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| Bop and Beyond - The Original Jazz Revolution |
VÁLOGATÁS
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első megjelenés éve: 2007
133 perc |
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| (2008)
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2 x CD |
| 3.837 Ft
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| 1. CD tartalma: |
| 1. | Don Byas: Riffin' And Jivin'
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| 2. | Dizzy Gillespie: Groovin' High
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| 3. | Dizzy Gillespie: Shaw 'Nuff
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| 4. | Charlie Parker: Koko
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| 5. | Charlie Parker: Moose The Mooche
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| 6. | Dexter Gordon: Long Tall Dexter
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| 7. | Stan Getz: Opus De Bop
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| 8. | Kenny Dorham & The Bebop Boys: Fool's Fancy
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| 9. | Sonny Stitt & The Bebop Boys: Serenade To A Square
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| 10. | Billy Eckstine: Oop Bop Sh'Bam
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| 11. | Miles Davis: Half Nelson
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| 12. | Leo Parker: Ineta
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| 13. | Fats Navarro: Be Bop Romp
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| 14. | George Shearing: Bop's Your Uncle
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| 15. | Howard McGhee: Merry Lee
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| 16. | Milt Jackson: Bruz
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| 17. | J.J. Johnson: Audobon
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| 18. | Art Pepper: Susie The Poodle
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| 19. | Duke Jordan: A Night In Tunisia
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| 20. | Red Rodney: Stella by Starlight
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| 2. CD tartalma: |
| 1. | Hank Mobley: Doug's Minor Bouk
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| 2. | Hampton Hawes: Jumpin' Jacques
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| 3. | Lee Morgan: Hank's Shout
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| 4. | Donald Byrd: The Jazz Message
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| 5. | Hank Jones: Almost Like Being In Love
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| 6. | Herbie Nichols: Whose Blues
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| 7. | Cannonball Adderley: Bohemia After Dark
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| 8. | Booker Ervin: Mr.Wiggles
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| 9. | Yusef Lateef: Prayer To The East
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| 10. | Curtis Fuller: Judy's Dilemma
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| 11. | John Coltrane: Rhodamagnetics
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| 12. | Art Blakey: Casino
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Jazz
CD1: 61:37 min.
CD2: 70:28 min.
Bop began on Savoy Records, the label which launched this exciting new music as a genre and first brought the extraordinary talents of its pioneers on to the world stage. Bop And Beyond chronicles the progression of the original sound of the 1940s as it evolved into the more readily accessible but equally ardent style of the next decade.
Bop (also known as Bebop and early on, Rebop) was the onomatopoeic name given to the modern jazz that appeared, seemingly from nowhere, in the mid 1940s. Of course, it hadn't appeared from nowhere, it had evolved in the hot house of jam sessions peopled by advanced musical thinkers like trumpeter Dizzy Gillespie, altoist Charlie 'Bird' Parker and pianist Thelonious Monk. The recording strike of 1942-44 meant that when the first records of the new music actually arrived, they hit the listening world like bolts of lightning.
Bop favoured furious tempos, angular, witty and unpredictable melodies (though often cast upon the harmonic sequence of an established standard) and elaborated chords. It was the first time in its history that jazz didn't make concessions to dancers. This was jazz as art.
An apparently faddish, almost novelty movement (berets and goatees were de rigueur), the core musical values of bop became central to the development of modern jazz in the 1950s. It may have been called Cool (a lighter, West Coast variant) or Hard Bop (a bluesy, driving offshoot), but really it was bop with a new haircut.
Here we present 32 classic tracks featuring some of the great names of modern jazz, from 1944 to 1960. Bop and Beyond.
CD1
1. Don Byas: Riffin' And Jivin'
Don Byas (tenor sax); Charlie Shavers (trumpet); Clyde Hart (piano); Slam Stewart (bass); Jack Parker (drums). July 1944
Not strictly a bopper, Byas's rhythmic drive and melodic daring nevertheless made him a fascinating player on the modern side of swing. Shavers, Hart and Stewart were also important transitional, forward-looking players. "Riffin' And Jivin'" is a polished, tautly played lick based on the chords to Gershwin's "I Got Rhythm" (known to musicians as 'Rhythm changes') with a slight harmonic twist in the bridge.
2. Dizzy Gillespie: Groovin' High
Dizzy Gillespie (trumpet); Charlie Parker (alto sax); Clyde Hart (piano); Slam Stewart (bass); Cozy Cole (drums). February 1945.
3. Dizzy Gillespie: Shaw 'Nuff
Dizzy Gillespie (trumpet); Charlie Parker (alto sax); Al Haig (piano); Curly Russell (bass); Sid Catlett (drums). May 1945.
4. Charlie Parker: Koko
Charlie Parker (alto sax); Dizzy Gillespie (trumpet); Argonne Thornton (piano), Curly Russell (bass), Max Roach (drums). November 1945.
5. Charlie Parker: Moose The Mooche
Charlie Parker (alto sax), Miles Davis (trumpet), Lucky Thompson (tenor sax), Dodo Marmarosa (piano), Arvin Garrison (guitar), Vic McMillan (bass), Roy Porter (drums), March 1946.
Great proto-bop classics from the architects of the new music, Diz and Bird. "Groovin' High" is Dizzy's ingenious and memorable melodic invention over the harmonies of the 1920 warhorse "Whispering". "Shaw 'Nuff" is a dazzling 'Rhythm changes' exercise, with a mariachi-bop intro and outro. "Koko" doesn't even have a theme as such (other than the outrageously difficult introduction that Dizzy had to play while a daunted Miles Davis: the actual trumpet player on the date: took a nap). Instead, what we havee is one of the most famous improvisations of the era invented by an instrumental genius over the chord changes of "Cherokee", a piece of Ray Noble cod-exotica with musician-ensnaring modulations in the bridge. If there's single moment that announces bop as Art, it's this remarkable Charlie Parker solo. "Moose The Mooche" features Bird and Miles plus some L.A.-based musicians on one of the most inspired 'Rhythm changes' tunes composed by Parker.
6. Dexter Gordon: Long Tall Dexter
Dexter Gordon (tenor saxophone); Leonard Hawkins (trumpet); Bud Powell (piano); Curly Russell (bass); Max Roach (drums), January 1946
A nifty riff blues from one of the first bebop tenor saxophonists, Dexter Gordon, a huge-toned player who nevertheless made graceful work of the melodic rigours of the music. The Powell-Russell-Roach team were the bop rhythm section of New York at the time. Little is known about trumpeter Hawkins, though he puts in a creditable solo here.
7. Stan Getz: Opus De Bop
Stan Getz (tenor sax); Hank Jones (piano); Curly Russell (bass); Max Roach (drums), July 1946.
Though clearly technically capable of delivering what the music required, there's a hint of parody about eighteen-year-old Getz's overt bop offerings, with the pointedly humorous 'flatted fifths' (a characteristic bop interval) in the introduction. Getz's improvisational language too remains rooted in the cool swing style of his idol Lester Young. A brilliant musician, of course, but at this stage a bandwagon bopper, despite the presence of Russell and Roach.
8. Kenny Dorham & The Be Bop Boys: Fool's Fancy
Kenny Dorham (trumpet); Sonny Stitt (alto); Bud Powell (piano); Al Hall (bass); Wallace Bishop (drums), August 1946.
9. Sonny Stitt & The Be Bop Boys: Serenade To A Square
Sonny Stitt (alto); Bud Powell (piano); Al Hall (bass); Kenny Clarke (drums), August 1946.
Two versions of (almost) the same band, recorded the same day, powering through a couple of bebop staples. 21-year-old trumpeter Dorham (who would replace Miles Davis in Charlie Parker's group early in 1949) leads the Be Bop Boys through a Bud Powell variation on 'Rhythm changes' while the remarkably Bird-like Stitt delivers what amounts to his attempt at "Koko", a themeless romp through the changes of "Cherokee". The offerings of the respective 'leaders' are impressive enough, but the glittering piano worek of bop's premier pianist Bud Powell is magnificent.
10. Billy Eckstine: Oop Bop Sh'Bam
Billy Eckstine (vocals, trombone); Miles Davis, Hobart Dotson, Leonard Hawkins, King Kolax (trumpets); Walter Knox, Jerry Valentine, Chips Outcalt (trombones); Sonny Stitt, John Cobbs (alto sax); Gene Ammons, Arthur Simmons (tenor sax); Cecil Payne (baritone sax); Linton Garner (piano); Connie Wainwright (guitar); Tommy Potter (bass); Art Blakey (drums). October 1946.
Though essentially a baritone crooner (someone once tagged him the Sepia Sinatra), Billy Eckstine was sympathetic to the new music and his big band housed many a bop luminary in its time, including Parker and Gillespie. After he left, Dizzy: along with arranger Gil Fuller: penned this nonsensical bebop vocal anthem (with a nod to Slim Gaillard's nonsense jazz ditties) for his new sextet to scat. The first bop 'hit', Eckstine picked up on it a few months later.
11. Miles Davis: Half Nelson
Miles Davis (trumpet), Charlie Parker (tenor sax), John Lewis (piano), Nelson Boyd (bass), Max Roach (drums). August 1947.
In the two years since he'd begun playing with Bird, Miles Davis had gone from being a star-struck teenager struggling to cope with the musical demands of bop to being an authoritative musician already stamping his personality on the music. This cut from his first date as leader (based on the chords to Tadd Dameron's "Ladybird") is complex, measured and, if it's not too premature, cool.
12. Leo Parker: Ineta
Leo Parker (baritone sax); Gene Ammons (tenor sax); Howard McGhee (trumpet); Junior Mance (piano); Gene Wright (bass); Chuck Williams (drums), October 1947.
Leo Parker was one of the few baritone saxophone boppers. He recorded with Gillespie, Navarro and Eckstine but was just as at home with honking R&B-style playing, as evidenced by his solo here. Drug problems kept him off the scene for most of his brief career and he died in 1962 aged 36 after a brief comeback on Blue Note records.
13. Fats Navarro: Be Bop Romp
Fats Navarro (trumpet); Charlie Rouse (tenor sax); Tadd Dameron (piano); Nelson Boyd (bass); Art Blakey (drums), December 1947.
Along with Gillespie, Navarro was the monster of bop trumpet until his drug-influenced death in 1950 aged 27. His brassy attack and powerful flow of ideas was consistently exciting, as here on this cute variation on the chords to "Fine And Dandy". Of his group, pianist Tadd Dameron was one of the great bop era composers, drummer Art Blakey would lead the quintessential hard bop unit the Jazz Messengers for decades while tenorist Charlie Rouse went on to be Thelonious Monk's hornman of choice through the 19e60s.
14. George Shearing: Bop's Your Uncle
George Shearing (piano); Curly Russell (bass); Cozy Cole (drums), December 1947.
When the UK-born pianist arrived in New York in early '47, his stylistic influences of Earl Hines, Teddy Wilson and Erroll Garner were soon dislodged by the modern jazz of the city. His early bop-inspired pieces: like this 'Rhythm changes' piece with a bridge derived from "A Kiss To Build A Dream On": sound like a happier version of Bud Powell.
15. Howard McGhee: Merry Lee
Howard McGhee (trumpet); Jimmy Heath (alto sax); Milt Jackson (vibes); Will Davis (piano); Percy Heath (bass); Joe Harris (drums), February 1948.
McGhee was one of the most adept bop trumpeters of the day, but was also one of the many musicians of the bop era whose later career was laid low by drug problems. Here he leads a group through a well-worn riff based on the changes to Gershwin's "Lady Be Good" (also known as "Rifftide" and "Hackensack" among other titles). 20-year-old Jimmy Heath struggles a little but Milt Jackson is majestic.
16. Milt Jackson: Bruz
Milt Jackson (vibes & piano); Kenny Dorham (trumpet); Julius Watkins (French horn); Billy Mitchell (tenor sax); Curly Russell (bass); Kenny Clarke (drums), January 1949.
Jackson had played on Thelonious Monk's early sides for Blue Note and his original composition "Bruz" recalls Monk's "Well You Needn't", with its chromatic chord movement and its oddly angled riff. Jackson accompanies his compatriots on piano (including Watkins, probably the only French horn player to attempt bop) before delivering a typically commanding solo on vibraphone.
17. J.J. Johnson: Audobon
J.J. Johnson (trombone); Sonny Rollins (tenor sax); John Lewis (piano); Gene Ramey (bass); Shadow Wilson (drums), May 1949.
A neat original based on the elaborated chords of "Honeysuckle Rose" penned by the 19-year-old Rollins making only his second appearance in a recording studio. Though Johnson is the leader and the foremost bebop trombone virtuoso, he allows Rollins the majority of the solo space, which the young tenorist fills with aplomb.
18. Art Pepper: Susie The Poodle
Art Pepper (alto sax); Russ Freeman (piano); Bob Whitlock (bass); Bobby White (drums), March 1953.
Several years on and a tidy West Coast incarnation of the bop tradition; a standard chord sequence ("Indiana", the same as Miles Davis's 1947 melodic assault course "Donna Lee") and an elaborate original tune which sound like a formalised bebop improvisation. Pepper's slick, exciting alto work comes on like that of a sun-tanned, smartened-up Charlie Parker.
19. Duke Jordan: A Night In Tunisia
Duke Jordan (piano); Percy Heath (bass); Art Blakey (drums), October 1955.
Jordan was the pianist in Charlie Parker's group for much of the late '40s and though less aggressive than Bud Powell, developed an elegant variation on the bop tradition which he was still purveying right until the 1990s. Here is a mid-fifties all-star trio interpretation of the Dizzy Gillespie classic.
20. Red Rodney: Stella By Starlight
Red Rodney (trumpet); Ira Sullivan (tenor sax); Tommy Flanagan (piano); Oscar Pettiford (bass); Philly Joe Jones (drums), November 1957.
The pinnacle of Rodney's early career was a two-year stint with Charlie Parker 1949-1951, where he established himself as a major bop trumpeter. Throughout his on-off (due to drug problems) career he maintained a persuasive adherence to the bop style, as here with his mid-fifties group featuring regular tenor partner Sullivan.
CD2
1. Hank Mobley: Doug's Minor Bouk
Hank Mobley (tenor); Lee Morgan (trumpet); Hank Jones (piano); Doug Watkins (bass); Art Taylor (drums), November 1956.
One of the most prolific saxophone players of the hard bop era: he made over a dozen albums for Blue Note records from the late fifties through the sixties: Hank Mobley with his subtle sound and crafted melodic sense was by no means the most typical. However, this cut from just before his Blue Note tenure is archetypal hard bop; a minor theme with a Latin tinge and an earthy-sophisticated approach to solos.
2. Hampton Hawes: Jumpin' Jacques
Hampton Hawes (piano); Joe Mondragon (bass); Shelly Manne (drums), September 1952.
Take Bud Powell, add a dash of Shearing and sprinkle it with blues and you have the fizzing piano style of 23-year-old Californian Hampton Hawes. He would be a leading light of the West Coast scene through the fifties before drugs stalled his career.
3. Lee Morgan: Hank's Shout
Hank Mobley (tenor); Lee Morgan (trumpet); Hank Jones (piano); Doug Watkins (bass); Art Taylor (drums), November 1956.
As far as hard bop trumpet went, Lee Morgan set the standard; hard blowing, prodigiously inventive and frighteningly consistent. From the same group (with Hank Mobley) who gave us "Doug's Minor Bouk" above, a no-nonsense up-tempo blues with 19-year-old Morgan already a muscular, bubbling player.
4. Donald Byrd: The Jazz Message
Donald Byrd (trumpet); John LaPorta (alto sax); Horace Silver (piano); Wendell Marshall (bass); Kenny Clarke (drums), January 1956.
A tasty down-home blues led off by drummer Clarke and bassist Marshall then taken up by that most down-home of modern piano players Horace Silver. John LaPorta forsook much of his playing career to be a renowned teacher so it's a treat to catch his dry, Lee Konitz-like alto style here. Trumpeter Byrd on his day could give Lee Morgan a run for his money, though here he favours a Miles-esque economy.
5. Hank Jones: Almost Like Being In Love
Hank Jones (piano); Donald Byrd (trumpet); Eddie Jones (bass); Kenny Clarke (drums), November 1955.
Not here though. On this up-tempo adaptation of a tune from Brigadoon, Byrd is insouciantly assertive in a group led by pianist Hank Jones. Jones is his elegant self and has unruffled fun trading fours with the trumpeter toward the end of the performance.
6. Herbie Nichols: Whose Blues
Herbie Nichols (piano); Danny Barker (guitar); Chocolate Williams (bass); Shadow Wilson (drums), March 1952.
Though much less well known than his friend Thelonious Monk (he was relatively under-recorded and died in 1963 aged 44), pianist Nichols had a similar gift for the edgy and unusual. This angular blues performance: taped three years before the majority of his recorded legacy on Blue Note: reveals an original, distinctive musician.
7. Cannonball Adderley: Bohemia After Dark
Cannonball Adderley (alto sax); Nat Adderley (cornet); Donald Byrd (trumpet); Horace Silver (piano); Paul Chambers (bass); Kenny Clarke (drums), June 1955.
A slinky minor theme in a medium tempo and the perfect frame to show off the Parker-esque alto sax prowess of Cannonball Adderley, who had just arrived in New York from Tampa, Florida and was causing a bit of a stir at Cafe Bohemia. Trumpeter Donald Byrd and brother Nat set the scene with a chorus each on this minor-to major vehicle (based loosely on "Softly As In A Morning Sunrise") before Cannonball takes charge.
8. Booker Ervin: Mr.Wiggles (Ervin)
Booker Ervin (tenor sax); Richard Williams (trumpet); Horace Parlan (piano); George Tucker (bass); Danny Richmond (drums), November 1960.
Booker Ervin's approach to the blues is in fascinating contrast to Mobley's on "Hank's Shout". Mobley takes a light, almost cerebral line while Ervin: influenced by roaring Texas tenors like Arnett Cobb and Illinois Jacquet: has much more guts and holler.
9. Yusef Lateef: Prayer To The East
Yusef Lateef (flute, tenor sax); Wilbur Harden (flugelhorn); Hugh Lawson (piano); Ernie Farrow (bass); Oliver Jackson (drums), October 1957.
The gong heralding the music, the title and the occasional exotic scale in his solo betray Yusef Lateef's preoccupation with all things eastern, though the musical language elsewhere is mostly standard American modern jazz of the mid-fifties. The track itself: a minor key groover: is based on a 1932 Bernice Petkere song "Lullaby Of The Leaves".
10. Curtis Fuller: Judy's Dilemma
Curtis Fuller (trombone); Lee Morgan (trumpet); Benny Golson (tenor sax); Wynton Kelly (piano); Paul Chambers (bass); Charlie Persip (drums), August 1959.
A stellar team of jazz virtuosi. Fuller, Morgan and Golson were all key members of Art Blakey's Jazz Messengers at some point (Golson and Morgan were Messengers together in 1958, Fuller joined in 1961), while Kelly and Chambers were current members of Miles Davis's group. A minor key vehicle with an afro-cuban feel, this is by-the-book hard bop of a most superior sort.
11. John Coltrane: Rhodamagnetics
John Coltrane (tenor sax); Wilbur Harden (flugelhorn); Tommy Flanagan (piano); Doug Watkins (bass); Louis Hayes (drums), March 1958.
Between tenures with Miles Davis's groups in the late fifties, the giant of modern tenor sax John Coltrane guested with several musicians including Thelonious Monk and here, flugelhornist Wilbur Harden. Harden's composition (part "Out Of Nowhere", part Monk) inspires solid contributions from everyone.
12. Art Blakey: Casino
Art Blakey (drums); Bill Hardman (trumpet); Jackie McLean (alto sax); Sam Dockery (piano); Spanky DeBrest (bass), March 1957.
Not considered a classic line-up of Art Blakey's Messengers, Messrs Hardman, McLean and Dockery nevertheless deliver straight-down-the-middle hard bop on this Gigi Gryce tune, with the leader behind the kit as bullish and imposing as ever.
Chris Ingham
Chris Ingham plays jazz piano and writes about popular music. He contributes to Mojo and is author of Rough Guide To The Beatles and the forthcoming Rough Guide To Frank Sinatra. |
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