Hard Bop, Funky, Gospel Jazz Chapter 11 Hard Bop, Funky, Gospel Jazz

Originally referred to as “Funky Hard Bop Regression” Funky refers to rollicking rhythmic feeling Sometimes referred to as soul Associated with African American church music Hard refers to a more driving performance Bop regression implies a return to the elements of bop African Americans sought a link with their roots © 2009 McGraw-Hill All Rights Reserved

Intent A reaction to the intellectualism of cool Hard bop was a lively, emotional contrast Adopted American oral idioms found in gospel and blues Geographically pointed to New York Refer to Demonstration 8 © 2009 McGraw-Hill All Rights Reserved

© 2009 McGraw-Hill All Rights Reserved The Music Borrowed and simulated blues and gospel by use of blue tones and ambiguous tonality Loose styled tunes with melodies harmonized in a manner similar to church performances Many tunes played in minor key © 2009 McGraw-Hill All Rights Reserved

© 2009 McGraw-Hill All Rights Reserved Gospel jazz An extension of the funky style Use of more triadic harmonies Definite feeling of early gospel music Use of plagal cadence (amen chords) © 2009 McGraw-Hill All Rights Reserved

Horace Silver (b. 1928) Progenitor of the funky style Founded Jazz Messengers with Art Blakey Contributed much to the jazz canon Standardized the quintet sound of the 50s and 60s Listen to “The Preacher” CD 2, track 4 © 2009 McGraw-Hill All Rights Reserved

© 2009 McGraw-Hill All Rights Reserved Art Blakey (1919-1990) At the forefront of the jazz mainstream Career lasted 40 years discovered many future jazz greats Led the Jazz Messengers Defined the aggressive, hard bop approach to drumming © 2009 McGraw-Hill All Rights Reserved

Sonny Rollins (b. 1930) Great influence beginning in the late 1950s A melodic/thematic improviser More concerned with thematic development Long evolving solos Style imitated by many younger players Listen to “Blue 7” CD 2, track 5 © 2009 McGraw-Hill All Rights Reserved

© 2009 McGraw-Hill All Rights Reserved John Coltrane (1926-1967) Universally agreed to be one of the most important saxophonists of the 20th century Short but meteoric career - 12 years First important recordings with Miles Davis 1955-60 Classic quartet with McCoy Tyner, piano; Elvin Jones, drums; Jimmy Garrison, bass 1962-65 © 2009 McGraw-Hill All Rights Reserved

© 2009 McGraw-Hill All Rights Reserved Coltrane -continued- Masterful technique Fast arpeggios referred to as “Sheets of sound” Great coordination and speed Advanced harmonic improvisation Made use of higher harmonics Reintroduced the soprano saxophone Introduced new devices Sequences, arhythmic playing © 2009 McGraw-Hill All Rights Reserved

© 2009 McGraw-Hill All Rights Reserved Coltrane’s legacy Beautiful, modern tone Harmonic manipulation Technical proficiency Comfortable in all registers of the instrument Passionate approach Important compositions © 2009 McGraw-Hill All Rights Reserved

© 2009 McGraw-Hill All Rights Reserved Charles Mingus (1922-1979) Difficult to categorize Eclectic styles Identified with funky, gospel, free Ties to swing and bop traditions Bass playing and compositions possessed a rare emotional intensity Listen to “Eclipse” CD 3 track 12 © 2009 McGraw-Hill All Rights Reserved