Mobley began playing tenor saxophone as a New Jersey teenager and gained experience in the bands of Max Roach and Dizzy Gillespie and was a founding member of the original Jazz Messengers. Mobley helped inaugurate the hard bop movement: jazz that balanced sophistication and soulfulness, complexity and earthy swing, and whose loose structure allowed for extended improvisations. Mobley’s solo lines were full of intricate rhythmic patterns that were delivered with spot-on precision, and he was no slouch harmonically either. Hank Mobley played a sweet tenor.

He could play – and often played – r&b-tinged jazz; indeed, along with trumpeter Lee Morgan he became one of the foremost practitioners of this paleo-fusion in the Fifties and Sixties. But he was not a hooting, booting, keening, screaming r&b artist. Instead, he built his solos with an easygoing inexorability. Dorham possessed a rare, soft and vulnerable sound that is soothing and instantly identifiable. Eschewing the typical trumpeter’s showmanship and flashiness, Dorham instead relied on his economical melodic logic in constructing poetic, lyrical improvisations with meaningful beginnings, middles, and ends.

At mid-tempos, Dorham distinctly articulated an exaggerated staccato swing feel, greatly contrasting his double-timed legato phrases. On ballads, Dorham would not stray far from the melody, his minimalist approach exposing the innate beauty of each melody he touched. His idiosyncratic use of grace notes, varied attacks on single notes, such as scooping underneath or bending above the pitch, and stuttering repetitions of notes were some of the personal nuances that decorated his deceptively complex improvisations. Art Tatum was among the most extraordinary of all jazz musicians, a pianist with wondrous technique who could not only play ridiculously rapid lines with both hands, but was harmonically 30 years ahead of his time; all pianists have to deal to a certain extent with Tatum’s innovations in order to be taken seriously. Able to play stride, swing, and boogie-woogie with speed and complexity that could only previously be imagined, Tatum’s quick reflexes and boundless imagination kept his improvisations filled with fresh (and sometimes futuristic) ideas that put him way ahead of his contemporaries.

Jazz Giant is a studio album by jazz pianist Bud Powell, released on Norgran in 1956, featuring two sessions that Powell recorded for Norman Granz in 1949 and 1950. The album was remastered and re-released on CD in 2001 by Verve as a Verve Master Edition. Discover releases, reviews, credits, songs, and more about Bud Powell - Jazz Giant at Discogs. Complete your Bud Powell collection.

Tatum was really known for the way that he explored harmonic complexities and unusual chord progressions. When improvising, Tatum would often insert totally new chord sequences (occasionally with a chord on each beat) into one or two measures.

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Sonny Stitt made more records as a leader than any other jazz instrumentatlist. Although eclipsed in his era by the extraordinary attention focused on Charlie Parker, Stitt was highly admired by both fans and musicians. Equipped with magnificent technique and iron chops, and gifted with an innate ability swing, he could turn on the music seemingly at will. Stitt could rip through an up-tempo bebop stanza, then turn around and play a shivering, captivating ballad.

Stitt was a virtuoso on the horn and relished competition on the bandstand. Stitt had the qualities essential to a tenor battler; he was implacable, indefatigable and inventive. Although his playing was at first heavily inspired by Charlie Parker and Lester Young, Stitt eventually developed his own style, one which influenced John Coltrane. Carl Fontana was one of the most talented and innovative trombonists of his generation. He became known as a lyrical, technically brilliant and inventive soloist.