(Piano, b. 1928) Horace Silver stands with Art Blakey as the progenitor of the earthier development of bebop, known as hard bop. His Hartford-based trio was hired by Stan Getz in 1950 and he moved to New York the following year. He began recording for Blue Note in 1952, a relationship that would last for 28 years. He ...
The singing cowboys did not have the monopoly on country music on the silver screen, although it was their breed that first caught Hollywood’s attention. By the time the 1940s rolled around, several of Nashville’s top stars found that they could expand their careers by bringing their talents to the vast new audiences. Singing Stars In the earlier decade ...
(Vocals, guitar, 1932–99) Silverstein had just the right irreverent, satirical edge that the Outlaws movement was looking for, thanks to his background as a successful cartoonist for Playboy and a semi-successful folk singer. He wrote the comic fable ‘A Boy Named Sue’ for Johnny Cash (1969), the voodoo tale ‘Marie Laveau’ for Bobby Bare (1974), the ladies-man ...
(Drums, 1919–90) Art Blakey (also later known as Buhaina or simply Bu after he converted to Islam) led the quintessential hard bop group the Jazz Messengers across four decades from the late 1940s, and was a fervent advocate of the music he loved. He formed his first band in his native Pittsburgh, but moved to New York and ...
(Trumpet, flugelhorn, 1928–99) Art Farmer was largely responsible for popularizing the mellow-toned flugelhorn as a solo jazz instrument. A wonderfully lyrical player, he came up in Los Angeles’ Central Avenue jazz clubs in the 1940s and worked with Lionel Hampton, Horace Silver, Gerry Mulligan and alto saxophonist Gigi Gryce. In 1959–62 he and tenor saxophonist Benny ...
Bill Evans was one of the most lyrical and romantic of all jazz pianists. His distinctive lightness of touch and singing tone on the piano shone most brightly in his favoured trio settings with compatible bass players and drummers, including famous line-ups that featured Scott LaFaro and Paul Motian, and later Eddie Gomez and Marty Morrell. Evans was born ...
(Trumpet, b. 1963) Dave Douglas spans musical abstraction and gutsiness in acclaimed albums and a busy, international touring schedule. After attending Berklee School of Music, New England Conservatory and New York University, he studied with classical trumpeter Carmine Caruso and toured with Horace Silver. He has recorded for a variety of small labels, as well as ...
(Vocals, b. 1950) First heard in the 1970s with the Thad Jones-Mel Lewis Orchestra, then in the Broadway musicals The Wiz and Sophisticated Ladies and later in pop/jazz contexts, Bridgewater relocated to Paris in 1983. Leading a trio, she regained career momentum in the 1990s with tribute projects commemorating Billie Holiday, Horace Silver and Ella Fitzgerald ...
(Tenor and soprano saxophone, b. 1930) Sonny Rollins stands alongside John Coltrane as the major bop-rooted stylist on tenor saxophone. He cut his teeth in New York with bop giants including Charlie Parker, Bud Powell, Thelonious Monk and Miles Davis. He was a member of the Clifford Brown–Max Roach Quintet (1955–57), and has led his own bands since ...
(Trumpet, flugelhorn, composer, 1944–89) A lyrical soloist, composer and bandleader, Shaw’s career was cut tragically short by illnesses, including deteriorating vision, and a subway accident that cost him an arm. After early work with Willie Bobo and Eric Dolphy, Shaw played extensively in Europe with US expatriates Bud Powell, Kenny Clarke and ...
Since the dawn of the jazz era, the appeal of pop music had become increasingly intertwined with the demands of the dancefloor. As 1960s rock and soul became ever tougher and more orientated towards youth and hedonism it was only a matter of time before someone would come up with the ultimate dance groove. That someone was soul’s greatest innovator ...
Hard bop evolved out of bebop during the early 1950s but its rhythms were more driving and syncopated. Hard bop also tended to have a more full-bodied sound, a bluesy feel with darker textures and shorter improvised lines, and its chord progressions were usually composed rather than borrowed from popular tunes. Although Miles Davis made an early foray into ...
Soul jazz stood out from other previous jazz forms. Its melodies were simpler and more rhythmic compared to hard bop, and influences from gospel and R&B were evident. In more traditional jazz forms, soloists would follow walking basslines or metric cymbal rhythms. In soul jazz, they followed a whole groove, which encouraged a different style of phrasing. ...
The 1950s was a big decade for blues and jazz – arguably, the biggest. In the wake of international triumph and the stirrings of empire, the US enjoyed a boom of babies, cars, television, and urban and suburban development, that trickled down to embolden a stronger movement for civil rights for black people, inspired ...
The cultural momentum of the 1950s spilled directly into the 1960s – arguably, the change of the decade (and century) in jazz was 1959, when Dave Brubeck, Miles Davis, Ornette Coleman, John Coltrane, Gil Evans, Lambert, Hendricks & Ross, Jackie McLean, Charles Mingus, Thelonious Monk, Wes Montgomery, Sun ...
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Classical, Rock, Blues, Jazz, Country and more. Flame Tree has been making encyclopaedias and guides about music for over 20 years. Now Flame Tree Pro brings together a huge canon of carefully curated information on genres, styles, artists and instruments. It's a perfect tool for study, and entertaining too, a great companion to our music books.
David Bowie
Fantastic new, unofficial biography covers
his life, music, art and movies, with a
sweep of incredible photographs.