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65-503: Soul jazz is often associated with hard bop . Mark C. Gridley, writing for the All Music Guide to Jazz , explains that soul jazz more specifically refers to music with "an earthy, bluesy melodic concept" and "repetitive, dance-like rhythms.... Note that some listeners make no distinction between 'soul-jazz' and 'funky hard bop,' and many musicians don't consider 'soul-jazz' to be continuous with 'hard bop. ' " According to Nick Morrison,

130-616: A bebop pianist, continued to record albums in the early 1960s, while Gordon's Our Man in Paris became "one of his most iconic albums" for Blue Note. Other musicians who contributed to the hard bop style include Donald Byrd , Tina Brooks , Sonny Clark , Lou Donaldson , Blue Mitchell , Sonny Rollins , and Sonny Stitt . David Rosenthal considers six albums among the high points of the hard bop era: Ugetsu , Kind of Blue , Saxophone Colossus , Let Freedom Ring , Mingus Ah Um , and Brilliant Corners , referring to these as being some of

195-457: A fast tempo" and is associated with Griffin's reputation as "the world's fastest saxophonist." In 1956, The Jazz Messengers recorded an album titled Hard Bop , which was released in 1957, including Bill Hardman on trumpet and saxophonist Jackie McLean , with a mix of hard bop compositions and jazz standards . Shortly after, in 1958, The Jazz Messengers, with a new line-up including Lee Morgan on trumpet and Benny Golson on saxophone, recorded

260-507: A line of alto saxophonists that includes Earl Bostic , Tab Smith , Adderley, and Lou Donaldson as the strongest links in the chain of the genre's evolution. In the early to mid-1950s, after he left the Count Basie Orchestra , saxophonist Eddie "Lockjaw" Davis was among the first to form a jazz group with both organ and saxophone, first with Bill Doggett and later Shirley Scott . For this and his "full bodied yet reedy tone that

325-610: A more relaxed lifestyle in California, while driving bop typified the New York scene. Some writers, such as James Lincoln Collier , suggest that the style was an attempt to recapture jazz as a form of African American expression. Whether or not this was the intent, many musicians quickly adopted the style, regardless of race. According to Nat Hentoff in his 1957 liner notes for the Art Blakey Columbia LP entitled Hard Bop ,

390-435: A response to cool jazz and West Coast jazz . As Paul Tanner , Maurice Gerow, and David Megill explain, "the hard bop school...saw the new instrumentation and compositional devices used by cool musicians as gimmicks rather than valid developments of the jazz tradition." However, Shelly Manne suggested that cool jazz and hard bop simply reflected their respective geographic environments: the relaxed cool jazz style reflected

455-397: A slightly longer period, from 1955 to 1968, during which hard bop was "the most dominant jazz style." Although the hard bop style enjoyed its greatest popularity in the 1950s and 1960s, hard bop performers and elements of the music remain present in jazz. Joe Zawinul Josef Erich Zawinul ( / ˈ z ɒ v ɪ n əl / ZOV -in-əl ; 7 July 1932 – 11 September 2007)

520-408: A word called 'soul'. We became, from an image point of view, soul jazz artists. They kept promoting us that way and I kept deliberately fighting it, to the extent that it became a game." Late 1950s, soul jazz artist Curtis Fuller recorded "Five Spot after Dark". Jimmy Smith's shift into soul jazz demonstrated the organ's potential within the genre with his albums Home Cookin' (1961) and Back at

585-460: A young Freddie Hubbard , who would go on to become "a hard bop stylist." Blue Train was described by Richard Havers as "Coltrane's Hard-Bop Masterpiece," although an edit made to one of the album's records caused controversy following disapproval from sound engineer Rudy Van Gelder. In the early to mid-1960s, prior to his death, Coltrane experimented in free jazz but again drew influences from hard bop in his 1965 album A Love Supreme . Coltrane

650-576: Is sometimes referred to as "funky hard bop". The "funky" label refers to the rollicking, rhythmic feeling associated with the style. The descriptor is also used to describe soul jazz , which is commonly associated with hard bop. According to Mark C. Gridley, soul jazz more specifically refers to music with "an earthy, bluesy melodic concept and...repetitive, dance-like rhythms. Some listeners make no distinction between 'soul-jazz' and 'funky hard bop,' and many musicians don't consider 'soul-jazz' to be continuous with 'hard bop.'" The term " soul " suggests

715-589: The Czech State Philharmonic Orchestra, Brno , conducted by Caspar Richter. Zawinul became ill and was hospitalized in his native Vienna on 7 August 2007, after concluding a five-week European tour. He died a little over a month later from a rare form of skin cancer ( Merkel cell carcinoma ) on 11 September 2007. He was cremated at Feuerhalle Simmering and his ashes buried in Vienna Central Cemetery . His wife Maxine had died earlier

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780-480: The civil rights and Black Power movements. For instance, Adderley's music from the period has been described as containing an "irrepressible exuberance". Interest in the genre broadened when Adderley introduced Austrian-born keyboardist Joe Zawinul to soul jazz through his Quintet, with Zawinul contributing to its repertoire with his own compositions. Likewise Stanley Turrentine , who began recording with Jimmy Smith in 1960 and rapidly expanded his audience, lamented

845-416: The 1970s to "[t]he rise of commercial rock and the consolidation of most of the independent record labels." With rock groups such as The Beatles capturing hard bop's charisma and avant-garde jazz , which had limited appeal outside jazz circles, bringing "division and controversy into the jazz community," Davis and other former hard boppers left the genre, only for the new fusion genre to itself shrink within

910-582: The 1977 album Heavy Weather , which peaked at number 30 on the Billboard pop albums chart. "Birdland" is one of the most recognizable jazz pieces of the 1970s, recorded by The Manhattan Transfer , Quincy Jones , Maynard Ferguson , and Buddy Rich among others. The song won him three Grammys . Weather Report was active until the mid-1980s, with Zawinul and Shorter remaining the sole constant members through multiple personnel shifts. Shorter and Zawinul went separate ways after recording Sportin' Life , but it

975-404: The 1990s, and by the 1990s, hard bop's revival had become so prominent that Yanow referred to it as "the foundation of modern acoustic jazz." Joe Henderson, for instance, was described by Yanow as a "national celebrity and a constant poll winner" in jazz circles after signing for Verve in the 1990s, largely due to changes in marketing. Rosenthal observed that "[t]he years 1955 to 1965 represent

1040-573: The Chicken Shack (1963). Other organists who recorded in the soul jazz genre during this period include Jack McDuff , Shirley Scott , and Charles Earland . With the addition of former bebop and hard-bop musicians to the genre, the number of musicians within various facets of the style increased as soul jazz became a subgenre in its own right; and like its bop predecessor, the new genre of jazz reworked popular songs, such as " Got My Mojo Workin' ," while saxophone and trumpet players recently converted to

1105-488: The Crusaders in the process. Hard bop Hard bop is a subgenre of jazz that is an extension of bebop (or "bop") music. Journalists and record companies began using the term in the mid-1950s to describe a new current within jazz that incorporated influences from rhythm and blues , gospel music , and blues , especially in saxophone and piano playing. David H. Rosenthal contends in his book Hard Bop that

1170-706: The Danube , which was commissioned by the Brucknerhaus , Linz . It was first performed as part of the Linzer Klangwolke (a large-scale open-air broadcast event), for the opening of the 1993 Bruckner Festival in Linz. In its seven movements, the symphony traces the course of the Danube from Donaueschingen through various countries ending at the Black Sea . It was recorded in 1995 by

1235-560: The Old Block (1963), marked the first shift in influence, in this case from the swing/big band era with compositions by Count Basie and Neal Hefti . Turrentine's wife again contributed in addition to hard bop trumpeter Blue Mitchell . In the mid- to late-1960s, Turrentine evolved his soul jazz style from the small-group setting traditionally associated with the subgenre to an ensemble format, with Joyride (1965) arranged by fellow jazz saxophonist Oliver Nelson . While Turrentine developed

1300-469: The U.S. to attend Berklee College of Music , but a week later he received a job offer from Maynard Ferguson , so he left school and went on tour. He then accompanied Dinah Washington . He spent most of the 1960s with Cannonball Adderley . During this time, he wrote " Mercy, Mercy, Mercy ", "Walk Tall" and "Country Preacher", and played electric piano. As recounted in Zawinul's New York Times obituary, "It

1365-515: The Zawinul Syndicate decided to reform and perform Zawinul's music live under their shortened name the Syndicate. Several major members of the Syndicate over the years include Scott Henderson , Bobby Thomas Jr, Linley Marthe, Paco Sery , Manolo Badrena , Nathaniel Townsley, Sabine Kabongo, Gary Poulson, Richard Bona , and Victor Bailey . Zawinul also wrote a symphony , called Stories of

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1430-417: The best, and I could play on that level with the best.'" At the end of the decade, Zawinul recorded with Miles Davis on In a Silent Way and Bitches Brew , as Davis established the genre of jazz fusion by combining jazz with rock. In 1970, Zawinul founded Weather Report with Wayne Shorter . Their first two years emphasized a relatively open, group improvisation format similar to what Miles Davis

1495-412: The bounds of what critics considered legitimate, serious jazz." He returned to bop late in his career. Although soul jazz was most popular during the mid-to-late 1960s, its musicians and musical influences remained popular past this time period. In the late 1960s and 1970s, the genre saw increased crossover with fusion. The Jazz Crusaders, for example, evolved from soul jazz to soul music , becoming

1560-439: The broader world of bop by saying that "[t]empos could be just as blazing but the melodies were generally simpler, the musicians (particularly the saxophonists and pianists) tended to be familiar with (and open to the influence of) rhythm & blues and the bass players (rather than always being stuck in the role of a metronome) were beginning to gain a little more freedom and solo space." Hard bop has been seen by some critics as

1625-452: The church, and traditional gospel music elements such as "amen chords" (the plagal cadence ) and triadic harmonies that seemed to suddenly appear in jazz during the era. Leroi Jones noted a combination of "wider and harsher tones" with "accompanying piano chords [that] became more basic and simplified." He cited saxophonist Sonny Rollins ' playing as one of the best examples of the style. Jazz critic Scott Yanow distinguished hard bop from

1690-399: The core of the "soul" in soul jazz, Latin and funky influences developed soul jazz upon the foundation of bop. Pianist Herbie Hancock, for instance, was instrumental in pushing the boundaries of music theory and chord progressions during the 1960s. Hancock's first album Takin' Off (1962) featured the funky " Watermelon Man ", a composition recorded by both Hancock and Mongo Santamaria , and

1755-587: The early development of hard bop was Silver's composition " The Preacher ", which was considered "old-timey" or "corny", such that Blue Note head Alfred Lion was hesitant to record the song. However, the song became a successful hit. Miles Davis, who had performed the title track of his album Walkin' at the inaugural Newport Jazz Festival in 1954, would form the Miles Davis Quintet with John Coltrane in 1955, becoming prominent in hard bop before moving on to other styles. Other early documents were

1820-433: The early to mid-1960s, though this shifted over the course of the decade so much that by the late 1960s, the jazz musicians themselves were producing hit records, with six Jimmy Smith/ Blue Note albums reaching the top 200. However, jazz labels such as Blue Note found it difficult to compete with larger record companies for advertising opportunities. The growing popularity of soul jazz meant that, for many hard bop musicians,

1885-550: The era are Lee Morgan 's The Sidewinder (1963), Frank Foster 's Samba Blues (1963), Nat Adderley 's " Work Song ", Horace Silver's " Song for My Father " (1964), Ramsey Lewis 's " The 'In' Crowd " (a top-five hit in 1965), Cannonball Adderley's " Mercy, Mercy, Mercy " (1966) (also popularized further when covered as a top-40 pop song by the Buckinghams the following year), and Young Holt Unlimited "Soulful Strut". Les McCann and Eddie Harris 's album Swiss Movement (1969)

1950-525: The fact Miles Davis lived in the city from 1953 to 1954. Billy Mitchell , a tenor saxophone player, organized a band that played at the Blue Bird Inn during the early 1950s that "anchored the city's Jazz scene" and attracted hard bop musicians to the city. Michael Cuscuna maintains that Silver and Blakey's efforts were in response to the New York bebop scene: Both Art and Horace were very, very aware of what they wanted to do. They wanted to get away from

2015-502: The genre composed hits including " The Sidewinder ", " Mercy, Mercy, Mercy " and "Listen Here" during the mid-1960s. An accelerating factor in soul jazz's development was the Black Power movement , which led African-American musicians to return to the African roots of their music. Tunes recorded within the genre, including "Mercy, Mercy, Mercy" and "Let My People Go" were direct references to

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2080-469: The genre is, to a large degree, the natural creation of a generation of African-American musicians who grew up at a time when bop and rhythm and blues were the dominant forms of black American music. Prominent hard bop musicians included Horace Silver , Clifford Brown , Charles Mingus , Art Blakey , Cannonball Adderley , Miles Davis , John Coltrane , Hank Mobley , Thelonious Monk , Lee Morgan , Wes Montgomery , Pat Martino and others. Hard bop

2145-497: The genre's "masterpieces." Scott Yanow described hard bop in the late 1960s as "running out of gas." Blue Note Records' sale and decline in the late 1960s and early 1970s, combined with the rapid ascendance of soul jazz and fusion , largely replaced hard bop's prevalence within jazz, although bop would see a major revival in the 1980s known as the Young Lions Movement . Yanow also attributes hard bop's temporary decline in

2210-468: The genre's broader circle. West Coast Jazz's diminishing influence during the late 1950s accelerated hard bop's rise to prominence, while the transition to 33-RPM records facilitated the shifts toward longer solos that were typical of hard bop albums. During a fifteen-year stretch from 1952 to 1967, Blue Note Records recruited musicians and promoted hard bop described by Yanow as "classy." A critical album that cemented hard bop's mainstream presence in jazz

2275-461: The jazz scene of the early '50s, which was the Birdland scene — you hire Phil Woods or Charlie Parker or J. J. Johnson , they come and sit in with the house rhythm section , and they only play blues and standards that everybody knows. There's no rehearsal, there's no thought given to the audience. Both Horace and Art knew that the only way to get the jazz audience back and make it bigger than ever

2340-425: The jazz world, particularly saxophonists Joe Henderson and Wayne Shorter ; Morgan formed a "long-standing partnership" with the latter. Meanwhile, in the late 1950s to early 1960s John Coltrane was a prominent saxophonist within the hard bop genre, with albums such as Blue Train and Giant Steps exemplifying his ability to play within this style. His album Stardust (1958), for instance, included on trumpet

2405-550: The lack of jazz on radio and TV, saying that more people, and particularly African Americans, would have listened to soul jazz had it received as much exposure as rock music. The tenor saxophone player recorded a number of soul jazz albums throughout the 1960s, including Never Let Me Go (1963) with his wife Shirley Scott. Jazz critic Thom Jurek noted that on the recording "the organ acts as the testifying pulpit from which to speak, and Turrentine not only speaks, he weeps and whispers and wails." Turrentine's following album, A Chip Off

2470-436: The last period in which jazz effortlessly attracted the hippiest young black musicians, the most musically advanced, those with the most solid technical skills and the strongest sense of themselves, not only as entertainers but as artists." In the same text he laments hard bop's "many detractors and few articulate defenders," describing some of the comments made by its critics as "derogatory cliches." Alternatively, Yanow suggests

2535-426: The later '60s experimented with popular songs and larger ensembles, particularly on his album Tobacco Road (1967). In contrast, former McDuff sideman and guitarist Pat Martino utilized an organ trio format during the late 1960s, with the live Young Guns (2014) album recorded at Club 118 in 1968 and 1969 featuring Gene Ludwig on organ and Randy Gelispie on drums. Among the best-known soul jazz recordings from

2600-629: The mid-1950s, "the bop world clearly was not the 'closed' circle it had been in its earliest days." This coincided with a competitive spirit among bop musicians to play with "virtuousity and complexity," along with what Ake calls "jazz masculinity." The broadening influence of hard bop coincided with a generation of jazz pianists who rose to prominence in the late 1950s – among them Tommy Flanagan , Kenny Drew , and Wynton Kelly – who took "altered" approaches to bebop. Although these musicians did not work exclusively or specifically within hard bop, their association with hard bop saxophone players put them within

2665-533: The mid-1960s could be described as both hard bop and soul jazz. Morgan hired bop musicians for the album but recorded soul-influenced material, for instance on the album Cornbread (1965). Other soul jazz musicians had their roots almost entirely in soul and blues. Organist Jack McDuff, for example, was known for his particularly bluesy style, which enabled him to collaborate with young jazz talents including saxophonist Johnny Griffin and guitarist George Benson . McDuff's band focused on "groove-centric" music but in

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2730-464: The next decade. Davis led other jazz musicians toward the fusion genre, particularly other trumpet players. For example, Donald Byrd's shift toward commercial fusion and smooth jazz recordings of the early 1970s, while celebrated within some circles, was considered a "betrayal" by fans of hard bop. His album Black Byrd (1973), Blue Note's most successful album, neared #1 spot on the R&;B charts despite

2795-402: The opposition of jazz purists. However, in 1985, the filmed concert One Night with Blue Note brought together thirty predominantly hard bop musicians including Art Blakey, Ron Carter , Johnny Griffin, and Freddie Hubbard. Following fusion's decline, younger musicians started a bop revival, the best-known proponent of this being trumpeter Wynton Marsalis . The revival was a "resurgence" by

2860-597: The phrase was originated by music critic and pianist John Mehegan , jazz reviewer of the New York Herald Tribune at that time. Hard bop first developed in the mid-1950s, and is generally seen as originating with the Jazz Messengers , a quartet led by pianist Horace Silver and drummer Art Blakey . Alternatively, Anthony Macias points to Detroit as an early center in the rise of bop and hard bop, noting Detroit musicians Barry Harris and Kenny Burrell and

2925-607: The quintessential hard bop album Moanin' , with the album pioneering in soul jazz. Golson and Morgan formed their own bands and produced further records in the hard bop genre: Golson's Jazztet with Art Farmer on trumpet recorded the album Meet the Jazztet in 1960, which was given a five-star rating by AllMusic , and Morgan explored hard bop and sister genres in records like The Sidewinder , known for its "funky, danceable groov[e] that drew from soul-jazz, Latin boogaloo , blues, and R&B." Morgan's albums attracted rising stars in

2990-743: The rapid rise of the CTI label, soul jazz moved toward smooth jazz and popular music of the day, with the label's founder Creed Taylor remarking that his original goal of creating jazz for listening had "backfired" into the development of background music. Others pushed the boundaries of soul jazz to the extent it became fused with other genres. Tenor saxophonist Eddie Harris switched to the electric saxophone for his album titled The Electrifying Eddie Harris (1968). His experiments in "funk-influenced fusion, outside improvisations, bizarre electronic effects, new crossbreedings of traditional instruments, blues crooning, and even comedy," according to Steve Huey, "fell outside

3055-506: The shift from bop to soul jazz was not clearly defined, with Horace Silver releasing hard bop album The Jody Grind in 1966, and the more soul-influenced Serenade to a Soul Sister – starring Turrentine – in 1968. The latter album was described by Steve Huey as "one of the pianist's most infectiously cheerful, good-humored outings." Silver wrote in the album's liner notes that he believed his music should avoid "politics, hatred, or anger." Tenor saxophonist Hank Mobley took even longer to make

3120-402: The shift, playing primarily within the hard bop genre until 1968, when he recorded Reach Out! with a light soul jazz feel. His following album The Flip (1969) blended soul jazz and hard bop on its title track, according to Jurek. Other jazz artists, such as Lee Morgan, wavered in and out of the soul jazz genre. Drawing influence from the reliably hard bop Jazz Messengers, Morgan's albums of

3185-525: The subgenre "usually begins with the bass player" who "take[s] a strong bass line, establish[es] a steady groove between the bass and drums", before the band can "embellish that groove with riffs and melody lines". Jazz pianist Horace Silver stated that "[f]unky means earthy and blues-based. It might not be blues itself, but it does have that 'down-home' feel to it. Soul is basically the same, but there's an added dimension of feeling and spirit." Roy Carr has described soul jazz as an outgrowth of hard bop, with

3250-410: The terms "funk" and "soul" appearing in a jazz context as early as the mid-1950s to describe "gospel-informed, down-home, call-and-response blues". Carr has also noted the influence of Ray Charles ' small group recordings (which included saxophonists David "Fathead" Newman and Hank Crawford ) on Horace Silver , Art Blakey , Cannonball Adderley . In his view, David Sanborn and Maceo Parker are in

3315-626: The two volumes of the Blue Note albums A Night at Birdland , also from 1954, recorded by the Jazz Messengers at Birdland months before the Davis set at Newport. Clifford Brown , the trumpeter on the Birdland albums, formed the Brown-Roach Quintet with drummer Max Roach . Among the pianists in the band were Richie Powell and Carl Perkins , both of whom died at a young age. David Ake notes that by

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3380-481: Was A Blowin' Session (1957), including saxophonists Johnny Griffin , John Coltrane, and Hank Mobley; trumpeter Lee Morgan; pianist Wynton Kelly; bassist Paul Chambers ; and Art Blakey. Described by Al Campbell as "one of the greatest hard bop jam sessions ever recorded" and "filled with infectious passion and camaraderie," it was the only studio session ever recorded including all three saxophonists. It cemented "Coltrane's ability to navigate complex chord changes over

3445-470: Was a hit record , as was the accompanying single " Compared to What ", with both selling millions of units. Soul jazz began to mold into jazz fusion by the late 1960s, with musicians such as Turrentine moving to the CTI fusion label in the early 1970s and free jazz saxophonist Albert Ayler moving into jazz-rock during the late 1960s before his untimely death in 1970. With the temporary decline of Blue Note and

3510-417: Was a jazz fusion band formed in 1988. It evolved out of Weather Report . Their style could be described as a combination of unusual grooves , driving and swinging rhythms and many borrowings from different music cultures. Zawinul himself stated that he gave the band its name due to a syndicate bearing more resemblance to a family than "just" a band. After the death of Zawinul in 2007, several members of

3575-402: Was a longtime member of Miles Davis' band, which bridged the gap between hard bop and modal jazz with albums such as Milestones and Kind of Blue . These albums represented a transition toward more experimental jazz, but Davis maintained core ideas of hard bop, such as the "call-and-response theme" found on one of Kind of Blue 's best-known tracks, " So What ." The earlier album Milestones

3640-409: Was an Austrian jazz and jazz fusion keyboardist and composer. First coming to prominence with saxophonist Cannonball Adderley , Zawinul went on to play with Miles Davis and to become one of the creators of jazz fusion , a musical genre that combined jazz with rock. He co-founded the groups Weather Report and The Zawinul Syndicate . He pioneered the use of electric piano and synthesizer , and

3705-570: Was described as "indebted to hard bop" due to its "fast speeds, angular phrases and driving rhythms." In the early 1960s, Joe Henderson formed a band with Kenny Dorham , which recorded for Blue Note Records, and played extensively as a sideman in the bands of Horace Silver and Herbie Hancock ; however, he received less recognition after he moved to San Francisco and began recording for Milestone . Other hard bop musicians went to Europe, such as pianist Bud Powell (elder brother of Richie Powell) in 1959 and saxophonist Dexter Gordon in 1962. Powell,

3770-453: Was discovered they had to do one more album to fulfill their contract with CBS Records. This Is This! therefore became the band's final album. In 1991, Zawinul was awarded an Honorary Doctorate of Music from Berklee College of Music and on this occasion performed with a group consisting of Matthew Garrison , Torsten de Winkel , Abe Laboriel Jr. and Melvin Butler. The Zawinul Syndicate

3835-539: Was doing in a more rock oriented format. However, Zawinul started making changes with their third album, Sweetnighter . Funk elements such as bass guitar and wah-wah pedal began to be introduced to the band's sound. With the fourth album, Mysterious Traveller , the musical forms were composed similar to classical music, and the combination of jazz harmonies with 1970s groove helped move the band into its most commercially successful period. The band's biggest commercial success came from Zawinul's composition " Birdland " on

3900-457: Was equally at home in rhythm & blues settings as more modern contexts," he "provided a link" between big band swing and soul jazz. Soul jazz continued to develop in the late 1950s, reaching public awareness with the release of The Cannonball Adderley Quintet in San Francisco . Cannonball Adderley noted: "We were pressured quite heavily by Riverside Records when they discovered there was

3965-579: Was named "Best Electric Keyboardist" twenty-eight times by the readers of DownBeat magazine. Zawinul grew up in Vienna, Austria. Accordion was his first instrument. When he was six or seven, he studied clarinet, violin, and piano at the Vienna Conservatory ( Konservatorium Wien ). During the 1950s he was a staff pianist for Polydor . He worked as a jazz musician with Hans Koller , Friedrich Gulda , Karl Drewo , and Fatty George . In 1959 he moved to

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4030-589: Was notable for "spare, funky piano riffing and tight, focused solo statements" that enabled Hancock to "begin pushing the boundaries of hard bop." The 1960s saw Hancock and trumpeter Lee Morgan's compositions be used in TV, with " Maiden Voyage " by Hancock appearing in a Fabergé commercial and Morgan's "The Sidewinder" in a Chrysler commercial. Popularizations of jazz compositions, such as the renditions of "Watermelon Man" by Santamaria and Gloria Lynne , went further to make soul jazz appealing to Black audiences, particularly in

4095-500: Was to really make music that was memorable and planned, where you consider the audience and keep everything short. They really liked digging into blues and gospel, things with universal appeal. So they put together what was to be called the Jazz Messengers. David Rosenthal sees the development of hard bop as a response to both a decline in bebop and the rise of rhythm and blues: The early fifties saw an extremely dynamic Rhythm and Blues scene take shape.... This music, and not cool jazz,

4160-466: Was uncommon then for a black bandleader like Adderley to hire a white sideman like Mr. Zawinul and touring could be problematic. 'I often had to sit in the bottom of the car when we drove through certain parts of the South,' Mr. Zawinul said in a 1997 interview with Anil Prasad of Innerviews magazine. But, he added, with characteristic bravado, 'Those kinds of things never fazed me; I wanted to play music with

4225-452: Was what chronologically separated bebop and hard bop in ghettos. Young jazz musicians, of course, enjoyed and listened to these R & B sounds which, among other things, began the amalgam of blues and gospel that would later be dubbed ' soul music .' And it is in this vigorously creative black pop music, at a time when bebop seemed to have lost both its direction and its audience, that some of hard bop's roots may be found. A key recording in

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