Louis Hayes/Junior Cook - Ichi-Ban

The Eric Dolphy Interview (Leonard Feather, 1960s)

The Eric Dolphy Interview (Leonard Feather, 1960s)

John Lewis & Sacha Distel - Afternoon In Paris f/ Barney Wilen

HARD BOP ORIGINS: ART BLAKEY & HORACE SILVER

Calvin H. Neal, Jr.
January 13, 2017

          Contrary to popular belief, Bird and Dizzy were not the originators of bebop, but they carried the torch like champions. According to famed composer/ arranger/pianist/bandleader Mary Lou Williams, who was also a fixture at Minton’s Playhouse during the formative years of bebop, “Yes, Thelonious Monk, Charlie Christian, Kenny Clarke, Art Blakey and Idrees Sulliman (sic) were the first to play bebop. Next were Parker, Gillespie and Clyde Hart, now dead, who was a sensational on piano. After them came JJ Johnson, Bud Powell, Al Haig, Milt Jackson, Tadd Dameron, Leo Parker, Babs Gonzales, Max Roach, Kenny Dorham and Oscar Pettiford”. (Shapiro & Hentoff, 1955)

          Interestingly, two of the musicians that were mentioned in the Williams quote, Art Blakey and Max Roach, both drummers, were progenitors of hard bop. And  the two are further connected as both men’s early hard bop groups that featured the ill fated Clifford Brown as trumpeter.

          On the night of February 21, 1954, Blue Note Records recorded a live session at New York’s famed Birdland Club, which featured Art Blakey and his Quintet, recorded live by Rudy Van Gelder, this night music, released as Art Blakey Quintet: A Night At Birdland Vols. 1 & 2 is the session that started the reign of hard bop. That night, the Art Blakey Quintet consisted of a front line of alto saxophonist Lou Donaldson, who would becoming one of Blue Notes longest signed recording artist, and the lamentable trumpet sensation, Clifford Brown, who would also prove to be a driving force behind the birth of hard bop . Brown demonstrates why he was the rising star among trumpeters. His sound was articulate, muscular and fluent. Brown with his fiery new sound and youth was seemingly drawing the veterans away from bebop and closer to this “new thing”. The rhythm section featured pianist Horace Silver, (at this time Blakey’s collaborator, and would become one of the leading exponents of hard bop, leading his own groups after his 1956 split from Blakey), bassist Curly Russell and Blakey on drums.

          We know of Brown’s trajectory from here: http://jazzfromourperspective.blogspot.com/2017/01/hard-bop-origins-clifford-brown-max.html

          Art Blakey and Horace Silver went on to record hard bop, together and with their individual bands, for almost 50 years. Silver, longtime Blakey collaborator, was a leading exponents of hard bop, leading his own groups after his 1956 split from Blakey. Silver, born of Black and Portuguese descent in Norwalk, Connecticut in 1928 was discovered by Stan Getz and brought to New York in 1950. He and Blakey started playing and recording together in 1953 and co-led the original version of the Jazz Messengers in 1953 nominally led then, by Silver. After parting ways with Blakey in 1956, Silver led his own hard bop groups, usually quintet or sextets, for Blue Note from the 1950’s until the late 1970’-early 1980’s.

          The names that passed through the Silver camp are more than impressive. Blue Mitchell, Woody Shaw, Carmell Jones, Joe Henderson, Art Farmer, Junior Cook, Clifford Jordan, Michael and Randy Brecker all were at one time very integral parts of the Horace Silver Quintet. Three Silver sets from the hard bop era feature three different front lines and show the type of talent that Silver groomed. A January 13, 1958 session, again from Van Gelder’s Hackensack studios, Further Explorations by the Horace Silver Quintet, featured a front line of trumpeter Art Farmer and Chicago bred tenor sax man, Clifford Jordan. Silver, Teddy Kotick on bass and Louis Hayes on drums round out the rhythm section. The Outlaw and Pyramids are standouts in this session. Following a trip to the Orient, the quintet, featuring Silver’s longest tenured front line; Miami native Blue Mitchell on trumpet and fellow Floridian, Pensacola’s own Junior Cook on trumpet, Gene Taylor on bass and John Harris on drums, went this time to, the then new, Van Gelder’s studios on July 13 & 14, 1958 and laid down The Tokyo Blues, Van Gelder having a few years earlier moved from his parent’s home in Hackensack, into a full-fledged studio in Englewood Cliffs, NJ Silver. 

        

Then, in sessions that spanned October 31, 1963, January 28, 1964 and October 26, 1964, all recorded in Englewood Cliffs, gave us perhaps Silver’s most well-known project. Song For My Father is by far the most well recognized of Silver compositions. Song For My Father  featured two different versions of the Silver Quintet. Six of the ten tracks, including the intoxicating title track feature Silver, Carmell Jones on trumpet, Joe Henderson, tenor sax, Teddy Smith on bass and drummer Roger Humphries. The other four were Silver with his classic quintet, with the same personnel as on Tokyo Blues, only Roy Brooks had taken his place as regular drummer, replacing John Harris. 

           
       
              Blakey, born in Pittsburg Blakey and his Jazz Messengers, like Silver, played hard bop for the next five decades. Blakey as well groomed some of hard bops’ finest artists. Benny Golson, Lee Morgan, Wayne Shorter, Freddie Hubbard, Curtis Fuller, Bobby Timmons, Cedar Walton, Chuck Mangione, Keith Jarrett and the brothers Marsalis, Wynton and Branford, were all graduates of Blakey’s “Hard Bop Academy”.  The first Jazz messenger recording was led in name by Horace Silver. Horace Silver and the Jazz Messengers was recorded for Blue Note at the Hackensack, New Jersey studio of Rudy Van Gelder on November 13, 1954 and February 6, 1955. Silver and Blakey were joined by trumpeter Kenny Dorham, who was a star in bebop, tenor saxophonist Hank Mobley, referred to by jazz critic Leonard Feather as the “middleweight champion of tenor sax” and bassist Doug Watkins, a rising star who died tragically in an automobile accident at age 27 in 1962.  This incarnation brought a funky, soulful new sound, thanks to classic Silver compositions The Preacher and Doodlin’, both of which have become jazz standards. Silver and Blakey recorded with Hank Mobley for his March 27, 1955 session that was released as Hank Mobley Quartet (The Jazz Messengers sans Kenny Dorham). 

              

               The last Jazz Messengers recording with Silver, Watkins, Dorham and Mobley was a classic set recorded at the Café Bohemia club in New York. The next Jazz Messengers recording was a session Blakey recorded for Columbia on December 12 & 13, 1956 in NYC. Recorded November 23, 1955, The Jazz Messengers At The Cafe Bohemia, found the entire group in fine for and is a very fitting finale to this Messenger crew. Hard Bop, featured  Blakey’s new “Messengers”, little known Bill Hardman on trumpet, altoist Jackie McLean, New Jersey native Sam Dockery on piano and “Spanky” DeBrest on bass. Silver recorded two sessions for Epic Records in the summer of 1956. Silver’s Blue is the result of the sessions which took place July 2, 17 & 18, 1956. The personnel on these dates include Silver’s Jazz Messenger comrades Mobley and Watkins, while Donald Byrd and Joe Gordon shared trumpet duties, with Art Taylor and bebop legend Kenny “Klook” Clarke on drums. Silver and his Quintet first recorded for Blue Note on November 10, 1956 for the session that became 6 Pieces Of Silver. This Silver quintet was just the Jazz Messengers without Blakey and Dorham, as Louis Hayes was now on drums and the spirited Donald Byrd was playing trumpet. As with most Silver recordings of the era, this session introduced the classics Cool Eyes and one of Silver’s most famous compositions, Senor Blues.

          Blakey and his Messengers recorded for Pacific Jazz, Cadet, Vik(RCA Records), Jubilee, Atlantic and Bethlehem, replacing Mclean with Chicago tenor Johnny Griffin, before Blakey returned to Blue Note with a new band. Art Blakey and the Jazz Messengers, better known as Moanin’, recorded October 30, 1958, and was the first in a succession of classic Jazz Messenger hard bop classics. This incarnation of the Messengers was young sensation Lee Morgan on trumpet, composer/arranger/tenor sax man Benny Golson, the bluesy Bobby Timmons, composer of the classic Moanin’, on piano and the relatively unknown at the time Jymie Merritt on bass. (All four Messengers were Philadelphia natives) The bands of both Blakey and Silver went thru many lineup changes, but a couple deserve note. 

          Blakey’s Jazz Messengers featuring Benny Golson should be acclaimed not only for being the first of Balkey's Messenger's to record on Blue Note, but for the compositions of Benny Golson. During his tenure with Blakey, Golson was music director/arranger and main composer and his Messenger compositions include jazz standards Along Came Betty and Blues March. Golson composed other jazz standards such as I Remember Clifford, Stablemates, Whisper Not and Are You Real. The dynamic young trumpeter

          Lee Morgan, who had played with Dizzy’s band at the tender age of 18, had seven leader sessions of his own by the time he joined Blakey. His fierce, dominant hard bop trumpet made Morgan the hottest young trumpeter on the scene. The bluesy, gospel-inflected piano of Timmons and his compositions (Moanin, Dat Dere and This Here) made him another name to watch. Merritt keep things grounded with his strong, steady bass lines. When Golson left in 1959 to co-found The Jazztet with Art Farmer http://jazzfromourperspective.blogspot.com/search?q=the+Jazztet

          Wayne Shorter took over not only tenor duties, but also became music director and main composers. Shorter, whose own Blue Note leader sessions are must haves; left the Messengers with such standards as Lester Left Town, Free For All, Sleeping Dancer Sleep On, Tell It Like It Is and Children Of The Night. By 1961, trumpeter Freddie Hubbard, trombonist Curtis Fuller and pianist Cedar Walton joined Blakey, Shorter and Merritt. In 1964, another Philly native, Reggie Workman, replaced Merritt. Shorter stayed with Blakey for five years, leaving to join Miles Davis’ “2^nd classic quintet’, which also featured Herbie Hancock, Ron Carter and Tony Williams. 

          Curtis Fuller, Freddie Hubbard and Cedar Walton were also important composers during their stays with Blakey. Trombonist Fuller contributed classic compositions that included Arabia, The Egyptian and The High Priest. Cedar Walton’s memorable compositions include Mosaic and Ugetsu. Hubbard, who ably took over the trumpet chair from Lee Morgan, was responsible for Messenger hits Crisis and The Core. Blakey and a Jazz Messenger group recorded until 1989. Blakey died in October of 1990 at age 71. The final recording by a Horace Silver quintet was the 1998 Jazz Has a Sense of Humor recorded on the Verve label.

          Though only discussed among jazz lovers, Blakey’s Messengers and Silver’s quintets should be as well recognized as Trane or Miles.

HARD BOP MUSICANS BIOGRAPHIES ( A-C)

A - C

Park “Pepper” Adams III – born Highland Park, MI- 10/8/1930, died New York City, 9/10/1986 – baritone sax

Pepper Adams

Adams played with Kenny Burrell, Barry Harris and Donald Byrd in his native Detroit in the 1950’s. Had lengthy partnership with Byrd. Arguably top baritonist of hard bop era. 10 To 4 at the 5 Spot, (1958), Riverside.

Julian “Cannonball” Adderley – Born Tampa, FL-9-15-1928; died 8/8/1975, Gary, IN – alto sax

In his home state, Adderley was a school teacher by day and was well known on the local and regional jazz circuit by night, before coming to New York in 1955. Was a member of Miles Davis Quintet on front line with John Coltrane. One of the premier alto men of the era.  Fronted group, with brother Nat through early 1960’s. – Somethin’ Else (1958) Blue Note 

Julian "Cannonball" Adderley

Nat Adderley – born Tampa, FL-11/25/1931, died 1/2/2000 – cornet

Garnered attention as member of older brother Julian’s groups. Earned famed as player and composer of jazz standards, Work Song and Jive Samba. Introducing Nat Adderley, (1955) EmArcy

Curtis Amy – b Houston, TX-10/11/1929; tenor, alto & soprano sax, clarinet, flute

Early 1950’s with Dizzy Gillespie. In 1963 recorded with the illusive trumpeter Dupree Bolton the session that became, Katanga, which has become an underground hard bop classic.

Gene “Jug” Ammons – b. Chicago, IL 4/14/1925, d. 8/6/1975, Chicago – tenor sax

Son of Boogie-Woogie piano legend, Albert Ammons, “Jug”, was jailed for drug offenses during much of the 1950’s, yet still managed to star in a two-tenor group with Sonny Stitt, and also showcased his full, round sound in his own groups. Goodbye, (1974) Prestige

Dave Bailey – b. 2/22/1926, drums.

Played with Gerry Mulligan, Clark Terry-Bob Brookmeyer group and backed singer Chris Connor.

Bill Barron – b. 3/27/1927 Philadelphia, PA, d. 9/21/1989 Middletown, CT – tenor sax

From late 1940’s, played with Red Garland, Jimmy Heath, Cecil Taylor and Philly Joe Jones. Co-led groups with trumpeter Ted Curson in early/ mid 1960’s. Now Hear This (w/ Ted Curson) (1964) Audio Fidelity

Kenny Barron – b. Philadelphia, PA 6/9/1943 – piano

Younger brother of tenor man, Bill. Played with brother, Yusef Lateef and Philly Joe Jones in 1950’s and 1960’s. Later toured with Stan Getz.

Walter Bishop, Jr. – b. New York City 4/10/1927, d. 1/24/1998 NYC – piano

Played and recorded with Art Blakey, trombonist Kai Winding. Had own groups throughout 1960’s. Speak Low (1960) Muse

Harold “Tina” Brooks – b. Fayetteville, North Carolina 6/7/1932, d. 8/13/1974 New York City – tenor sax

A True “Forgotten Hero of Hard Bop”, Brooks was saddled with heroin addiction during his brief career, but left a nice body of work as an endearing legacy. In sessions with Blue Note as sideman for Jimmy Smith, Freddie Hubbard and Freddie Redd, or in his own Blue Note session featuring Jackie McLean, Blue Mitchell and Kenny Drew, Brooks’ hearty, soulful sound, featuring characteristic quotes, along with his success as a composer, leave Brooks one of the truly forgotten heroes of hard bop. Back To The Tracks (1960) Blue Note

Harold "Tina' Brooks

Art Blakey – b. Pittsburg, PA 10/11/1919, d. 10/16/1990 NYC –drums

One of the originators of hard bop. Blakey played with Fletcher Henderson and Billy Eckstein’s Big, when it featured Dizzy Gillespie and Sarah Vaughan. Began partnership with pianist Horace Siler in early 1950’s and soon they began recording as Jazz Messengers. Parting ways in 1956, Blakey went on to perform with evolving incarnations of the Jazz Messengers for 40 years. (AS did Silver with his “Quintets”) Moanin’ (1958) Blue Note; Indestructible (1964) Blue Note

Art Blakey

 

Walter Booker – b. Prairie View, TX 12/17/1933 – bass

Recorded with Donald Byrd for Blue Note, Sonny Rollins and Art Farmer during ’50-60’s. Earned BA in Psychology from Morehouse University.

Big Black (Danny Ray) – b. Savannah, GA, 1934 – percussion

Played and recorded with Jack Costanza in Miami in 1950’s and was regular Dizzy Gillespie band percussionist in 1960’s. Night Of The Cookers, Lee Morgan & Freddie Hubbard (1964) Blue Note

Clifford Brown – b. Wilmington, DE 10/30/1930, d. 6/26/1956 – trumpet

The rising star of jazz trumpet in the mid 1950’s, clean living Brown was a model contrary to the typical jazz musician’s live of drugs, drinking and vice. Brown was a key figure in the birth of hard bop, being with both Art Blakey and Max Roach in the genre’s beginning stages. His smooth, sharp tone made him the leading force in jazz. Killed in auto accident, along with pianist Richie Powell and Powell’s wife June 26, 1956.- Study In Brown (1955) EmArcy

Clifford Brown

 Ray Brown – b. Pittsburg, PA 10/13/1926, d. 7/12/2002

Veteran session player and longtime Oscar Peterson bassist. Played and recorded with Joe Pass, Jimmy Rowles and Ella Fitzgerald. Was also married to Ella Fitzgerald.

Kenny Burrell – b. Detroit, MI 7/31/1926 – guitar

Burrell played in local groups in the early 1950’s with Barry Harris, Donald Byrd, Yusef Lateef and Pepper Adams. Went to New York with Tommy Flanagan in 1956. Regular Blue Note  leader and sideman, with Stanley Turrentine, Jimmy Smith in 1950’s and 1960’s. – On View At The Five Spot Café (1959) Blue Note; Blue Lights (1958) Blue Note

Kenny Burrell

Donald Byrd – b. Detroit, MI 12/9/1932, 2/4/2013 – trumpet

Part of migration of Detroit musicians to New York in the 1950’s. Paired with fellow Detroiter Pepper Adams on many sessions. Prolific recording stint with Blue Note from late 1950’s – 1970’s. – Byrd In Hand (1958) Blue Note

Conte Candoli – b. Mishawaka, IN 7/12/1927, d. 12/14/2001 Palm Desert, CA – trumpet

Played in both Woody Herman and Stan Kenton big bands, along with his brother, trumpeter Pete Candoli. Settled in California and was busy as a sideman and leader throughout the 1950’s. Played with Howard Rumsey’s Lighthouse All-Stars. Was member of “The Tonight Show “ band in late 1960’s. Powerhouse Trumpet (1955) Bethlehem

Conte Candoli

Ron Carter – b. Ferndale, MI 5/14/1937 – bass

Noted jazz bassist as sideman, but also as member of the “2^nd Miles Davis classic quintet, with Hancock, Shorter and Williams. Carter recorded with Bob Brookmeyer, Eric Dolphy, Benny Golson and Herbie Hancock in the early 1960’s. Miles Davis, Miles In Tokyo (1964) Columbia

Paul Laurence Dunbar Chambers b. Pittsburgh, PA 4/22/1935, d. New York City 1/4/1969 – bass

Raised in Detroit with cousin, fellow bassist Doug Watkins, Chambers a member of Miles Davis group from 1955-63. Left Miles with Davis rhythm mates, pianist Wynton Kelly and drummer Jimmy Cobbs, who together played as Wynton Kelly Trio, to become hottest rhythm section in jazz, recording with guitarist Wes Montgomery and tenor legend Johnny Griffin. Was also a favorite of Blue Note Records founder Alfred Lion and played on Blue Note with Kenny Burrell, Sonny Clark, Kenny Dorham and John Coltrane’s one-off for Lion on the 1957 classic, Blue Train.  Blue Train, (1957) Blue Note

Conrad Yeatis “Sonny” Clark – b. Herminie, PA 7/21/1931, d. 1/13/1963, New York City – piano

Excellent hard bop pianist, Clark has yet to reach the recognition he deserves. Though racked by heroin addiction, Clark was an excellent sideman and leader. He played and recorded with Buddy DeFranco, Dinah Washington, Frank Rosolino, Howard Rumsey’s Lighthouse All-Stars and Tina Brooks. His Cool Struttin’ session is one of the highlights of the genre. Also an excellent composer, Clark died prematurely due to complications stemming from his addiction.- Cool Struttin’ (1958) Blue Note

Conrad Yeatis "Sonny Clark

Kenny (Klook) Clarke – b. Pittsburg, PA 1/9/1914, d. 1/26/1985 Paris, France – drums

Considered the father of modern jazz drumming, Clarke was a member of the group that was involved in the birth of bebop, at Minton’s Playhouse in Harlem, in the 1940’s with Thelonious Monk, and Dizzy Gillespie. A founding member of the Modern Jazz Quartet(MJQ), Clarke moved to Paris and teamed with Belgian pianist Francy Boland for many years in the 1960-70’s. Bohemia After Dark (1955) Savoy

Curtis Counce – b. Kansas City, MO 11/23/1926, d. 7/31/1963 Los Angeles – bass

One of first Black musicians associated with West Coast Jazz. Lead successful hard bop group in late 1958, recording for Contemporary Records. His quintet included Harold Land and Carl Perkins and Jack Sheldon. Sonority (1956) Contemporary

George Coleman – b. Memphis, TN 3/8/1935 – tenor sax

Played with Phineas Newborn, Jr. and Booker Little, in his native Memphis. During late 1950’s and early 1960’s, Coleman played with Little, Max Roach. Toured and recorded with Miles Davis 1962-64. – Miles Davis, My Funny Valentine (1964) Columbia

George Coleman

Johnny Coles – b. Trenton, New Jersey 7/13/1926, d. 12/21/1997 – trumpet

Coles played with Eddie “Cleanhead” Vinson, James Moody and recorded with Gil Evans. IN 1963, had leader session for Blue Note. Also toured with Charles Mingus during this period. – Little Johnny C (1963) Blue Note

Jimmy Cobb – b. Washington, D.C 1/20/1929 – drums

DC native Cobb played with Dinah Washington and Stan Getz early in his career. Was drummer for Miles Davis for 5 years and was drummer on classic Davis session, Kind Of Blue. In 1963, along with pianist Wynton Kelly and bassist Paul Chambers, the trio left the Davis group and formed Wynton Kelly Trio, at the time possibly, the top rhythm section in jazz. - Wes Montgomery, Smokin’ At The Half Note (1965) Verve ;Joe Henderson, Straight No Chaser (1968) Verve

Herman “Junior” Cook – b. Pensacola, FL 7/22/1934, d. 2/3/1992 New York City

Was tenor man in Horace Silvers’ “classic’ quintet from 1958-64; recorded with Blue Mitchell and own leader session. -  Junior’s Cookin’ (1961) Jazzland

Herman "Junior" Cook

John Coltrane – b. Hamlet, North Carolina 9/23/1926, d. 7/17/1967 – tenor and soprano sax

In some minds, Coltrane is greatest tenor ever. His musical style were ever evolving, yet his fierce, muscular, masculine sound never changed. “Trane” Played R’n’ B with Earl Bostic and also played with Johnny Hodges and Joe Webb early on. Gained earliest fame as member of Miles Davis’ first “classic quintet” and on front line with Cannonball Adderley with Miles during  Kind of Blue period. Along with pianist McCoy Tyner, bassist Jimmy Garrison and drummer Elvin Jones formed his own “classic quartet”, that was together for over 5 years. “A Love Supreme” is this group’s signature tune. – Blue Train (1957) Blue Note; Black Pearls (1958) Prestige; John Coltrane and Johnny Hartman (1963) Impulse; A Love Supreme (1964) Impulse

James Clay – b. Dallas, TX 9/8/1935, d. 1/1/1994 –tenor sax, flute

A Texas associate of Ornette Coleman, Clay made his recording debut on a session led by drummer Lawrence Marable, Tenorman, which featured Sonny Clark on piano. Recorded with Red Mitchell and Lorraine Geller in late 1050’s in California. – A Double Dose of Soul (1960) Riverside

Jimmy Cleveland – b. Wartrace, TN 5/31/1926, d. 8/23/2008 – trombone

Cleveland played in New York with Cannonball Adderley, Lionel Hampton and Clark Terry and recorded with Miles, Donald Byrd & Gigi Gryce and Gil Evans. Recorded five leader sessions for EmArcy. -  Jimmy Cleveland & His All-Stars (1955) EmArcy

William “Sonny” Criss – b. Memphis, TN 10/23/1927, d. 10/19/1977 – alto sax

Criss performed on Los Angeles’s famous Central Avenue in the 1940’s. Performed with Howard McGhee in Los Angeles. Recorded with Buddy Rich, Stan Kenton and own groups. – Portrait of Sonny Criss (1967) Prestige

William "Sonny" Criss

Bob Cranshaw – b. Evanston, IL 12/10/1923 – bass

Cranshaw recorded as sideman on Blue Note for Lee Morgan, Donald Byrd, Horace Silver Joe Henderson and Grant Green. Still active today. Grant Green, Solid (1964 Blue Note); Grant Green, Idle Moments (1964) Blue Note

Ted Curson – b. Philadelphia, PA 6/3/1935, d. 11/4/2012 – trumpet

Student of Jimmy Heath in Philadelphia. Recorded with Charles Mingus and co-led group with tenor saxophonist Bill Barron. Very good advanced hard bop player. – Fire Down Below (1962) Prestige

Ronnie Cuber – b. New York City, 12/25/1941 – baritone sax

Cuber was member of Newport Jazz Festival Youth Band in 1959, Played with Slide Hampton, Woody Herman and Maynard Ferguson bands.