Overview
student
5. Killer Joe
6. Moanin’
7. Boplicity
8. Line for Lyons
In the 1950s, two new styles developed in respose to the lightning-fast, extra-complex style of be-bop. In both of these styles, there was a semi-concious effort to “rein in” some of the excesses of be-bop, an effort to bring jazz back to something that a bit more “listener friendly.”
The “cool school” was the first post-be-bop movement. It took influences from European classical music and sought for a much more reserved, subtle approach to the “hot” style of be-bop. Shortly after this, we saw several musicians try to harness some of the energy and excitement of be-bop, but present it a way that was easier on the audience; this style was called “hard-bop.”
“Killer Joe” (by the Art Farmer and Benny Golson Jazztet [recorded in 1960]) and “Moanin’” (by Art Blakey and The Jazz Messengers [recorded in 1958]) are “textbook” examples of hard-bop. Notice the soulful, almost gospel-like quality to tunes songs. This is hard-bop at its best!
“Line for Lyons” (by the Gerry Mulligan Quartet [featuring Chet Baker] [recorded in 1953]) and “Boplicity” (by Miles Davis [recorded in 1949]) are “textbook” examples of “cool” jazz. Notice the timbre and overall “mood” of these tracks. This is cool jazz at its best!
- Which of these tracks do you like the best? Why?
- Do you also like the other track in this same style (hard-bop vs. cool), or is this a “one off” for you? What do/don’t you like about the other example in this style?
- Compare each of these styles with the be-bop examples you heard earlier (“Donna Lee” and “Salt Peanuts”). Do you think this music is more “listener friendly” than be-bop? Why/why not? Can you cite specific things that separate be-bop from these recordings?
Requirements: 1h | .doc file