The Evolution of Modern Jazz

Shadorne's thread "Outstanding Examples of Musicianship" inspired me to begin this thread. While Shadorne stated that all genre's were welcome, I felt that me and another jazz aficionado were beginning to dominate that thread. Shadorne is a "Rocker", bless his heart. This community functions best when like minded people engage in common dialogue.

The title explains this thread. We will use "youtube" the same as in Shardone's thread to illustrate our examples, and now I begin.

In the beginning, there was Charlie "Bird" Parker, and he said "Let there Be Bop" and thus it began. While walking down the street, Bird ran into John Birks "Dizzy" Gillespie, who had similar ideas, so they "Bopped" down the street together; Bird on alto sax and Diz on trumpet. My first illustration of this new music is "Bloomdido" with Bird and Diz. We should cover "Be Bop" in depth before we go to the next phase of this evolution.
Don't have much Bebop nor do I know as much of that era of jazz as Hard Bop. But I'll contribute. Click on the link...

Bud Powell

Although modern jazz began with "Be Bop", I've seen almost no post's on that genre; therefore, I feel we should move to the next phase of this evolution, "Hard Bop". While those posting probably didn't think of their post in terms of the genre "Hard Bop", that was the genre they were posting in. We think in terms of the title and the artist; not the genre. When I give you an example of Hard Bop, you will be able to submit examples of your own.

My first example is "Somthin Else". This is the title tune of one of the most popular jazz albums ever. It features artists you are familiar with. Click on this link and enjoy.

My next example is "Moanin", by Art Blakey and The Jazz Messengers. Audiophile's I've met had this one in their collection even when jazz wasn't their main thing. The individuals in this group went on to form their own groups.

Although this one is not an example of "Hard Bop", it is one of my favorites. The very same musicians on this tune sometime play Hard Bop together, but not this time. Most "Goners" are quite familiar with all of the musicians on this tune. I give you "On Green Dolphin Street", by Miles Davis.
I wouldn't go so far as to say that Bird created bebop/modern all by himself. Bird was a great leap forward, but he was certainly not the only guy playing. Music is a continuum: Louis influenced Roy Eldridge, who influenced Dizzy and Miles, etc. Then you've got people like Coleman Hawkins who spanned the whole period starting in the swing era and then moving up with the times. Your explanation suggests Bird popped out of the ground fully formed. Not so. Great idea for a thread though. Not enough good jazz conversations on here.
And Coltrane showed everyone how saxophone can be played. So did Miles with trumpet. Sorry if I jumped ahead quickly.

This is a "music" forum. Now, thanks to "youtube", we can use music to illustrate what ever it is we are trying to say about music. For example: I think John Coltrane "Blue Trane" is one of the best "jams" from the Hard Bop genre, and to prove my point; I invite you to click on "Blue Trane" by John Coltrane.

Grimmace, you made valid statements in regard to the origination of modern jazz; however, we've moved on to the next phase, which is "Hard Bop". There is much that can be debated in regard to the origination of jazz. The confusion arises when jazz and "modern jazz" are not seperated.

If you began a thread designed to discus the origination of jazz, I would certainly engage and participate.
Can't discuss Hard Bop without Miles.
Please click on the link

Art Blakey and the Jazz Messengers

Lee Morgan-Wayne Shorter-Art Blakey

man, this is so fantastic; Lee Morgan is my favorite on trumpet. "Dat Dere" piano player is too tough, and Blakey, Mr. "Thunderdrums" makes it all come alive. This is almost as good as being there.

"Night In Tunisia" by Lee Morgan is a version with Pepper Adams on baritone sax.

This is "Here I Am" by Donald Byrd with Pepper Adams, "One bad jam".

Foster, the decade from roughly 59 to 69 was equivalent to a hydrogen "jazz" bomb explosion. There was so much "connoisseur" jazz created that I'm still making new discoveries.

Although we're into hard bop, there was another genre on a parallel time track, that is almost forgotten; but not by me. Since we have two genre's in the same time period, we'll have to cover both of those before we go to the next phase.

There is so much music in this period, that we're going to be here for awhile. Rather than even mention the other genre, I'll wait to see how everyone wants to proceed.
Would it be safe to say then that Miles spawned Jazz fusion because of Bitches Brew? He then followed with albums that intergrated these two genres like Agartha,Pangea,Dark Magus,Live Evil,Black Beauty and Live at the Filmore West leaving in his wake a stunned following.
Qdrone, I don't know the answer to your question, but we can explore your post as a group when we get there. Since fusion came after "hard bop", that will be the next time phase; but we still have another genre to explore in this time frame.
Let me explain how I think this discussion should proceed. Now, we are in a time frame from late 50's to very early 70's. "Any" good jazz recorded within that time frame is ripe for discussion, including vocals.

Anita O'Day is one jazzy lady who I like, she has style. I have two selections I would like to share with you, one is to see her style, and the other is to hear my favorite song by Anita.
Grimace makes a great point, and one that should be remembered when discussing hard bop, as well as any other genre. The evolution of any art form is a continuum. New styles seldom pop up out of the blue (pun intended). This is a great thread, and exactly what I would love to see more of on Agon. But I think it would be great to dig a little deeper as concerns the artists, and the chronology of it all. In discussions such as this, we tend to focus on artists who gain prominence for a variety of resons; some not so obvious. When we think of hard bop tenor we think of Trane more often than not. But who knows what Trane would have sounded like had there been no Dexter Gordon; one of Trane's biggest influences (by Trane's own admission)?

Check out Tete Montoliu on piano. Brilliant, and unfortunately not well known is this country.

Qdrone, while Miles is often credited for spawning the fusion movement, there were artists of less prominence (at the time) who beat him to the punch. Guitarist Larry Coryell, vibist Gary Burton, and rockers Ginger Baker and Jack Bruce, had all been part of projects which fused jazz and rock, before Miles experimented in that realm.

Every time I hear Grant Green, I almost break out in tears. He died of a heart attack in 79 because he went on the road against his doctors orders because he needed the money.

If his body of works that was done at Blue Note in the early 60's had been given exposure, he would not have had any financial problems.

Grant had so many works of art that it's difficult to choose one, but I did; "Idle Moments" by Grant Green.

We can't discuss the evolution without discussing the players who made it happen.
Orpheus you actualy should read Alfred Lions take on Grant Greens body of work that was not released before blaming Blue Note.
Qdrone, I can't find anything. Could you email me?
This is one of the best, a hard bob favorite recorded back in 1958.

The whole album is fantastic musically and the recording is stunning on the original, the the Classic Records four disc 45 RPM and The Music Matters Jazz release on 45 RPM (two disc) version.

The cut I linked to is Blue Night, everyone is in perfect form, a perfect Jazz album in my opinion and one I play frequently.

Deep Night

Pro review notes:
Sonny Clark in the leader's chair also featured a young Jackie McLean on alto (playing with a smoother tone than he had before or ever did again), trumpeter Art Farmer, and the legendary rhythm section of bassist Paul Chambers and drummer Philly Joe Jones, both from the Miles Davis band.

The LP closes with Henderson and Vallée's "Deep Night," the only number in the batch not rooted in the blues. It's a classic hard bop jamming tune and features wonderful solos by Farmer, who plays weird flatted notes all over the horn against the changes, and McLean, who thinks he's playing a kind of snake charmer blues in swing tune. This set deserves its reputation for its soul appeal alone.
Albertporter, I liked that. Sonny Clark and Jackie Mac sound good together. Do you have "Sonny's Crib"? It's my best CD by Sonny, I think you will like it.

At no time in history have we had a jazz explosion like the decade 59 through 69. While "hard bop" was progressing, another genre was cooking; "West Coast jazz", and it was cool. I went to a movie with a sound track so gripping, that I became engrossed in the music, "Who cared what the movie was about". That was the nature of "west coast jazz"; the very best jazz was on movie sound tracks with long ago forgotten movies.

The sound track from the movie "I Want To Live" is a good example of west coast jazz. If anyone can recall the TV series Peter Gunn, that was also west coast jazz. Grimace might be able to help us on this subject.

My examples are from the sound track of the movie "I Want To Live"" and the Newport jazz festival.

Jazz on a summer day; Jimmy guiffre.

Albertporter, I broke my own rule for this thread; "Why say it with words when you can say it with music". I give you "Speak Low" from "Sonny's Crib".
"Why say it with words when you can say it with music".

Orpheus, that sums it up. The music tells the story in its own words and people react.

Foster, west coast jazz is taking me on a stroll down memory lane. Not only was west coast cool, but the people who liked it; were the coolest and "hipest" I ever met. Not the fake "wannabe", but cool to the bone; like they were born genetically "hip".

The records I have are worn out and can't be replaced. I'm hoping we get lucky and this thread attracts a west coast jazz aficionado. Here is Bud Shank "Well You Needn't".
Foster, I forgot to mention, we're still into hard bop. Since west coast and hard bop are in the same time frame, we'll pursue them on parallel tracks.
I have a passion for jazz and love just about everything mentioned above. The few I haven’t heard, I just ordered. Admitting to a lack of scholarship on the subject, I’d nevertheless like to offer these by a couple of guys that haven’t been mentioned.

Chet Baker:
Thelonious Monk:
Albertporter, I broke my own rule for this thread; "Why say it with words when you can say it with music". I give you "Speak Low" from "Sonny's Crib".

Recently received my double 45RPM Music Matters version of this album. Wonderful !
Cool Struttin was a high water mark in hard bop! One of my favorite albums along with Basie plays Hefti.

Drumming and bass evolved significantly with bebop as the high hat became time keeper and bass drum was used to comp.

here are two pros


West coast jazz, WCJ from here on out; is rapidly vanishing. The old records in my collection are out of print. Since it wasn't a radical departure from mainstream jazz like "fusion" was, most did not recognize it as a separate genre. I've included the names of musicians who were the primary west coasters, while they weren't as well known as artist's in other genre, they were just as good.

Curtis Counce, Bob Cooper, Bob Perkins, Conti Condoli, Pete Jolly, Harold Land, Carl Perkins, Shelly Manne, Teddy Edwards, Hampton Hawes,Stan Levey, Monty Budwig,and Mel Lewis are a few great west coast boppers that recorded in the 50's and 60's.

Some WCJ was well represented by soundtracks like "The Man With The Golden Arm" and the TV series "Peter Gunn". This genre will soon be gone with the wind, and I intend to get my share before that happens. This is "The Man With the Golden Arm".

"Peter Gunn"

Harold Land "Invitation"

Curtis Counce "Nica's Dream"

This band is tight. Weckl is on form.
The music always sounds better when you can actually see it being made, and they showed us every aspect of the reproduction; outstanding!

Now that you know the names of the players, you can mine the WCJ genre on your own. These are my last recommendations in hard bop before we go to "fusion". Ike Quebec, "Heavy Soul" "The Cannonball Adderly Quintet in San Francisco" Charles Mingus, " Mingus AH-Um Charles Mingus" Art Blakey, "A Night in Birdland" "The Best of Horace Silver" "The Best of Lee Morgan" The sidemen on these CD's became leaders, These few CD's can take you a long way.

Tomorrow we'll begin "Fusion". Since there are many experts here, I hope for a lot more help in that genre. While I liked fusion initially, it got boring in a hurry. I guess that tells you why I'm not the best person to take us through fusion. Next we get into some of the most beautiful music in jazz. It's so beautiful, that I've had people tell me it's not jazz because they don't like jazz. The next phase of this wonderful music incorporates music from around the world, maybe that's why some say it isn't jazz; whatever it is I love it.
That clip of Dave Grusin comes from the excellent 'DG presents West Side Story' DVD. I own both the CD & the DVD. Unfortunately, this clip and the whole DVD are unsynced video shown with the original recording. It's easy to get caught up in the incredible playing but if you watch closely the players are rarely playing in sync with the tune! Even the Michael Brecker solo can be clearly seen as him alone in the studio overdubbing his part. I picked up this DVD expecting to see a video of the band playing the music from this magnificent recording but the whole thing is this unsynced mess! Doesn't alter the fact that it's a fantastic record! This was the last GRP Big Band recording. The 1st 3 were 'official' releases from the GRP Big Band. The 2nd group of three, although released as Dave Grusin records were actually the Big Band; 'The Gershwin Collection', 'Homage To Duke', & 'West Side Story'. GRP's usually remembered for the glut of 'smooth/fuzak' records they released but they also put out quite a few great records!

This is Ike Quebec, "Heavy Soul".
Now what about Benson
Did I mention that I like Neal Hefti

Fusion is merging two separate elements into a union. "When you fuse jazz and bluegrass, you get crabgrass because bluegrass don't like jazz".

Herbie Hancock and Weather Report impressed me with their albums of "Sextant" by Herbie and "I Sing the Body Electric" by Weather Report. They seemed to connect with a part of my mind I never knew existed; "The misty mid region of Wier" sounds good. First, we have "Rain Dance", from "Sextant", by Herbie.

This is "The Unknown Soldier", from the album "I Sing the Body Electric", by Weather Report.

"Dara Factor One" by Weather Report, I hope you like it.
Was a little surprised to see that you liked Sextant, (i also like it a lot) ...any possibility that a record Hancock was on the year before (On The Corner) might hit you differently than it did a few decades ago? It's sort of a drag that Hancock decided (reluctantly) to break up the Mwandishi band cuz they weren't making any $$$. They had a lot of artistic momentum. On the bright side, a few records like Eddie Henderson Realization and the two Julian Priester releases on ECM were good spin offs.

Shadorne, me and George go way back; I have many fond memories associated with his music.

Neal Hefti, that's a name I've been hearing forever. I didn't know I was a Neal Hefti fan until now. All of those movie scores and TV theme songs makes just about everybody a "Neal Hefti fan"; that Batman theme was tough.

Duanegoosen, I can still remember the stylus settling into the groove of "On The Corner". I said "What tha!" It was so different from anything I expected from Miles, that I was in a state of shock. I took it back and demanded a refund.

(Miles in his own words)
"It was just a waste of time playing it for them; they wanted to hear my old music that I wasn't playing anymore. So they didn't like "On The Corner", but I didn't expect that they would; it wasn't made for them."

I still don't like it, I think it's too choppy; or maybe it's psychological.

Since most Goners aren't hip to WCJ, I thought I would provide a few more examples. Linda Lawson really captures the spirit of those times in El-A, enjoy.

I'm hoping for many post's illustrating "fusion".

We "Miles Davis jazz fans", had an unwritten contract with Miles. We faithfully purchased every "jazz" album he came out with. "On The Corner" broke that contract, it was not "jazz" as we had come to expect from Miles. "Goners" will never be able to understand this, but Miles understood. Read (Miles in his own words)
I'm a little out of time sequence in the "Evolution," but I love Miles and the Quintet too much.

Gingerbread Boy
It can't be jazz fusion without Jean-Luc Ponty, composer, producer, arranger, Master violinist. I've been fortunate to attend his concerts 6 or 7 times, West coast and Midwest.

In my opinion, a genius.

Mirage: Live at Nathan Phillips

No Absolute Time
Again, we can't discuss jazz fusion without additional cudos to Weather Report, the greatest of the genre in my opinion.
Omar Hakim, Victor Bailey, Joe Zawinul, Wayne Shorter. Unfortunately, in this iteration of the band there was no Jaco Pastorius.
This is a very hard driving live set.
Shadorne, I'm not a fan of Big Band, but that Grusin and Brecker was a very special session, that I can't deny. Orpheus, never heard of Ike Quebec. Nice...
This too is a departure for Miles, teaming up with Marcus Miller and is one of my favorites in Contemporary, Fusion Jazz.

Lost In Madrid Part II

Hard to believe it's been 25 years now.
Come on, Mahavishnu Orchestra is so much better than Weather Report.
Albert, this is an excellent piece. Thank you.

Foster, I could not have said it better in regard to Jean Luc Ponty, he is well represented in my collection.

Albert, I never heard that Miles before. I like it. Miles was one of the most outstanding musical genius to come along; even when he made music me and his old fans didn't like, he knew what he was doing.

No discussion of fusion would be complete without "Return to forever"

It's hard for me to pick out a favorite cut from this album but I tried, Chick Corea "Wind Danse"

This is for Inna.