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That Jazz - Monkey Max Music and File Download

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134<br />

Part II: <strong>Jazz</strong> Greats <strong>and</strong> Great <strong>Jazz</strong>: An Evolutionary Riff<br />

Some of Moody’s early bop solos can be heard on the 1948 album Dizzy<br />

Gillespie <strong>and</strong> His Big B<strong>and</strong> (GNP). Among Moody’s own albums, look for Hi-Fi<br />

Party (Original <strong>Jazz</strong> Classics), Last Train from Overbrook (Argo), Never Again<br />

(Muse), Young at Heart (WEA/Warner), <strong>and</strong> Moody Plays Mancini (WEA/Warner).<br />

Moody’s 2004 CD Homage (Savoy <strong>Jazz</strong>) proves that he’s one of jazz’s survivors.<br />

Sonny Rollins<br />

On tenor saxophone, Rollins, who cites Coleman Hawkins as a primary influence<br />

(check out Chapter 6 for details on Hawkins), played some of the most<br />

vital hard bop of the 1950s <strong>and</strong> 1960s.<br />

Rollins’ method of improvisation included a “thematic” approach, wherein he<br />

took pieces of a song’s melody <strong>and</strong> cycled them through several variations.<br />

As of 2006, Rollins (born 1930) is one of the last living legends from the bebop<br />

<strong>and</strong> hard bop eras. Take a listen to his CDs Saxophone Colossus (OJC), Tenor<br />

Madness (OJC), <strong>and</strong> Way Out West (OJC).<br />

Horace Silver<br />

Horace Silver (born 1928) co-founded the <strong>Jazz</strong> Messengers, the leading hard<br />

bop b<strong>and</strong>, with drummer Art Blakey.<br />

He was a central figure in hard bop, playing in a bluesy style driven by rhythmic<br />

left-h<strong>and</strong> chord patterns <strong>and</strong> lyrical right-h<strong>and</strong> improvisations. He is also<br />

a prolific arranger/composer <strong>and</strong> was among the first jazz players to bring<br />

soul <strong>and</strong> funk flavors into the music.<br />

Los Angeles <strong>and</strong> West Coast cool<br />

<strong>Jazz</strong> recording <strong>and</strong> publishing have been based mostly in New York City (<strong>and</strong>,<br />

to a lesser extent, Chicago) since the 1930s <strong>and</strong> ’40s, with the West Coast<br />

viewed as a smaller, secondary scene. In fact, Los Angeles has a rich history<br />

of hosting jazz <strong>and</strong> jazz musicians, dating back to visits by Jelly Roll Morton,<br />

King Oliver, <strong>and</strong> Kid Ory during jazz’s formative years (see Chapter 5 for<br />

details on these musicians).<br />

In the 1940s <strong>and</strong> ’50s, Los Angeles had a vibrant jazz scene along Central<br />

Avenue <strong>and</strong> in other neighborhoods. The scene included black hard bop<br />

clubs like Billy Berg’s, the Finale, <strong>and</strong> Shepp’s Playhouse — all places where<br />

Charlie Parker <strong>and</strong> other East Coast greats performed, as well as locals like<br />

Sonny Criss, Teddy Edwards, Dexter Gordon, Wardell Gray, <strong>and</strong> Frank<br />

Morgan.

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