1950s in jazz

Fats Pichon on an LP cover in the 1950s

By the end of the 1940s, the nervous energy and tension of bebop was replaced with a tendency towards calm and smoothness, with the sounds of cool jazz, which favoured long, linear melodic lines. It emerged in New York City, as a result of the mixture of the styles of predominantly white jazz musicians and black bebop musicians, and it dominated jazz in the first half of the 1950s. The starting point were a series of singles on Capitol Records in 1949 and 1950 of a nonet led by trumpeter Miles Davis, collected and released first on a ten-inch and later a twelve-inch as the Birth of the Cool. Cool jazz recordings by Chet Baker, Dave Brubeck, Bill Evans, Gil Evans, Stan Getz and the Modern Jazz Quartet usually have a "lighter" sound which avoided the aggressive tempos and harmonic abstraction of bebop. Cool jazz later became strongly identified with the West Coast jazz scene, but also had a particular resonance in Europe, especially Scandinavia, with emergence of such major figures as baritone saxophonist Lars Gullin and pianist Bengt Hallberg. The theoretical underpinnings of cool jazz were set out by the blind Chicago pianist Lennie Tristano, and its influence stretches into such later developments as Bossa nova, modal jazz, and even free jazz. See also the list of cool jazz and West Coast musicians for further detail.

Hard bop, an extension of bebop (or "bop") music that incorporates influences from rhythm and blues, gospel music, and blues, especially in the saxophone and piano playing, developed in the mid-1950s, partly in response to the vogue for cool jazz in the early 1950s. The hard bop style coalesced in 1953 and 1954, paralleling the rise of rhythm and blues. Miles Davis' performance of "Walkin'" the title track of his album of the same year, at the very first Newport Jazz Festival in 1954, announced the style to the jazz world. The quintet Art Blakey and the Jazz Messengers, fronted by Blakey and featuring pianist Horace Silver and trumpeter Clifford Brown, were leaders in the hard bop movement along with Davis. (See also List of Hard bop musicians)

Modal jazz recordings, such as Miles Davis's Kind of Blue, became popular in the late 1950s. Popular modal standards include Davis's "All Blues" and "So What" (both 1959), John Coltrane's "Impressions" (1963) and Herbie Hancock's "Maiden Voyage" (1965). Later, Davis's "second great quintet", which included saxophonist Wayne Shorter and pianist Herbie Hancock, recorded a series of highly acclaimed albums in the mid-to-late 1960s. Standards from these sessions include Shorter's "Footprints" (1966) and Eddie Harris's "Freedom Jazz Dance" (1966).

In Brazil, a new style of music called bossa nova evolved in the late 1950s. The free jazz movement, coming to prominence in the late 1950s, spawned very few standards. Free jazz's unorthodox structures and performance techniques are not as amenable to transcription as other jazz styles. However, "Lonely Woman" (1959) a blues by saxophonist Ornette Coleman, is perhaps the closest thing to a standard in free jazz, having been recorded by dozens of notable performers.[1]

1950s jazz standards

1950–1954

Sonny Rollins played in Thelonious Monk's and Miles Davis's bands in the 1950s before starting a successful solo career. With Davis, he composed the standards "Airegin", "Doxy" and "Oleo".

1955–1959

1950

Main article: 1950 in jazz

Album releases

Deaths

1951

Main article: 1951 in jazz

Album releases

1952

Main article: 1952 in jazz

Album releases

Deaths

1953

Main article: 1953 in jazz

Album releases

Deaths

1954

Main article: 1954 in jazz

Album releases

Births

1955

Main article: 1955 in jazz

Album releases

Deaths

1956

Main article: 1956 in jazz

Album releases

Deaths

Births

1957

Main article: 1957 in jazz

Album releases

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Births

1958

Main article: 1958 in jazz
Jazz pianist Billy Strayhorn in 1958

Album releases

Deaths

Births

1959

Main article: 1959 in jazz

Events

Album releases

Deaths

Births

Awards

References

  1. 1 2 3 4 5 6 7 8 9 10 Listed in New Real Book, Volume I
  2. 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 Listed in The Real Vocal Book
  3. If I Were a Bell at jazzstandards.com - retrieved on April 29, 2009
  4. The Real Book, Volume II, p. 194
  5. Night Train at jazzstandards.com - retrieved on February 20, 2009
  6. The Real Book, Volume I, p. 304
  7. Straight No Chaser at jazzstandards.com - retrieved on April 24, 2009
  8. The Real Book, Volume I, p. 386
  9. 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 Listed in The Real Jazz Book
  10. Lullaby of Birdland at jazzstandards.com - retrieved on April 29, 2009
  11. The Real Book, Volume I, p. 256
  12. My One and Only Love at jazzstandards.com - retrieved on February 20, 2009
  13. The Real Book, Volume I, p. 288
  14. That's All at jazzstandards.com - retrieved on February 20, 2009
  15. The New Real Book, Volume II, p. 363
  16. When I Fall in Love at jazzstandards.com - retrieved on April 29, 2009
  17. The Real Book, Volume I, p. 439
  18. Here's That Rainy Day at jazzstandards.com - retrieved on February 20, 2009
  19. The Real Book, Volume I, p. 175
  20. Jordu at jazzstandards.com - retrieved on February 20, 2009
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  22. The New Real Book, Volume II, p. 175
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  32. The Real Book, Volume II, p. 111
  33. Fly Me to the Moon (in Other Words) at jazzstandards.com - retrieved on February 20, 2009
  34. The Real Book, Volume II, p. 135
  35. The New Real Book, Volume II, p. 106
  36. Joy Spring at jazzstandards.com - retrieved on April 29, 2009
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  38. Misty at jazzstandards.com - retrieved on February 20, 2009
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  40. Oleo at jazzstandards.com - retrieved on February 20, 2009
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  47. The New Real Book, Volume II, p. 26
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  49. Con Alma at jazzstandards.com - retrieved on February 20, 2009
  50. The Real Book, Volume I, p. 84
  51. Nica's Dream at jazzstandards.com - retrieved on April 29, 2009
  52. The Real Book, Volume I, p. 299
  53. The New Real Book, Volume II, p. 255
  54. Waltz for Debby at jazzstandards.com - retrieved on April 29, 2009
  55. The Real Book, Volume I, p. 432
  56. The Real Book, Volume I, p. 54
  57. I Remember Clifford at jazzstandards.com - retrieved on February 20, 2009
  58. The Real Book, Volume I, p. 192
  59. Bag's Groove at jazzstandards.com - retrieved on February 20, 2009
  60. The Real Book, Volume II, p. 30
  61. The Real Book, Volume I, p. 74
  62. Milestones at jazzstandards.com - retrieved on February 20, 2009
  63. The Real Book, Volume III, p. 277
  64. Afro Blue at jazzstandards.com - retrieved on February 20, 2009
  65. The Real Book, Volume I, p. 11
  66. All Blues at jazzstandards.com - retrieved on February 20, 2009
  67. The Real Book, Volume I, p. 18
  68. The Best Is Yet to Come at jazzstandards.com - retrieved on February 20, 2009
  69. Blue in Green at jazzstandards.com - retrieved on April 29, 2009
  70. The Real Book, Volume I, p. 51
  71. See page 20 of the Fall 1993 issue of Letter from Evans (http://www2.selu.edu/orgs/34skid/html/23.pdf) where Earl Zindars says "I know that it is [100-percent Bill's] because he wrote it over at my pad where I was staying in East Harlem, 5th floor walkup, and he stayed until 3 o'clock in the morning playing these six bars over and over."
  72. http://www.npr.org/templates/story/story.php?storyId=92185496 35m30s - On being asked about the issue by the interviewer (Marian McPartland), Evans said "The truth is I did [write the music]... I don't want to make a federal case out of it, the music exists, and Miles is getting the royalties"
  73. Desafinado at jazzstandards.com - retrieved on February 20, 2009
  74. The Real Book, Volume I, p. 108
  75. The Real Book, Volume I, p. 151
  76. Giant Steps at jazzstandards.com - retrieved on February 20, 2009
  77. The Real Book, Volume I, p. 157
  78. The New Real Book, Volume II, p. 121
  79. Goodbye Pork Pie Hat at jazzstandards.com - retrieved on April 24, 2009
  80. A Felicidade at jazzstandards.com - retrieved on February 20, 2009
  81. Killer Joe at jazzstandards.com - retrieved on April 29, 2009
  82. The Real Book, Volume II, p. 229
  83. The New Real Book, Volume II, p. 179
  84. The Real Book, Volume I, p. 49
  85. The Real Book, Volume I, p. 276
  86. My Favorite Things at jazzstandards.com - retrieved on February 20, 2009
  87. The Real Book, Volume I, p. 285
  88. Naima at jazzstandards.com - retrieved on February 20, 2009
  89. The Real Book, Volume I, p. 293
  90. The New Real Book, Volume II, p. 238
  91. The Real Book, Volume I, p. 306
  92. Sidewinder at jazzstandards.com - retrieved on April 29, 2009
  93. The Real Book, Volume I, p. 355
  94. So What at jazzstandards.com - retrieved on February 20, 2009
  95. The Real Book, Volume I, p. 364
  96. Take Five at jazzstandards.com - retrieved on February 20, 2009
  97. The Real Book, Volume I, p. 397
  98. Kaplan, Fred (2009-05-31). "How 1959 Changed the City and the World". New York Magazine. Retrieved 2010-01-02.

Bibliography

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