Cool Jazz

During the 1950s a group of musicians began reacting to the bebop style and began playing in a style that differed from bebop in many ways. Taking their cue from the 1949 Miles Davis recording, "Birth of the Cool," these musicians began playing with lighter timbres and at more moderate tempos than was common in bebop. More emphasis was placed on a melodic approach to soloing, rather than the harmonic approach of outlining the chord progressions also associated with bebop.

Carl Fontana is noted as one of the most important trombonists of this style. Born in 1928, Fontana got his start with the Woody Herman Orchestra and later also performed in groups led by Stan Kenton and Kai Winding. Fontana passed away on October 9, 2003.

When soloing Fontana plays softly into a microphone, which gives him a smooth tone and easy sounding speed. Fontana is also a pioneer of a technique of double tonguing known as "doodle tonguing." A brass musician usually double tongues by pronouncing the syllables "ta-ka, TA-kA" while playing. Doodle tonguing is a similar technique, however the difference is in that the syllables pronounced are closer to "doo-dull, doo-dull." The attack sounds smoother than a normal double tongue, which is better suited for jazz playing.

Fontana's doodle tonguing technique is extremely clear and well pronounced. Listen to this QuickTime example of Fontana playing "I Thought About You." In addition to noticing Fontana's double time passages, which are produced by doodle tonguing, listen for his relaxed swing feel and tasteful phrasing.

Fontana's solo on "A Beautiful Friendship" is a favorite among many his fans. This excerpt is a good example of how he develops melodic ideas as well as his medlodic approach. Also note his strong upper register and his fast passages played through both doodle tonguing and against the grain technique.

Other trombonists who deserve mention for performing in the cool jazz style include some who have already been mentioned, such as J. J. Johnson. Kai Winding, pictured here with Kenny Durham and Miles Davis, played on the "Birth of the Cool" session. Others, such as valve trombonist Bob Brookmeyer and slide trombonists Bob Enevoldsen and Milt Bernhart also were influential within this style of jazz.

Hard Bop

In the late 1950s and 1960s a number of musicians began reacting against some of the stylistic traits of cool jazz. These musicians liked to play with darker tones and articulated their lines much harder. They placed the emphasis on hard driving grooves, rather than complex melodies and harmonies. Trumpeter Clifford Brown, drummer Art Blakey (pictured here), and pianist Horace Silver were some pioneers of the hard bop style.

Born Locksely Wellington Hampton in 1932, Slide Hampton began his professional career working for Buddy Johnson and then later Lionel Hampton in the middle 1950s. Hampton's first major recognition came when he was hired by Maynard Ferguson in 1957. Hampton remains active today as a freelance trombonist and arranger.

Preferring a larger sound, Hampton plays a trombone with a larger bore than the average jazz trombonist does. This helps give him a warm and dark tone. He is fond of developing short melodic or rhythmic motives, as shown in this excerpt from his solo on "Solar."

Hampton also possesses excellent endurance, upper register, and the ability to play at fast tempos.

There are many more trombonists who have influenced others through their work in the hard bop style, such as J. J. Johnson, Curtis Fuller, Jimmy Knepper, Jimmy Cleveland, and Frank Rehak.