{"id":11300,"date":"2014-04-30T02:00:18","date_gmt":"2014-04-30T02:00:18","guid":{"rendered":"http:\/\/www.eoisabi.org\/?p=11300"},"modified":"2022-08-13T17:06:43","modified_gmt":"2022-08-13T17:06:43","slug":"from-blues-to-bop","status":"publish","type":"post","link":"https:\/\/englishroam.com\/?p=11300","title":{"rendered":"&#8230; Bebop . . . (Hard) Bop"},"content":{"rendered":"<h3>\u25ca \u00a0Swing to Bop\u00a0\u2193 \u00a0[1987]<\/h3>\n<p style=\"text-align: left;\">An Oral History of the Transition in Jazz in the 1940s\u00a0<strong>by\u00a0<a href=\"http:\/\/www.jazzwax.com\/2010\/03\/ira-gitler-said-it.html\" target=\"_blank\" rel=\"noopener noreferrer\">Ira Gitler<\/a> <a href=\"https:\/\/www.questia.com\/library\/79019230\/swing-to-bop-an-oral-history-of-the-transition-in\" target=\"_blank\" rel=\"noopener noreferrer\"><img loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-11638\" src=\"http:\/\/englishroam.com\/wp-content\/uploads\/2012\/04\/stoB.gif\" alt=\"\" width=\"171\" height=\"255\" srcset=\"https:\/\/englishroam.com\/wp-content\/uploads\/2012\/04\/stoB.gif 171w, https:\/\/englishroam.com\/wp-content\/uploads\/2012\/04\/stoB-100x150.gif 100w\" sizes=\"auto, (max-width: 171px) 100vw, 171px\" \/><\/a><\/strong><\/p>\n<p style=\"text-align: right;\">\u00a0 <strong>\u2192\u00a0<\/strong><\/p>\n<p style=\"text-align: justify;\">This indispensable book brings us face to face with some of the most memorable figures in jazz history and charts the rise and development of bop in the late 1930s and &#8217;40s. <a href=\"http:\/\/jazztimes.com\/articles\/20292-ira-gitler\" target=\"_blank\" rel=\"noopener noreferrer\"><strong>Ira Gitler<\/strong><\/a> interviewed more than 50 leading jazz figures, over a 10-year period, to preserve for posterity their recollections of the transition in jazz from the big band era to the modern jazz period. The musicians interviewed, including both the acclaimed and the unrecorded, tell in their own words how this renegade music emerged, why it was a turning point in American jazz, and how it influenced their own lives and work. Placing jazz in historical context, Gitler demonstrates how the mood of the nation in its post-Depression years, racial attitudes of the time, and World War II combined to shape the jazz of today.<\/p>\n<h5 id=\"watch-headline-title\">\u2666\u00a0\u2192<a href=\"http:\/\/www.youtube.com\/watch?v=09BB1pci8_o\" target=\"_blank\" rel=\"noopener noreferrer\">Dizzy Gillespie on the birth of bebop<\/a>\u00a0\u2193<\/h5>\n<p><iframe loading=\"lazy\" src=\"https:\/\/www.youtube.com\/embed\/30LDSn5uioA\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p>\u2666 \u00a0History of the development of jazz starting not at the roots, but at 1940s<strong> bebop<\/strong> where jazz was at it&#8217;s \u00abpeak\u00bb. Written and created entirely by Dillon Nicholson, narrated by Kelli Hearne\u00a0\u2193<\/p>\n<p><iframe loading=\"lazy\" src=\"\/\/www.youtube.com\/embed\/NlfLBdKtemY\" width=\"640\" height=\"360\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<h4>\u00a4\u00a0 The Masters of Bebop &#8211; A listener&#8217;s Guide\u00a0<a href=\"http:\/\/books.google.es\/books\/about\/The_Masters_Of_Bebop.html?id=PYBVxJdbpzIC&amp;redir_esc=y\" target=\"_blank\" rel=\"noopener noreferrer\"><img loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-11719\" title=\"MbBop\" src=\"http:\/\/www.eoisabi.org\/wp-content\/uploads\/2012\/04\/MbBop.jpg\" alt=\"\" width=\"130\" height=\"200\" srcset=\"https:\/\/englishroam.com\/wp-content\/uploads\/2012\/04\/MbBop.jpg 130w, https:\/\/englishroam.com\/wp-content\/uploads\/2012\/04\/MbBop-97x150.jpg 97w\" sizes=\"auto, (max-width: 130px) 100vw, 130px\" \/><\/a><\/h4>\n<p style=\"text-align: right;\">Click on book \u00a0\u2192<\/p>\n<p style=\"text-align: justify;\">Back in the early 1940s, late at night in the clubs of Harlem, a handful of jazz musicians began to experiment with a style that no one had ever heard before. The music was fast, complicated, impossible to play for many of the older musicians &#8211; but it soon became the\u00a0<em>lingua franca<\/em>\u00a0of jazz music. They called it bebop, and as the years went by, it became even more popular. Today it reigns as perhaps the best-loved style of jazz ever created.<\/p>\n<p style=\"text-align: justify;\">Ira Gitler conveys the excitement of this musical birth as only someone who was there can. In<em>The Masters of Bebop<\/em>, Gitler traces the advent of what was a revolution in sound. He profiles the leading players &#8211; <strong>Charlie Parker, Dizzy Gillespie, Max Roach<\/strong> &#8211; but also studies the style and music of the first disciples, such as <strong>Dexter Gordon<\/strong> and <strong>J.J. Johnson<\/strong>, to reveal bebop&#8217;s pervasive influence throughout American culture. Revised with an updated discography &#8211; and with a new chapter covering bebop right up through the end of the twentieth century &#8211;\u00a0<em>The Masters of Bebop<\/em>\u00a0is the essential listener&#8217;s handbook.<\/p>\n<p style=\"text-align: center;\">\u00a0 &lt;&lt;&lt;&lt;&lt;&lt;&lt; \u00a0 &gt;&gt;&gt;&gt;&gt;&gt;&gt;<\/p>\n<h4 style=\"text-align: center;\">\u00a4 \u00a0Hard Bop and Mainstream Jazz in the 1950\u2019s<\/h4>\n<p style=\"text-align: justify;\">* Other names used in this era were <strong>\u201cFunky Jazz\u201d, \u201cPost-Bop\u201d<\/strong> and <strong>\u201cSoul Jazz\u201d.<\/strong><\/p>\n<p style=\"text-align: justify;\">*<strong>Hard Bop<\/strong> is a term that appeared in the 1950\u2019s to designate a style which had roots in BeBop and was somewhat different from Bop and Cool Jazz.<\/p>\n<h5><a href=\"https:\/\/www.udiscovermusic.com\/stories\/what-is-bebop-jazz\/\" target=\"_blank\" rel=\"noopener noreferrer\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter  wp-image-52215\" src=\"http:\/\/englishroam.com\/wp-content\/uploads\/2014\/04\/bebop.jpg\" alt=\"\" width=\"287\" height=\"282\" srcset=\"https:\/\/englishroam.com\/wp-content\/uploads\/2014\/04\/bebop.jpg 600w, https:\/\/englishroam.com\/wp-content\/uploads\/2014\/04\/bebop-300x296.jpg 300w, https:\/\/englishroam.com\/wp-content\/uploads\/2014\/04\/bebop-150x148.jpg 150w, https:\/\/englishroam.com\/wp-content\/uploads\/2014\/04\/bebop-400x395.jpg 400w\" sizes=\"auto, (max-width: 287px) 100vw, 287px\" \/><\/a><\/h5>\n<h5 style=\"text-align: center;\">Hard Bop Differences from Be Bop:<\/h5>\n<p style=\"text-align: justify;\">1) Improvised lines were many times simpler than Bop lines.<\/p>\n<p style=\"text-align: justify;\">2) Drummers tend to play with more activity.<\/p>\n<p style=\"text-align: justify;\">3) Composers experiment more with the forms, breaking away from the 32 bar formula.<\/p>\n<p style=\"text-align: justify;\">4) Pianists used more variety of chord voicings and comped even more rhythmically.<\/p>\n<p style=\"text-align: justify;\">5) More complex harmony can be seen more frequently. by those who entertained themselves as \u201cPost-Bop\u201d performers. (<strong>Monk, Golson, Mingus,<\/strong> etc.)<\/p>\n<p style=\"text-align: justify;\">6) Major scale modes were not the only modes used. More experimentation with both melodic and harmonic minor modes.<\/p>\n<p style=\"text-align: justify;\">7) Many authors point to the fact that this era is dominated by Black Americans. (Which era hasn\u2019t?) The music does reflect a mainstream approach to improvisation and composition. A lot of blues, gospel and rhythmic influences prevail.<\/p>\n<p style=\"text-align: justify;\">8) Era dominated by improvisational practices and small groups.<\/p>\n<p style=\"text-align: justify;\">9) Tunes characterized by \u201cSoul Jazz\u201d emphasize simple, tuneful themes and improvisations. They\u2019re bluesy in nature and modeled black preachers in the sanctified churches. This music also emphasizes 6\/8 or 3 meter, and more 16 bar phrases appear rather than standard 12 or 32 bar forms. Cadence points are often plagal (IV-I) rather than the standard V-I endings.<\/p>\n<p style=\"text-align: justify;\">10) Players often associated with \u201cSoul Jazz\u201d include <strong>Cannonball Adderley, Gene Ammons, Shirley Scott<\/strong> and <strong>Bobby Timmons<\/strong>.<\/p>\n<p style=\"text-align: justify;\">11) Hard-Bop groups included <strong>Horace Silver\u2019s Quintet, Art Blakey\u2019s Jazz Messengers, Clifford Brown <\/strong>and<strong> Max Roach\u2019s Quintet<\/strong>.<\/p>\n<p><a href=\"https:\/\/www.jazzwise.com\/features\/article\/hard-bop-10-essential-albums\" target=\"_blank\" rel=\"noopener noreferrer\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter  wp-image-53423\" src=\"https:\/\/englishroam.com\/wp-content\/uploads\/2014\/04\/hard-bop.jpg\" alt=\"\" width=\"346\" height=\"250\" srcset=\"https:\/\/englishroam.com\/wp-content\/uploads\/2014\/04\/hard-bop.jpg 352w, https:\/\/englishroam.com\/wp-content\/uploads\/2014\/04\/hard-bop-300x216.jpg 300w, https:\/\/englishroam.com\/wp-content\/uploads\/2014\/04\/hard-bop-150x108.jpg 150w\" sizes=\"auto, (max-width: 346px) 100vw, 346px\" \/><\/a><\/p>\n<h4 style=\"text-align: center;\">\u00a4 \u00a0Some Important Stylists of the Hard-bop Period<\/h4>\n<h5 style=\"text-align: center;\"><strong>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00b7 \u00a0TRUMPET STYLISTS<\/strong><\/h5>\n<h3 style=\"text-align: justify;\">\u2022\u00a0<a href=\"http:\/\/cliffordbrown.net\/\" target=\"_blank\" rel=\"noopener noreferrer\">Clifford Brown<\/a>\u00a0 [1930-1956]<\/h3>\n<p style=\"text-align: justify;\"><a href=\"http:\/\/www.youtube.com\/watch?v=9iuP3CfFZDQ\" target=\"_blank\" rel=\"noopener noreferrer\"><img loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-42727\" src=\"http:\/\/www.eoisabi.org\/wp-content\/uploads\/2012\/02\/Clifford-B.jpg\" alt=\"Clifford-B\" width=\"255\" height=\"205\" srcset=\"https:\/\/englishroam.com\/wp-content\/uploads\/2012\/02\/Clifford-B.jpg 255w, https:\/\/englishroam.com\/wp-content\/uploads\/2012\/02\/Clifford-B-150x120.jpg 150w\" sizes=\"auto, (max-width: 255px) 100vw, 255px\" \/><\/a>Began his career in Philadelphia, Pa.<\/p>\n<p style=\"text-align: justify;\">1) Possibly the most influential improviser on the trumpet in the late 1950\u2019s.<\/p>\n<p style=\"text-align: justify;\">2) Influenced players like Donald Byrd, Lee Morgan and Freddie Hubbard.<\/p>\n<p style=\"text-align: justify;\">3) His prot\u00e9g\u00e9 was <strong>Fats Navarro<\/strong>, whom he built a strong relationship.<\/p>\n<p style=\"text-align: justify;\">4) Out of the bebop tradition, Brown was an extraordinary technician with exceptional virtuosity.<\/p>\n<p style=\"text-align: justify;\">5) He was also a master of Ballad playing, as heard on <em>\u201cClifford W\/Strings\u201d<\/em> and one of the few musicians who seemed as comfortable with fast or slow.<\/p>\n<p style=\"text-align: justify;\">6) Early in his career he toured with Tad Dameron (1952) and made his first recordings with Chris Powell and the Blue Flames. Later toured with <strong>Lionel Hampton<\/strong> (1953) and played in a trumpet section consisting of <strong>Quincy Jones, Art Farmer <\/strong>and<strong> Walter Williams<\/strong>.<\/p>\n<p style=\"text-align: justify;\">7) In 1953 toured with the <strong>Art Blakey Quintet<\/strong>. The <em>\u201cLive at Birdland\u201d<\/em> recordings are some of the most exciting trumpet solo\u2019s on record.<\/p>\n<p style=\"text-align: justify;\">8) Of his many recordings , one of the most mature could be found in his partnership with <strong>Max Roach<\/strong> titled <em>\u201cStudy in Brown\u201d.<\/em><\/p>\n<p style=\"text-align: justify;\">9) Currently there\u2019s a book of his solo transcriptions of every improvisation he ever recorded.<\/p>\n<h3 style=\"text-align: justify;\">\u2022 <a href=\"https:\/\/www.austinchronicle.com\/music\/2018-09-14\/trumpet-colossus-kenny-dorham-towers-alongside-the-jazz-gods\/\" target=\"_blank\" rel=\"noopener noreferrer\">Kenny Dorham<\/a>\u00a0 [1924-1972]<\/h3>\n<p style=\"text-align: justify;\">1) Known for his individual style to trumpet playing. Also played Saxes.<a href=\"https:\/\/www.youtube.com\/watch?v=5My8jzWTnNI\" target=\"_blank\" rel=\"noopener noreferrer\"><img loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12806\" src=\"http:\/\/englishroam.com\/wp-content\/uploads\/2012\/04\/dorham.jpg\" alt=\"\" width=\"200\" height=\"185\" srcset=\"https:\/\/englishroam.com\/wp-content\/uploads\/2012\/04\/dorham.jpg 200w, https:\/\/englishroam.com\/wp-content\/uploads\/2012\/04\/dorham-150x138.jpg 150w\" sizes=\"auto, (max-width: 200px) 100vw, 200px\" \/><!--<\/p--> <\/a><\/p>\n<p style=\"text-align: justify;\">2) Started playing in the bands of <strong>Gillespie<\/strong> and <strong>Eckstine<\/strong> in 1945.<\/p>\n<p style=\"text-align: justify;\">3) In 1948-49, played and toured with <strong>Charlie Parker\u2019s Quintet<\/strong>.<\/p>\n<p style=\"text-align: justify;\">4) He was a founding member of the Jazz Messengers with drummer <strong>Art Blakey<\/strong> in 1954. Led his own group called The Jazz Prophets, (\u201cDorham and the Jazz Prophets\u00bb, 1956)<\/p>\n<p style=\"text-align: justify;\">5) From 1956-58 played in the <strong>Max Roach Quintet<\/strong>, taking Clifford Brown\u2019s spot.<\/p>\n<p style=\"text-align: justify;\">6) Known for his work with Tenor-saxophonist <strong>Joe Henderson<\/strong> in the 1960\u2019s.<\/p>\n<p style=\"text-align: justify;\">7) Known for his fluidity, interesting use of intervallic play and virtuosity when improvising, also a fine composer.<\/p>\n<h5 style=\"text-align: center;\"><strong>\u00b7 \u00a0SAXOPHONISTS <\/strong><\/h5>\n<h3 style=\"text-align: justify;\"><a href=\"https:\/\/www.youtube.com\/watch?v=5My8jzWTnNI\" target=\"_blank\" rel=\"noopener noreferrer\">\u2022 \u00a0<\/a><a href=\"http:\/\/www.cannonball-adderley.com\/\" target=\"_blank\" rel=\"noopener noreferrer\">Cannonball Adderley<\/a>\u00a0 [1928-1975]<\/h3>\n<p style=\"text-align: justify;\">* Alto Saxophonist, Bandleader, Composer.<a href=\"http:\/\/www.youtube.com\/watch?v=pRrFWp4DUho\" target=\"_blank\" rel=\"noopener noreferrer\"><img loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-12805 size-full\" title=\"Cannonball-A\" src=\"http:\/\/www.eoisabi.org\/wp-content\/uploads\/2012\/04\/Cannonball-A.jpg\" alt=\"\" width=\"200\" height=\"200\" srcset=\"https:\/\/englishroam.com\/wp-content\/uploads\/2012\/04\/Cannonball-A.jpg 200w, https:\/\/englishroam.com\/wp-content\/uploads\/2012\/04\/Cannonball-A-150x150.jpg 150w\" sizes=\"auto, (max-width: 200px) 100vw, 200px\" \/><\/a><\/p>\n<p style=\"text-align: justify;\">1) One of the key musicians in this era that defined the term \u201cSoul Jazz\u201d.<\/p>\n<p style=\"text-align: justify;\">2) Led one of the great Hard-Bop quintets with his brother <strong>Nat Adderley.<\/strong><\/p>\n<p style=\"text-align: justify;\">3) \u201cCannonball\u201d was an evolved name which stemmed from childhood name \u201ccannibal\u201d, which was given to him based on his huge appetite.<\/p>\n<p style=\"text-align: justify;\">4) Moved to NYC with hopes of working with his brother Nat and doing graduate studies in Education at NY University. (He was a public school teacher) Instead, he played in a Jam session with Oscar Pettiford\u2019s Big Band and this led to an immediate recording contract opportunity.<\/p>\n<p style=\"text-align: justify;\">5) After trying to get the Adderly Brothers Quintet off the ground unsuccessfully, Cannonball joined the <strong>Miles Davis Quintet<\/strong> in October 1957.<\/p>\n<p style=\"text-align: justify;\">6) With Miles, Adderley records one of the most recognized Albums in Jazz History, <em>\u00abKind of Blue\u00bb.<\/em><\/p>\n<p style=\"text-align: justify;\">7) Stayed with Miles until 1959, and reforms the Adderley Brothers Quintet. This is successful this time and lasts until 1975. This group became known for playing Jazz that was \u201cfunky\u201d and \u201csoulful\u201d in nature.<\/p>\n<p style=\"text-align: justify;\">8) Many great stars came from his Quintet, <strong>Joe Zawinul, Louis Hayes, George Duke, Victor Feldman, Roy McCurdy, Nat Adderley, Yusef Lateef <\/strong>and<strong> Charles Lloyd<\/strong>.<\/p>\n<p style=\"text-align: justify;\">9) A master improviser, he was labeled unfairly as the \u201cNew Bird\u201d. In fact much of his musical direction was much different than that of Parkers. Here are a few key differences:<\/p>\n<p style=\"text-align: justify;\">a) His lines were more chromatic and linear than Parkers.<\/p>\n<p style=\"text-align: justify;\">b) His sound was bigger and more biting than Birds.<\/p>\n<p style=\"text-align: justify;\">c) Played more \u2018gospel\u2019 and \u2018soulful\u2019 styles. His music was somewhat simpler and reached a large R&amp;B audience.<\/p>\n<p style=\"text-align: justify;\">d) After his association with Miles, his spacing in solos was more prevalent and incorporated more aspects of \u201cfree\u201d music in the 60\u2019s.<\/p>\n<p style=\"text-align: justify;\">10) Cannonball being an educator, did a lot lecturing on the college circuit speaking on the sociological and musical aspects of Jazz music in his career.<\/p>\n<h3 style=\"text-align: justify;\">\u2022\u00a0\u00a0<a href=\"https:\/\/www.youtube.com\/watch?v=-bwYeziJZcY\" target=\"_blank\" rel=\"noopener noreferrer\">Hank Mobley<\/a>\u00a0 [1930-1986]<\/h3>\n<p style=\"text-align: justify;\">*Tenor Saxophonist, Bandleader, Composer<a href=\"http:\/\/www.youtube.com\/watch?v=xP4yW36E_mc\" target=\"_blank\" rel=\"noopener noreferrer\"><img loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12804\" title=\"mobley\" src=\"http:\/\/www.eoisabi.org\/wp-content\/uploads\/2012\/04\/mobley.jpg\" alt=\"\" width=\"142\" height=\"190\" srcset=\"https:\/\/englishroam.com\/wp-content\/uploads\/2012\/04\/mobley.jpg 142w, https:\/\/englishroam.com\/wp-content\/uploads\/2012\/04\/mobley-112x150.jpg 112w\" sizes=\"auto, (max-width: 142px) 100vw, 142px\" \/><\/a><\/p>\n<p style=\"text-align: justify;\">1) First big break was when he began playing with <strong>Max Roach<\/strong> in 1951-53 off and on.<\/p>\n<p style=\"text-align: justify;\">2) In 1954 began working with <strong>Dizzy Gillepsie<\/strong>.<\/p>\n<p style=\"text-align: justify;\">3) Helped to form the Jazz Messengers with <strong>Horace Silver <\/strong>and<strong> Art Blakey<\/strong> in 1954. Stayed with this group until 1956.<\/p>\n<p style=\"text-align: justify;\">4) !956-57 led his own group.<\/p>\n<p style=\"text-align: justify;\">5) From 1959 to 1961 he worked with Blakey (1959), <strong>Dizzy Reece<\/strong> (1960) and <strong>Miles<\/strong> (1961-62).<\/p>\n<p style=\"text-align: justify;\">6) Freelanced and recorded a significant amount of work after this as a leader and sideman.<\/p>\n<p style=\"text-align: justify;\">7) Many notables who worked with Mobley included: <strong>Lee Morgan, Philly Joe Jones, Wynton Kelly<\/strong> among others.<\/p>\n<p style=\"text-align: justify;\">8) Trademark in his improvisations was his unique use of rhythm, relaxed tone and a sense of easy delivery.<\/p>\n<h5 style=\"text-align: center;\"><strong>\u00b7 \u00a0Small Group Leaders <\/strong><\/h5>\n<h3 style=\"text-align: justify;\">\u2022 \u00a0<a href=\"http:\/\/www.horacesilver.com\/\" target=\"_blank\" rel=\"noopener noreferrer\">Horace Silver<\/a>\u00a0 [1928-2014 ]<\/h3>\n<p style=\"text-align: justify;\"><a href=\"https:\/\/www.youtube.com\/watch?v=dUAu_3R0VPI\" target=\"_blank\" rel=\"noopener noreferrer\"><img loading=\"lazy\" decoding=\"async\" class=\"alignleft  wp-image-12803\" src=\"http:\/\/englishroam.com\/wp-content\/uploads\/2012\/04\/H_Silv.jpeg\" alt=\"\" width=\"224\" height=\"224\" \/><\/a>* Bandleader, pianist and composer<\/p>\n<p style=\"text-align: justify;\">1) Led one of the great, classic Jazz quintets in the Hardbop era.<\/p>\n<p style=\"text-align: justify;\">2) Many of the great improvisers played in his groups.<\/p>\n<p style=\"text-align: justify;\">3) In 1950, <strong>Stan Getz<\/strong> made a guest appearance in Hartford,Ct. backed by Silver\u2019s trio. Getz enjoyed the experience he employed Silver\u2019s group for the next year touring.<\/p>\n<p style=\"text-align: justify;\">4) In 1951, moved to NY where he played regularly with many of the greats in jazz, including, <strong>Coleman Hawkins, Lester Young, Oscar Pettiford <\/strong>and <strong>Art Blakey<\/strong>.<\/p>\n<p style=\"text-align: justify;\">5) Forms a group with Blakey and co-leads from 1953-56.<\/p>\n<p style=\"text-align: justify;\">6) By 1956, he was leading his own groups and employing some of the great improvisers in his time.<\/p>\n<p style=\"text-align: justify;\">7) Silver\u2019s quintet was influential on these counts:<\/p>\n<p style=\"text-align: justify;\">a) Along with Miles Davis, helped to codify the Jazz quintet sound. (Tpt., Sax, R-section)<\/p>\n<p style=\"text-align: justify;\">b) His group was a vehicle in bringing many his compositions to the forefront of Jazz. He, along with Monk, may have been the important composers of this era. (Monk made his comeback in 1957, and a rebirth of his compositions was a factor at this same time)<\/p>\n<p style=\"text-align: justify;\">c) His groups along with Blakey and Miles, served as important training grounds for young improvisers.<\/p>\n<p style=\"text-align: justify;\">d) Considered by many as one of the chief figures in creating the genre \u201cHard bop\u201d for his use of Bluesy intonation, R&amp;B, gospel and funky elements to his compositions. <em>\u201cSong for My Father\u201d<\/em>, was a tune of Silver\u2019s that reached the national pop charts in popularity.<\/p>\n<p style=\"text-align: justify;\">e) Many of his compositions have become \u201cstandards\u201d in Jazz circles.<\/p>\n<h4 style=\"text-align: justify;\">\u2022\u00a0 \u00a0<a href=\"http:\/\/artblakey.com\/\" target=\"_blank\" rel=\"noopener noreferrer\">Art Blakey<\/a>\u00a0 \u00a0[1919-1990]\u00a0 \u00a0 \u00a0 \u00a0 <a href=\"https:\/\/www.youtube.com\/watch?v=CxfmBqT7uoU\" target=\"_blank\" rel=\"noopener noreferrer\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-52223 alignnone\" src=\"http:\/\/englishroam.com\/wp-content\/uploads\/2014\/04\/A-night-in-Tunisia.jpg\" alt=\"\" width=\"166\" height=\"165\" srcset=\"https:\/\/englishroam.com\/wp-content\/uploads\/2014\/04\/A-night-in-Tunisia.jpg 600w, https:\/\/englishroam.com\/wp-content\/uploads\/2014\/04\/A-night-in-Tunisia-300x300.jpg 300w, https:\/\/englishroam.com\/wp-content\/uploads\/2014\/04\/A-night-in-Tunisia-150x150.jpg 150w, https:\/\/englishroam.com\/wp-content\/uploads\/2014\/04\/A-night-in-Tunisia-400x399.jpg 400w\" sizes=\"auto, (max-width: 166px) 100vw, 166px\" \/><\/a><\/h4>\n<p style=\"text-align: justify;\">* Drummer, Bandleader \u00a0[<a href=\"http:\/\/www.youtube.com\/watch?v=scZxGiy_t_k\" target=\"_blank\" rel=\"noopener noreferrer\">The Jazz Messengers<\/a>]<a href=\"https:\/\/www.youtube.com\/watch?v=EUPo9dntuGU\" target=\"_blank\" rel=\"noopener noreferrer\"><img loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12799\" title=\"artblakey\" src=\"http:\/\/www.eoisabi.org\/wp-content\/uploads\/2012\/04\/artblakey.jpg\" alt=\"\" width=\"288\" height=\"221\" srcset=\"https:\/\/englishroam.com\/wp-content\/uploads\/2012\/04\/artblakey.jpg 288w, https:\/\/englishroam.com\/wp-content\/uploads\/2012\/04\/artblakey-150x115.jpg 150w\" sizes=\"auto, (max-width: 288px) 100vw, 288px\" \/><\/a><\/p>\n<p style=\"text-align: justify;\">1) A major figure in modern Jazz and a pioneer in modern drumming.<\/p>\n<p style=\"text-align: justify;\">2) Some of his important characteristics:<\/p>\n<p style=\"text-align: justify;\">a) Powerful Style<\/p>\n<p style=\"text-align: justify;\">b) Element of surprise in his hits and kicks<\/p>\n<p style=\"text-align: justify;\">c) Highly energetic throughout his career<\/p>\n<p style=\"text-align: justify;\">d) Very responsive r-section contributor to the improvised solo<\/p>\n<p style=\"text-align: justify;\">e) Strong hi-hat feel *(2 &amp; 4) a trademark of Blakey\u2019s.<\/p>\n<p style=\"text-align: justify;\">f) Known for exuberant cross rhythms in ensembles and improvisations.<\/p>\n<p style=\"text-align: justify;\">g) Played a trademark roll many time bringing solo\u2019s energy to a new dynamic level!<\/p>\n<p style=\"text-align: justify;\">3) His groups served as training grounds for some of Jazz finest soloists. some of these include, <strong>Sonny Rollins, Wayne Shorter, Jackie Mclean, Lee Morgan, Freddie Hubbard, Wynton Marsalis, Silver <\/strong>(co-led),<strong> Cedar Walton, Curtis Fuller<\/strong> and many others!!<\/p>\n<p style=\"text-align: justify;\">4) Groups also sparked some great original compositions by his talented sidemen.<\/p>\n<p style=\"text-align: justify;\">5) His early career included stints with <strong>Fletcher Henderson<\/strong> (1943-4), <strong>Billy Eckstine<\/strong> (1944-47) and then became associated with Jazz modern movement. People would compare his energetic style to former greats such as Chick Webb and Sid Callet. Blakey,\u00a0however evolved to a more modern contrast to these earlier players and made his own mark in Jazz.<\/p>\n<p style=\"text-align: justify;\">6) In 1955 he and Horace Silver formed a quintet with Kenny Dorham and Hank Mobley called <strong>the Messengers<\/strong>. Silver leave to direct his own groups in 1956 leaving Blakey with the Messengers one of the most influential quintets\/sextets in Jazz history.<\/p>\n<p style=\"text-align: center;\"><iframe loading=\"lazy\" src=\"https:\/\/www.youtube.com\/embed\/r7PDD6gB2EM\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<h4 style=\"text-align: center;\"><strong>\u00b7 \u00a0HARD BOP PLAYERS OF THE 1960\u2019s . . .\u00a0<\/strong><\/h4>\n<p style=\"text-align: justify;\"><a href=\"http:\/\/www.youtube.com\/watch?v=hZ7xOSwwtd8\" target=\"_blank\" rel=\"noopener noreferrer\"><img loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-42731\" src=\"http:\/\/www.eoisabi.org\/wp-content\/uploads\/2012\/02\/LeeMorgan.jpg\" alt=\"LeeMorgan\" width=\"227\" height=\"229\" srcset=\"https:\/\/englishroam.com\/wp-content\/uploads\/2012\/02\/LeeMorgan.jpg 227w, https:\/\/englishroam.com\/wp-content\/uploads\/2012\/02\/LeeMorgan-150x150.jpg 150w, https:\/\/englishroam.com\/wp-content\/uploads\/2012\/02\/LeeMorgan-148x150.jpg 148w\" sizes=\"auto, (max-width: 227px) 100vw, 227px\" \/><\/a><\/p>\n<h4>\u2022 \u00a0<a href=\"https:\/\/leemorgan.jazzgiants.net\/biography\/\" target=\"_blank\" rel=\"noopener noreferrer\">Lee Morgan<\/a>\u00a0 [1938-1972]<\/h4>\n<p style=\"text-align: justify;\">1) Like Brown, was also from Philadelphia.<\/p>\n<p style=\"text-align: justify;\">2) At the age of 15 was touring with the Dizzy Gillespie band. (2 years-1956-58)<\/p>\n<p style=\"text-align: justify;\">3) Joins <strong>Art Blakey<\/strong> in 1958 and stays with Blakey until 1961. Quits to freelance and rejoins Blakey in 1964-65, where he then quits to pursue his own band.<\/p>\n<p style=\"text-align: justify;\">4) Plays in his own band until 1971, when he was shot to death by his mistress at Slugs, a nightclub in NYC.<\/p>\n<p style=\"text-align: justify;\">5) Known for his expressive, bluesy approach to improvisation. Epitomizes \u201cSoul Jazz\u201d in late 50\u2019s and the early 60\u2019s. Developed a unique 1\/2 valve expression and interesting approaches to phrasing in his improvisations.<\/p>\n<p style=\"text-align: justify;\">6) Although many look to the influence of Clifford Brown (<em>\u201cThe Freedom Rider\u201d<\/em>), by the time he releases <em>\u201cTotem Pole\u201d<\/em> in 1963, Morgan began to establish himself as one of the unique stylists of he era.<\/p>\n<p style=\"text-align: justify;\">7) Possibly some of his best work may be found with Tenor Saxman\u00a0 <strong>Hank Mobley<\/strong>\u00a0 (<em>\u00abWhat Now My Love\u00bb<\/em>, 1964 and <em>\u201cDippin\u2019\u201d<\/em> in 1965)<\/p>\n<h4 style=\"text-align: justify;\">\u2022 \u00a0<a href=\"https:\/\/www.youtube.com\/watch?v=xIkyBxg1RYU\" target=\"_blank\" rel=\"noopener noreferrer\">Joe Henderson<\/a>\u00a0<a href=\"http:\/\/www.youtube.com\/watch?v=aerKh6wX8eU\" target=\"_blank\" rel=\"noopener noreferrer\"><img loading=\"lazy\" decoding=\"async\" class=\"alignright wp-image-42728 size-full\" src=\"http:\/\/www.eoisabi.org\/wp-content\/uploads\/2012\/02\/joe_henderson.jpg\" alt=\"joe_henderson\" width=\"236\" height=\"208\" srcset=\"https:\/\/englishroam.com\/wp-content\/uploads\/2012\/02\/joe_henderson.jpg 236w, https:\/\/englishroam.com\/wp-content\/uploads\/2012\/02\/joe_henderson-150x132.jpg 150w\" sizes=\"auto, (max-width: 236px) 100vw, 236px\" \/><\/a><strong>\u00a0[1937-2001]<\/strong><\/h4>\n<p style=\"text-align: justify;\">1) One of the master improvisers from the late 1950\u2019s and on. Known for his great control of the instrument, thematic development and virtuosic improvisations.<\/p>\n<p style=\"text-align: justify;\">2) Grew up and thrived on a thriving local jazz scene in Detroit, Mi, where he heard the likes of Sonny Stitt, the Jones brothers and more. Studied at Wayne State University, where Curtis Fuller, Yusef Lateef and other prominent local Jazz men were his contemporaries.<\/p>\n<p style=\"text-align: justify;\">3) Played as a sideman for many great leaders in Jazz, including, <strong>Sonny Stitt<\/strong> (1959), <strong>Brother Jack McDuff<\/strong> (1961-2), <strong>Horace Silver<\/strong> (1964-66) and later <strong>Herbie Hancock<\/strong> (1969- 70).<\/p>\n<p style=\"text-align: justify;\">4) Later moved to San Francisco area, where he continued lead many of his own groups. Made important collaborations there with Freddie Hubbard, Hancock and others.<\/p>\n<p style=\"text-align: justify;\">5) Was known as a master teacher and taught throughout his career.<\/p>\n<p style=\"text-align: justify;\">6) An eclectic musician in his tastes, he has been quoted as being influenced my modern 20th century composers as well as the great bebop artists.<\/p>\n<p style=\"text-align: right;\">[http:\/\/www.oswego.edu]<\/p>\n<h4 style=\"text-align: left;\">\u2022 \u00a0<a href=\"http:\/\/www.freddiehubbardmusic.com\/landing.php\" target=\"_blank\" rel=\"noopener noreferrer\">Freddie Hubbard<\/a>\u00a0 [1938-2008]<\/h4>\n<div id=\"ScrollLayer\">\n<div id=\"content\">\n<p style=\"text-align: justify;\"><a href=\"https:\/\/www.youtube.com\/watch?v=kuGO8IY50b4\" target=\"_blank\" rel=\"noopener noreferrer\"><img loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-42729\" src=\"http:\/\/www.eoisabi.org\/wp-content\/uploads\/2012\/02\/freddie.jpg\" alt=\"freddie\" width=\"295\" height=\"184\" srcset=\"https:\/\/englishroam.com\/wp-content\/uploads\/2012\/02\/freddie.jpg 295w, https:\/\/englishroam.com\/wp-content\/uploads\/2012\/02\/freddie-150x93.jpg 150w\" sizes=\"auto, (max-width: 295px) 100vw, 295px\" \/><\/a><\/p>\n<p style=\"text-align: justify;\">Hubbard was born on April 7, 1938, In Indianapolis, Indiana. As a student and band member at Arsenal Technical High School, he demonstrated early talents on the tuba, French horn, and mellophone before eventually settling on the trumpet and flugelhorn. He was first introduced to jazz by his brother, Earmon, Jr., a piano player and a devotee of Bud Powell \u00a0[&#8230;]<\/p>\n<p style=\"text-align: justify;\">In 1958, Hubbard moved to New York at age 20 and quickly established himself as one of the bright young trumpeters on the scene, astonishing critics and fans alike with the depth and maturity of his playing. Within the first two years of his arrival in the Big Apple, he landed gigs with veteran jazz artists <strong>Philly Joe Jones, Sonny Rollins, Slide Hampton <\/strong>and<strong> Eric Dolphy<\/strong>. He joined <strong>Quincy Jones<\/strong> in a tour of Europe that stretched from 1960 to 1961.<\/p>\n<p style=\"text-align: justify;\">Per a recommendation from Miles Davis, Hubbard was signed to Blue Note, where he recorded \u00ab<em>Open Sesame\u00bb,<\/em> his solo debut, in 1960 at the age of 22. The album, which also featured Tina Brooks and McCoy Tyner, marked the launch of one of the most meteoric careers in jazz. Within a year\u2019s time, Hubbard followed up with his second and third recordings \u2013 \u00ab<em>Goin\u2019 Up\u00bb <\/em>(1960), with Tyner and Hank Mobley, and \u00ab<em>Hub Cap\u00bb <\/em>(1961), with Julian Priester and Jimmy Heath.<\/p>\n<p style=\"text-align: justify;\">In 1961, Hubbard released what many consider to be his masterpiece, \u00ab<em>Ready For Freddie\u00bb,<\/em>\u00a0which marked his first Blue Note collaboration with Wayne Shorter. Later that same year, he joined <strong>Art Blakey\u2019s Jazz Messengers<\/strong>. In the span of a few short years, this hard-blowing young lion had quickly established himself as an important new voice in jazz.<\/p>\n<p style=\"text-align: justify;\">Hubbard left the Jazz Messengers in 1964 to form his own small group, whose ranks included <strong>Kenny Barron<\/strong> and <strong>Louis Hayes<\/strong>. Throughout the remainder of the decade, he also played in bands led by a variety of other high-profile jazz artists [&#8230;]\u00a0He achieved his greatest popular success in the 1970s with a series of crossover albums on Atlantic and CTI Records [&#8230;]\u00a0Later in the decade, he returned to the acoustic, hard-bop idiom with the <strong>V.S.O.P. quintet<\/strong>, which teamed him with members of the 1960s Miles Davis Quintet.<\/p>\n<p style=\"text-align: justify;\">As the \u201880s got under way, Hubbard was once again leading his own group, playing at concerts and festivals in the U.S. and Europe. He frequently collaborated with <strong>Joe Henderson<\/strong>, playing a repertory of hard-bop and modal-jazz pieces. Other associations throughout the decade included Monterey Jazz Festival dates with <strong>Bobby Hutcherson<\/strong>; studio projects with <strong>Woody Shaw<\/strong> and <strong>Benny Golson<\/strong>; and a live recording in Holland (<em>Feel the Wind<\/em>) with Blakey in 1988 \u00a0[&#8230;]<\/p>\n<p style=\"text-align: justify;\">Some pursuits in the early \u201890s included the formation of a new band of emerging young artists: <strong>Christian McBride, Javon Jackson, Carl Allen<\/strong> and <strong>Benny Green<\/strong>. He continued to seek out fresh young talent as the decade unfolded by collaborating with the New Jazz Composers Octet. Hubbard performed and recorded with the Octet \u2013 a collective led by fellow trumpeter David Weiss \u2013 for the last decade of his career, culminating with his final recording, \u00ab<em>On The Real Side\u00bb,<\/em>\u00a0released in 2008.<\/p>\n<p style=\"text-align: justify;\">Despite failing health as the new century got under way, Hubbard continued to carry the jazz torch by participating in clinics and residencies at various colleges around the country to share the wealth of his knowledge with up-and-coming artists. In 2006, the National Endowment for the Arts granted Hubbard its highest honor in jazz, the NEA Jazz Masters Award.<\/p>\n<p style=\"text-align: justify;\">He suffered a heart attack in late November 2008 in Sherman Oaks, California, and died a few weeks later, on December 29, at the age of 70.<\/p>\n<p style=\"text-align: right;\"><a href=\"https:\/\/www.youtube.com\/watch?v=eq2vGjXJnFo\" target=\"_blank\" rel=\"noopener noreferrer\"><img loading=\"lazy\" decoding=\"async\" class=\"alignleft  wp-image-35186\" src=\"http:\/\/englishroam.com\/wp-content\/uploads\/2012\/02\/bop.gif\" alt=\"\" width=\"113\" height=\"101\" \/><\/a><\/p>\n<p style=\"text-align: right;\"><strong>\u2022\u2192\u00a0<a href=\"http:\/\/www.youtube.com\/watch?v=K9x3NeQJp5U\" target=\"_blank\" rel=\"noopener noreferrer\">Jackie McLean + Woody Shaw + McCoy Tyner + Cecil McBee + Jack Dejohnette<\/a><\/strong><\/p>\n<p style=\"text-align: left;\">\u2190<strong>Phil Woods Quintet<\/strong><strong>\u00a0<\/strong><\/p>\n<p style=\"text-align: right;\"><strong>\u2022\u2192<\/strong><a href=\"https:\/\/www.youtube.com\/watch?v=SdxzU00hSGA\" target=\"_blank\" rel=\"noopener noreferrer\"><strong><span id=\"eow-title\" class=\"watch-title long-title yt-uix-expander-head\" dir=\"ltr\" title=\"Jazz - Art Farmer - Jim Hall - Steve Swallow - Pete La Roca_part 1\">Art Farmer, Jim Hall, Steve Swallow &amp; Pete La Roca<\/span><\/strong><\/a><\/p>\n<p style=\"text-align: right;\"><a href=\"https:\/\/www.youtube.com\/watch?v=QNLLFmGL6y0\" target=\"_blank\" rel=\"noopener noreferrer\"><img loading=\"lazy\" decoding=\"async\" class=\"alignright  wp-image-35187\" src=\"http:\/\/englishroam.com\/wp-content\/uploads\/2012\/02\/trmptr.gif\" alt=\"\" width=\"141\" height=\"141\" \/><\/a><\/p>\n<p style=\"text-align: center;\"><strong>\u2022\u2192\u00a0<a href=\"http:\/\/www.youtube.com\/watch?v=XEwuLs5hCRE\" target=\"_blank\" rel=\"noopener noreferrer\">Donald Byrd<\/a><\/strong><a href=\"http:\/\/www.youtube.com\/watch?v=XEwuLs5hCRE\" target=\"_blank\" rel=\"noopener noreferrer\"> Quintet [Cannes 1958]<\/a><\/p>\n<p class=\"yt\" style=\"color: #222222; text-align: left;\"><strong>\u2022 \u00a0&#8216;In a mellow tone&#8217; <\/strong>(1985)<strong> &#8230; <a href=\"https:\/\/www.youtube.com\/watch?v=FQycHt1Dr0M\" target=\"_blank\" rel=\"noopener noreferrer\">[01]\u00a0<\/a>\u21d4 <a href=\"https:\/\/www.youtube.com\/watch?v=icDJugr-J4I\" target=\"_blank\" rel=\"noopener noreferrer\">[02]<\/a><\/strong><\/p>\n<p id=\"watch-headline-title\" class=\"yt\" style=\"color: #222222; text-align: right;\"><span id=\"eow-title\" class=\"watch-title long-title yt-uix-expander-head\" dir=\"ltr\" title=\"J.Henderson,J.Griffin &amp; G.Adams \/ Blues Up And Down (1988)\">\u2022\u2192<strong><a href=\"https:\/\/www.youtube.com\/watch?v=HwpOV-WdIzU\" target=\"_blank\" rel=\"noopener noreferrer\">Joe Henderson, Johnny Griffin &amp; George Adams <\/a><\/strong>[Three Tenors_1988]<\/span><\/p>\n<h5 style=\"text-align: center;\">\u00a4\u00a0 <a href=\"https:\/\/www.sonnystitt.com\/\" target=\"_blank\" rel=\"noopener noreferrer\">Sonny Stitt<\/a>\u00a0 \u21d3\u00a0 [1924-1982]<\/h5>\n<p style=\"text-align: right;\">Sonny Stitt on alto, Walter Bishop, Jr. on piano, Tommy Potter on bass &amp; Kenny Clarke on drums<\/p>\n<p style=\"text-align: center;\"><strong>\u2217\u2192 \u00a0<a href=\"https:\/\/www.youtube.com\/watch?v=PgaTwCNizRc\" target=\"_blank\" rel=\"noopener\">&#8216;Lover Man&#8217;<\/a>\u00a0 \u21d0<\/strong><\/p>\n<p><strong>\u2207\u00a0 &#8216;Blues Walk&#8217;\u00a0 \u21d3\u00a0 [1958]<\/strong><\/p>\n<p style=\"text-align: right;\">Dizzy Gillespie, trumpet; Sonny Stitt, tenor saxophone; Lou Levy, piano; Ray Brown, bass; Gus Johnson, drums<\/p>\n<p><iframe loading=\"lazy\" title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/EYVmxKxMqE4\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<h5 style=\"text-align: center;\">\u00a4\u00a0 <a href=\"https:\/\/www.youtube.com\/watch?v=n-ScJf6hYS4\" target=\"_blank\" rel=\"noopener noreferrer\">Dexter Gordon<\/a>\u00a0 \u21d3\u00a0 [1923-1990]<\/h5>\n<p><iframe loading=\"lazy\" src=\"https:\/\/www.youtube.com\/embed\/rD3jE9MoRqs\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p><b>\u00a0 \u2248 . . . <\/b>(Belgium, 1964) &#8230; (<a href=\"http:\/\/www.youtube.com\/watch?v=r0vhqDCy9eQ\" target=\"_blank\" rel=\"noopener noreferrer\">1) &#8216;<\/a><strong><a href=\"http:\/\/www.youtube.com\/watch?v=r0vhqDCy9eQ\" target=\"_blank\" rel=\"noopener noreferrer\">Lady Bird&#8217;\u21d0<\/a>\u00a0 \/ <\/strong>\u00a0<a href=\"http:\/\/www.youtube.com\/watch?v=zKPFIDoB7D0\" target=\"_blank\" rel=\"noopener noreferrer\">(2)\u2192 &#8216;<\/a><strong><a href=\"http:\/\/www.youtube.com\/watch?v=zKPFIDoB7D0\" target=\"_blank\" rel=\"noopener noreferrer\">Body &amp; Soul&#8217;<\/a>\u00a0 \u21d1<\/strong><\/p>\n<p style=\"text-align: right;\"><strong>\u2022\u2192 <a href=\"https:\/\/www.youtube.com\/watch?time_continue=56&amp;v=_vuORtLZejM&amp;feature=emb_logo\" target=\"_blank\" rel=\"noopener noreferrer\">&#8216;I Want More&#8217;\u00a0<\/a><\/strong> \u21d0\u00a0[Norway_1964]<\/p>\n<p style=\"text-align: center;\"><strong>\u2207\u00a0 &#8216;You&#8217;ve Changed&#8217;\u00a0 \u21d3\u00a0<\/strong> \u00a0(Switzerland, 1963)<\/p>\n<p><strong>Dexter Gordon<\/strong>: tenor sax + <strong>Kenny Drew<\/strong> : piano\u00a0 + <strong>Gilbert Bibi Rov\u00e8re<\/strong>: bass + <strong>Art Taylor<\/strong>: drums<\/p>\n<p style=\"text-align: center;\"><iframe loading=\"lazy\" src=\"https:\/\/www.youtube.com\/embed\/JwoLNYS0TxQ\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<h5 style=\"text-align: left;\">\u00a4 \u00a0<a href=\"http:\/\/bobbywatson.com\/\" target=\"_blank\" rel=\"noopener noreferrer\">Bobby Watson<\/a>\u00a0 \u21d3<\/h5>\n<p style=\"text-align: center;\"><iframe loading=\"lazy\" src=\"\/\/www.youtube.com\/embed\/okZai88foNY\" width=\"480\" height=\"360\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<h5 style=\"text-align: left;\">\u00a4 \u00a0 <a href=\"https:\/\/www.allmusic.com\/artist\/jon-faddis-mn0000211277\/biography\" target=\"_blank\" rel=\"noopener noreferrer\">Jon Faddis<\/a> \u00a0\u21d3<\/h5>\n<h6 style=\"text-align: center;\">\u2666 \u00a0Here&#8217;s That Rainy Day \u00a0\u2193 \u00a0[2005]<\/h6>\n<p style=\"text-align: center;\"><iframe loading=\"lazy\" src=\"\/\/www.youtube.com\/embed\/-hv7bC21nZs\" width=\"480\" height=\"360\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p style=\"text-align: right;\"><strong>\u2022\u2192 <a href=\"https:\/\/www.youtube.com\/watch?=43&amp;v=dwTUCqcOHdY\" target=\"_blank\" rel=\"noopener noreferrer\">I Can&#8217;t Get Started<\/a> \u00a0<\/strong>\u00a0 \u21d0[2013]<\/p>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>\u25ca Swing to Bop \u2193 [1987] <\/p>\n<p style=\"text-align: left;\">An Oral History of the Transition in Jazz in the 1940s by Ira Gitler <\/p>\n<p style=\"text-align: right;\"> \u2192 <\/p>\n<p style=\"text-align: justify;\">This indispensable book brings us face to face with some of the most memorable figures in jazz history and charts the rise and development of [&#8230;]<\/p>\n","protected":false},"author":28,"featured_media":11301,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[222],"tags":[200,201,313],"class_list":["post-11300","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-music","tag-documentary","tag-link","tag-america","odd"],"_links":{"self":[{"href":"https:\/\/englishroam.com\/index.php?rest_route=\/wp\/v2\/posts\/11300","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/englishroam.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/englishroam.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/englishroam.com\/index.php?rest_route=\/wp\/v2\/users\/28"}],"replies":[{"embeddable":true,"href":"https:\/\/englishroam.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=11300"}],"version-history":[{"count":118,"href":"https:\/\/englishroam.com\/index.php?rest_route=\/wp\/v2\/posts\/11300\/revisions"}],"predecessor-version":[{"id":55662,"href":"https:\/\/englishroam.com\/index.php?rest_route=\/wp\/v2\/posts\/11300\/revisions\/55662"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/englishroam.com\/index.php?rest_route=\/wp\/v2\/media\/11301"}],"wp:attachment":[{"href":"https:\/\/englishroam.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=11300"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/englishroam.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=11300"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/englishroam.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=11300"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}