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5. Killer Joe
6. Moanin’
7. Boplicity
8. Line for Lyons
In the 1950s, two new st
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?
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