 50s-60s tenor players were channeling the old swing players like Coleman Hawkins with a more melodic approach than the bebop and post bop players, although the bop influence is often there too. For this album, Nelson’s main inspiration is the very soulful and bluesy Gene Ammons, one of the kings of classic tenor playing in a B3 trio setting. Anthony’s band mates on here include organist Kyle Koehler who does a great job of using the sounds and organ stops of that era and drummer Cecil Brooks III, who usually plays with the more ‘outside’ crowd, but keeps it straight with the retro style for this one.

“Swinging Sunset” has a nice balance of tunes ranging from ballads, to mid-tempo blues and a couple blazing fast boppers too. One highlight is a high speed reading of Johnny Griffin’s oddly titled, “Mildew”. Stanley Turpentine’s “Minor Chant” has an unstoppable soul jazz groove and Nelson displays his gospel roots with a bluesy reading of the traditional, “Walk With Me”. One extra feature of this album is Anthony’s very thoughtful liner notes in which he goes into great detail about all the great tenor players he heard at the clubs when he was young. He includes a very long list of great musicians who you may have never heard of before, but who were all great players all the same. Its nice that someone has taken the time to preserve their legacy.

One salient statement from Nelson’s notes that stands out as he describes the nature of this music is, “Groove was never sacrificed for complexity, yet was proven by means of every foot tapping head bopping to standing and seated dancing.”

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.

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