Hard Bop

Hard bop generally involves a considerable gospel influence. Soul jazz takes this gospel influence to an even higher level. Some hard bop performances are not so obviously derived from gospel music, but are nonetheless considered hard bop because of the more vocal character of the solos and the use of more complex compositions than bebop.

A Jazz Improvisation Almanac
Unit: Jazz Styles
Chapter: Mainstream Jazz

Characterization of Hard Bop
Musicians

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Characterization of Hard Bop

Hard bop is another outgrowth of bebop that developed around the same time as cool jazz. Hard bop is associated with the East coast, as opposed to the West coast of cool jazz. Originally, the key distinction between bebop and hard bop was that the latter contains a more overt gospel and blues influence, both in rhythm and in harmony. Furthermore, the compositions of hard bop tended to be based on original chord changes rather than just blues progressions and pop songs, and hard bop musicians were more likely to create arrangements that used several horns in harmony, both during the head and for riffs as interludes or during solos.

The seminal recordings of hard bop were made by a combo led by drummer Art Blakey and pianist Horace Silver in the early 1950's. This group eventually became known as the Jazz Messengers, and after Silver left the group, Blakey continued to lead it over the next forty years, with a constantly changing cast of young musicians. Here is an excerpt from a recording featuring Silver and Blakey that emphasizes the gospel influence:

Max Roach (Copyright © 1998 Lester Levy)

The combo led by drummer Max Roach and trumpeter Clifford Brown was another early example of this style:

For some critics, the term hard bop is basically defined as the music of these groups. It is also generally acknowledged that those who played with these groups play hard bop when leading their own groups as well. For example, Lee Morgan played trumpet with Blakey for several years during the 1960's, and several recordings he made under his own name have a similar sound to that of the Messengers.

Sonny Rollins (Copyright © 1998 Lester Levy)

The term hard bop has come to include music without the overt gospel influences or the compositional devices typical of the genre. The main quality that distinguishes this music from bebop may be soloing that relies less on virtuosity and that takes on more of a vocal approach. For example, the following recording by saxophonist Sonny Rollins is considered by many to be hard bop:

Hard bop seems especially well-suited to singing. One particularly interesting vocal technique that is often associated with hard bop is known as vocalese. In vocalese, a lyricist takes a recorded jazz solo and writes words for it. Often, the syllables go by so fast that singing them is a real challenge, creating additional excitement beyond the melodic line itself or the lyrics. The vocal trio of Lambert, Hendricks, and Ross was one of the most popular jazz vocal groups, combining the gospel-like harmonies of hard bop with the techniques of vocalese:

The music known as "soul jazz" exploits gospel music more than most hard bop. The term "funk" was originally used to describe this music, although that term has come to take on other meanings. While soul jazz contains a greater gospel content, it often uses simpler compositional forms than most hard bop. The Hammond B-3 organ often replaces the piano (and sometimes the bass) in a soul jazz combo, and indeed, the sound of the organ exemplifies soul jazz. Here is an example of a soul jazz recording featuring organist Jimmy Smith: