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That Jazz - Monkey Max Music and File Download

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Chapter 7: Bebop to Cool: The 1940s <strong>and</strong> 1950s<br />

included players from outside New York City, especially from Detroit <strong>and</strong><br />

Philadelphia.<br />

Hard bop isn’t as fast or frantic as bebop. It had a dark, gritty aura that<br />

seemed to suit New York in the 1950s. Hard bop is distinguished by a few key<br />

characteristics:<br />

� Intense, swinging momentum rooted in gospel <strong>and</strong> blues, at slower<br />

tempos than bebop.<br />

� New compositions that were more elaborate <strong>and</strong> technically dem<strong>and</strong>ing<br />

(in terms of group precision) than bebop.<br />

� Intuitive, subtle interplay between players in b<strong>and</strong>s where the group<br />

dynamic was as important as the solos.<br />

Like bebop, hard bop was distinguished by its soloists’ distinctive voices.<br />

Here are some of the many players who made important contributions.<br />

Cannonball Adderley<br />

A physical <strong>and</strong> creative giant of hard bop, alto saxophonist Adderley<br />

(1928–1975) produced a long line of solid recordings during the 1950s <strong>and</strong><br />

’60s. Adderley improvised not only with speed <strong>and</strong> unpredictability, but also<br />

with a sweet tone <strong>and</strong> a melodic approach. A milestone in Adderley’s career<br />

came when he joined the Miles Davis All Star Sextet in the late 1950s, where<br />

Adderley’s alto saxophone played counterpoint to John Coltrane’s tenor on<br />

Davis’s famous Kind of Blue album.<br />

The following Cannonball CDs are a few of my favorites:<br />

� Cannonball Adderley Quintet in Chicago with John Coltrane<br />

(Polygram): Two great saxophonists team up for a stirring session.<br />

� Cannonball Adderley Quintet in San Francisco (Riverside): A great<br />

live recording with Cannonball’s brother Nat on trumpet.<br />

� Cannonball’s Bossa Nova (Blue Note): The saxophonist’s take on the<br />

Brazilian craze that swept America during the early 1960s.<br />

Art Blakey<br />

Art Blakey (1919–1990) was one of the first drummers to tune his drums so<br />

that his playing made a melodic contribution. Blakey shifted from bass drum<br />

up to snare <strong>and</strong> cymbals, providing a looser, more fluid sound.<br />

In the 1940s, Blakey played with Charlie Parker <strong>and</strong> other beboppers, but in<br />

the 1950s he became the most prolific b<strong>and</strong>leader of the hard bop era.<br />

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