Give a correct short answer to each question (Use whole sentences!). Read the attachment files to find the answer to the question. 1. Give a basic definition/description of “hard bop” as given on

For black perfor mers, it was the same old stor y: white musicians getting rich playing our music. Virtually the same thing happened in the swing era, but there was little uproar.

However things were different in postwar America. There was a new shift in black consciousness and a greater overall expectation of change. Many black musicians became openly resentful of their white counterparts, and black bandleaders were criticized if they hired a white musician. As the Civil Right Movement started to gain momentum in the 1950s, a new, urban and distinctly black music began to emerge. The new style was steeped in the music that was becoming increasingly popular in urban black neighborhoods: rhythm and blues . R & B was more danceable than bebop, but retained a strong influence fro m the blues and gospel music. When jazz musicians began to merge R & B and bebop, a new style emerged that became an answer for many black musicians to the cool style. It became known as hard bop. Because hard bop was patterned to some degree after R & B, it was by definition simplified somewhat from bebop. Harmony and rhythm became less complex, and melodies were often derived entirely from the blues scale. Other elements from gospel and the black church that were absent in cool jazz were used extensively , such as call & response and gospel harmony. Hard bop musicians did retain the bebop reliance on virtuoso improvisation, however. The most consistent and predominant characteristic of hard bop is the explosive power emanating from the rhythm section. Like R & B, the “groove” must be laid down with authority and drive. (It is no coincidence that two of hard bop’s greatest groups, the Jazz Messengers and the Clifford Brown/Max Roach Quintet were led or co -led by drummers.) Similarly, front line horn players -typically a trumpet and tenor sax -played with a hard edge to their sound. HARD BOP CHARACTERISTICS • Gospel and blues roots • Simpler harmonies, melodies and rhythms than bebop • Still featured virtuoso improvisation • Usually hard driving, powerful and sometimes explosive. • Horns are “brassy” and edgy • Rhythm section emphasizes strong, hard groove with a slight R & B tinge • Typical group would feature a trumpet and sax up front with a rhythm section behind them, but groups led by guitarists (Wes Montgomery, Grant Green, Kenny Burrell, early George Benson) and organists (Jimmy Smith, Don Patterson) would usually be placed in the “hard bop” category ~ ( Hard Bop: from Larson, Thomas E. History and Tradition of Jazz. 3 rd ed. Kendall/Hunt, Iowa 2008) Hard Bop has many artists under its umbrella. Perhaps the two most closely associated with the style are Art Blakey, a drummer and bandleader who fronted a group called “The Jazz Messengers” for years, and Horace Silver, a funky pianist whose compositions have become jazz standards and really exemplify the style. Listen to “Sister Sadie” by Horace Silver while reading the following bio and notice the “funky” groove and rather slow moving chord progression. The jazz approach is still intact (head -solos -head) but the groove is funkier and, perhaps, “tougher”. Clifford Brown -trpt, Max Roach -drms, Richie Powell -pia. and George Morrow -bass, Unidentified -sax. New York, 1954