On The Bookshelf
Hard Bop: Jazz & Black Music 1955-1965
It’s nineteen fifty-something, in a dark, cramped, smoke-filled room. Everyone’s wearing black. And on-stage a tenor is blowing his heart out, a searching, jagged saxophone journey played out against a moody, walking bass and the swish of a drummer’s brushes. To a great many listeners–from Black aficionados of the period to a whole new group of fans today–this is the very embodiment of jazz. It is also quintessential hard bop.
In this, the first thorough study of the subject, jazz expert and enthusiast David H. Rosenthal vividly examines the roots, traditions, explorations and permutations, personalities and recordings of a climactic period in jazz history.
Beginning with hard bop’s origins as an amalgam of bebop and R&B, Rosenthal narrates the growth of a movement that embraced the heavy beat and bluesy phrasing of such popular artists as Horace Silver and Cannonball Adderley; the stark, astringent, tormented music of saxophonists Jackie McLean and Tina Brooks; the gentler, more lyrical contributions of trumpeter Art Farmer, pianists Hank Jones and Tommy Flanagan, composers Benny Golson and Gigi Gryce; and such consciously experimental and truly one-of-a-kind players and composers as Andrew Hill, Sonny Rollins, John Coltrane, Thelonious Monk, and Charles Mingus.
Hard bop welcomed all influences–whether Gospel, the blues, Latin rhythms, or Debussy and Ravel–into its astonishingly creative, hard-swinging orbit. Although its emphasis on expression and downright “badness” over technical virtuosity was unappreciated by critics, hard bop was the music of black neighborhoods and the last jazz movement to attract the most talented young black musicians.
Fortunately, records were there to catch it all. The years between 1955 and 1965 are unrivaled in jazz history for the number of milestones on vinyl. Miles Davis’s Kind of Blue, Charles Mingus’s Mingus Ah Um, Thelonious Monk’s Brilliant Corners, Horace Silver’s Further Explorations. Rosenthal gives a perceptive cut-by-cut analysis of these and other jazz masterpieces, supplying an essential discography as well. For knowledgeable jazz-lovers and novices alike, Hard Bop is a lively, multi-dimensional, much-needed examination of the artists, the milieus, and above all the sounds of one of America’s great musical epochs.
Hard Bop | Jazz & Black Music 1955~1965: 1992 | David H. Rosenthal
Oxford University Press
Daily Dose Of Jazz…
Graham Leslie Lionel Clark was born on December 16, 1959 in England. He plays the violin as his first instrument, sings and also the electric guitar. As a freelance violinist he is adept in most styles of jazz, rock, blues and pop, however, he specializes in improvisation.
He worked with Daevid Allen from 1988 to 2014, and has also worked with Andy Sheppard, Keith Tippett, Tim Richards, Phil Lee, Paz, Brian Godding, Elbow, Lamb, Bryan Glancy, Little Sparrow, Jah Wobble, Graham Massey, Louis Gordon and Liz Fletcher.
Violinist Graham Clark, who has been featured on seven albums, continues to perform and record.
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Dannie Richmond was born Charles Daniel Richmond on December 15, 1931 in New York City and grew up in Greensboro, North Carolina. He started playing tenor saxophone at the age of thirteen, and went on to play R&B with the Paul Williams band in 1955.
His career took off when he transferred his talents to the drums, which he had taught himself to play in his early twenties, through the formation of what was to be a 21-year friendship and an indispensable ingredient of the Mingus sound. Upon Mingus’ death Richmond became the first musical director of the group Mingus Dynasty in 1980.
Drummer Dannie Richmond, best known for his work with Charles Mingus, died of a heart attack in Harlem, New York on March 16, 1988, at the age of 56.
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Anna Maria Jopek was born on December 14, 1970 in Warsaw, Poland, the daughter of Mazowsze singer Stanisław Jopek, known as the First Coachman of Poland.
Representing her country in the 1997 Eurovision Song Contest with the song Ale jestem, she finished 11th out of 25 competitors. By 2002 she was collaborating on an album with jazz guitarist Pat Metheny. She has received numerous awards for her music, including Michel Legrand’s Personal Award in Vitebsk, Belarus in 1994.
Anna has sung with Polish musicians Marek Grechuta, Jeremi Przybora and Wojciech Młynarski as well as abroad with Youssu’n Dour, Bobby McFerrin, Ivan Linz, Branford Marsalis, Nigel Kennedy, Richard Bona, Oscar Castro-Neves, Makoto Ozone, Sting and Gonzalo Rubalcaba among others.
In 2015, Jopek received the Knight’s Cross Order of Polonia Restituta conferred by President Bronisław Komorowski for promoting Polish art worldwide.
Vocalist, songwriter and improviser Anna Maria Jopek, who has recorded twelve studio and two live albums as a leader, continues to pursue beyond the boundaries of her musical range.
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Daily Dose Of Jazz…
Róbert Rátonyi was born December 13, 1953 in Budapest, Hungary. At the age of six he started to learn solfeggio before turning to the piano. He later became a student of Klára Géczy Fazekas, however, following his art studies and the grammar school graduation, he attended the Bartók Béla Music Conservatory, specializing in jazz.
His style of playing is influenced by Bill Evans, Ahmad Jamal, Bob James, Kenny Barron, Andy Laverne and Herbie Hancock. Beginning in 1975 he has played together with all leading Hungarian jazz musicians in concerts and festivals at home and abroad.
Besides jazz, he is one of the most frequently engaged studio musicians. He has written and composed music for numerous films, theatre, shows and advertisements. He is also a consummate accompanist for many vocalists.
Pianist, arranger, and composer Róbert Rátonyi, known for his work in jazz and studio music, while also teaching jazz piano and electronic instruments, has been awarded the Artisjus Award and continues to perform and record.
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