201:". The police officers involved testified in court that Hope had been part of a group of five involved in a mugging. None of the other four, or any of the three alleged white victims, was identified by police; Hope stated that he had been running away with other passers-by after police started shooting, and was hit while trying to enter a hallway. The judge dismissed the charges against Hope, after which Hope's attorney described the shooting as an "outrage", and the charges as "an attempted frameup".
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472:, complained about the shortage of good musicians in Los Angeles, and lamented the lack of work opportunities in the few jazz clubs in the area. Hope left Los Angeles later in 1961. His wife recounted that he was no longer working with Land, had recording offers from companies based on the East Coast, and still preferred it to Los Angeles, so the couple and their baby daughter moved to New York.
249:, recalled a group of musicians, including Hope, who practiced and learned together in New York in the days of late-1940s bebop: "We'd go to Monk's house in Harlem or to Elmo's house in the Bronx, we just did a lot of playing. I played piano a bit, too, so I could hear what they were all doing harmonically. But if something stumped me, I'd ask and Elmo would spell out harmonies. We'd play
377:, but he left the record company's building before the session began and did not return. Hope claimed that he had gone to visit an aunt in hospital, but his absence was attributed by others to his heroin addiction. This had existed on and off for several years, and had led to at least one spell in prison. His drug problem and associated criminal record led to the withdrawal of Hope's
544:. Here, according to his wife, the treatment was not adjusted for the methadone program he was on, putting added strain on his heart. Hope was hospitalized with pneumonia in 1967 and died a few weeks later, on May 19, of heart failure. His wife was aged 31 at the time of his death. They had three children; their daughter, Monica Hope, became a singer.
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emerging style: somber, internally shifting chords in the introduction; punchy, twisting phrases in the solo; and the smoldering intensity that always characterized his best work." Hope's sense of time meant that his note placement was unpredictable, falling at various points either side of the beat but not exactly on it. His use of keyboard
652:, created a band named "Elmollenium" in 1999, which played Elmo's compositions. She transcribed recordings to recreate his arrangements, following an apartment fire that destroyed most of the original manuscripts. In September 2016, Lyman Place in the Bronx was co-named "Elmo Hope Way – Jazz Pioneer" in honor of the pianist.
664:: "they were practically categorized out of existence. Dismissed as second-stringers and copyists when they were both prolifically creative and highly original, they suffered a neglect that is only now beginning to be dispelled in the case of Nichols, and that still continues in the case of Hope." In 2010,
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on drums. In 1965, Hope was continuing to lead a trio and quartet in the New York area. Drug and health problems, however, meant that he played less often late in his career. His last recordings were made in 1966, but not released for 11 years. Hope's final concert was at Judson Hall in New York City
517:, featured performances exclusively by musicians who had at some point been imprisoned for drug-related crimes. Between these two sessions as leader, Hope was briefly in prison again for drug offenses. These and other album releases in the early 1960s did little to develop a wider awareness of Hope.
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Elmo Hope was born on June 27, 1923, in New York City. His parents, Simon and
Gertrude Hope, were immigrants from the Caribbean, and had several children. Elmo began playing the piano aged seven. He had classical music lessons as a child, and won solo piano recital contests from 1938. Fellow pianist
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More recordings as leader ensued following Hope's return to New York, but they did little to gain him more public or critical attention. Further drug and health problems reduced the frequency of his public performances, which ended a year before his death, at the age of 43. He remains little known,
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Hope, Powell, and Monk were considered by their contemporaries to be influences on each other early in their careers, and all, therefore, helped affect the development of jazz piano. Powell was known for horn-like right-hand playing supported by simple left-hand chords, which was something he had
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in 1942, and the three young men spent much time together. This was interrupted in March 1943, when Hope enlisted as a private in the U.S. Army. In the enlistment records, Hope was listed as being single, with dependents. He had been married and had a son, who died. The terms of enlistment stated
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Hope's playing was strongly based in the blues-influenced jazz tradition. He employed dissonant harmonies and spiky, contrasting lines and phrases. Rosenthal observed that Hope's playing on one of his compositions for the 1953 Donaldson–Brown recording illustrated "many elements of the pianist's
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taken from classical music, but retaining foundations in the blues. Atkins stated that Hope wrote highly structured, complex compositions that he played with improvisational flexibility. Mathieson pointed out that, despite the originality of Hope's compositions, they have been taken up by other
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technical athleticism" that, he argued, are valued in jazz, with Hope's more nuanced and intellectual approach, and suggested that the expansion of what is accepted in jazz since his death meant that his career should be re-evaluated. Seven years later, Palmer wrote on Hope and fellow pianist
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in 1980, who attributed the ignoring of Hope by most jazz fans and critics largely to the uniqueness of his style, which differed from that prevalent in jazz generally and in bebop in particular. Berg contrasted the "aggressive assertiveness, massive outpourings of raw energy and displays of
165:. A long-term heroin user, Hope had his license to perform in New York's clubs withdrawn after a drug conviction, so he moved to Los Angeles in 1957. He was not happy during his four years on the West Coast, but had some successful collaborations there, including with saxophonist
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on drums. The tracks recorded illustrated, according to critic Kenny
Mathieson in 2012, that Hope was interested in the architecture and aural detail of the music more than in individual virtuosity. A further Blue Note recording session 11 months later led to
599:, with a nine-bar A-section that "utilizes unconventional rhythms and weakly functional harmonies which obscure its phrases. Such other pieces as 'One Down', 'Barfly', and 'Tranquility' also offer fine examples of his idiosyncratic creativity."
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reviewer of Hope's final recordings, as reissued in 1996, wrote that "he's dynamically smoother than Monk, with a spidery, spacy touch. His harmonic and compositional approach is intricate in design and almost eerie in execution."
350:(bass), and Jones (drums). Some commentators have suggested that sessions such as this and the ones with Brown and Rollins were a hindrance to Hope's career: "He too often recorded with young, rising overshadowing talents" wrote a
197:, where doctors reported that the bullet had narrowly missed his spine. Six weeks later, after Hope had been released from the hospital, he appeared in court, charged with "assault, attempted robbery and violation of the
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magazine, with the comment that Hope's aesthetic was "a sort of bitter-sweet melancholy that seems to lie at the core of other jazzmen who sometimes find the world 'a bit much', as the
English say, to cope with."
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scene largely continued after he left the army, as he played principally in rhythm and blues bands for a few years. He was part of an octet led by trumpeter Eddie
Robinson late in 1947, and played briefly with
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states that Hope composed around 75 pieces of music, which "range in character from a tortuous nervousness to an introspective, semi-lyrical romanticism." One example, "Minor Bertha", has an unusual 35-bar
413:. In March of the following year, Hope became part of Counce's band, and went on to record two albums with the bassist. Hope also did some arranging for others around this time, including for Land's 1958
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said of Hope, "He was one of the foremost great ones to offer such a large dose for the sickness of music. And upon his ideals, and knowing help was needed, he gave to companions
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despite, or because of, the individuality of his playing and composing, which were complex and stressed subtlety and variation rather than the virtuosity predominant in bebop.
641:. Hawkins said in 2013 that Hope was important because he had a highly individual style but does not have the iconic status of pianists such as Monk. Modern jazz guitarist
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Visits to one hospital that was experienced in addressing the health problems of drug addicts left Hope feeling that he was being experimented on, so he went to another,
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Hope survived being shot by police as a youth to become a New York-based musician who recorded with several emerging stars in the early to mid-1950s, including trumpeter
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and many others.... uring this time, so much being produced, so much being brought forth by the musicians, still he being the actual cause." Tenor saxophonist
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summarized Hope's abilities: he had "a style that parallels Powell, was a pianist and composer of rare harmonic acuity and very personal interpretation."
464:), whom he met in California. As a jazz musician on the West Coast, Hope found his life frustrating. In his only major published interview (written up for
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also commented on Hope's touch, suggesting that it was unusual and light, and created a combination of delicacy and boldness that was all his own.
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190:, which was known for its music program. He developed an excellent understanding of harmony, and composed jazz and classical pieces at school.
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1757:(2nd edition). Grove Music Online. Oxford Music Online. Oxford University Press. Retrieved January 13, 2014. (Subscription required.)
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in 1957 and then began living in Los
Angeles. He soon found other musicians who had been influenced by bebop, including saxophonist
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Some of the companies that he recorded for at this stage in his career reduced Hope's dignity, in the view of musician and critic
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in
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Hope played with McLean again late in 1962. He also led a piano trio: early in 1963 it contained Ray Kenney on bass and
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in
January 1961 and entitled "Bitter Hope"), he criticized the lack of creativity in the then-popular church-influenced
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Bertha Hope has released albums dedicated to her former husband's compositions. She and her later husband, bassist
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musicians only rarely, as they are tied to Hope's idiosyncratic form of expression and remain difficult to play.
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observed that, "Like many of his piano generation, work is only now being properly studied and appreciated."
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This interest had expanded by June 1953, when Hope recorded in New York as part of a quintet led by trumpeter
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Hope's recovery was slow, and he did not go back to school. Instead, he played the piano in an assortment of
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was similarly flexible, as the listener could not predict when in a performance the level would change. The
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band, from 1948 to 1951, including for several recordings. This band toured all over the United States.
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was a childhood friend; together, they played and listened to jazz and classical music. Hope attended
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that month, with Hope as leader. The pianist recorded four albums in New York around 1961, including
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Several critics have advocated for a reassessment of Hope's career. One is Chuck Berg, writing for
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Unable to earn a living in New York because of the performance ban, Hope toured with trumpeter
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2566:""An Interview with Philly Joe Jones [Transcript]" (1986); W.A. Brower, interviewer"
484:. Their first gigs were arranged by Hope's old friend, Monk, as was a recording session for
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commented that Hope's compositions were strongly melodic, with some containing concepts of
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276:', that became highly influential. That 1953 session also helped Hope gain exposure with
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West, Hollie I. (October 25, 1970). "Flood of New Discs at Record Prices: Rhythm Mode".
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suggested that the six songs the band recorded were the first in a new form of jazz, '
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Some of those Hope met in Morris' band were also interested in jazz. One, saxophonist
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Palmer, Robert (August 30, 1985). "Spectrum of Jazz Piano
Masters in Village Clubs".
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2013:
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Mazzone, Tom (October 1976). "Elmo Hope – The All-Star
Sessions – Milestone M47037".
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worked on with Hope. Later pianists who have cited Hope as a major influence include
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419:. Hope also had his own band, with personnel that varied, and in 1959 he played with
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Womble, Bertha (February 9, 1963). "MacLean
Concerts Draw, Provide Excellent Jazz".
401:. Hope played with Rollins again, and, in October 1957, recorded a session known as
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In June 1961, Hope was part of Philly Joe Jones' quintet, which included trumpeter
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Back in Los Angeles in August 1959, Hope was pianist for Land's quintet album
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Palmer, Robert (November 22, 1987). "Jazz Injustice: Genius in the Shadows".
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Watrous, Peter (April 20, 1990). "Saxophone Virtuosos of Whisper and Howl".
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reported that, later, Hope's "hands were all shot up and he couldn't play".
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Atkins, Ronald (August 15, 1979). "Living in Hope: Ronald Atkins Reports".
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genres. He grew up playing and listening to jazz and classical music with
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Myers, Marc (August 28, 2010). "'Sweet Poppa Lou', Still in His Groove".
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around 1956, so he was no longer permitted to play in clubs in the city.
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around the same time. Hope had his first long-term association, with the
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and other establishments in the city. Hope and Powell met fellow pianist
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At the age of 17, Hope was shot by a New York policeman. He was taken to
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2483:"The Max Roach Trio Featuring the Legendary Hasaan". . Atlantic Records.
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The Penguin Jazz Guide: The History of the Music in the 1001 Best Albums
1488:. Associated Musicians of Greater New York. Retrieved January 13, 2014.
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has mentioned Hope's rhythms, phrasing, and compositions as influences.
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The year(s) indicated apply to the recording(s), not the first release.
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Scott, Ron (March 21, 2002). "Bertha Hope's Quartet Set for Brooklyn".
1723:. . Blue Note. Reproduced at hardbop.tripod. Retrieved August 23, 2014.
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Songs of the Unsung: The Musical and Social Journey of Horace Tapscott
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Berg, Chuck (March 1980). "Last Sessions/Hope from Rikers Island".
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In 1960, Hope married the pianist Bertha Rosemond (better known as
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The Drummer's Time: Conversations with the Great Drummers of Jazz
2532:"Jazz Notes: Hope Way, Green Film, Dee Dee Bridgewater, Sistas'"
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Broomer, Stuart (January/February 1997). "Elmo Hope: Omission".
1987:
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2520:"Celebrating Jazz Legend Elmo Hope on the Block Where He Lived"
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138:, and both were close friends of another influential pianist,
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Thelonious Monk – The Life and Times of an American Original
2592:"An Interview with Legendary Jazz Musician Philly Joe Jones"
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Tunzi, Kristina (January 6, 2007). "Deaths: Walter Booker".
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that Hope would be in the army "for the duration of the War
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from the same year, were, in the opinion of jazz historian
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Ouellette, Dan (July 2013). "Kurt Rosenwinkel: Dreamer".
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and Marcelle Daniels (vocals; separately) on some tracks
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did not release until 1962, along with the contents of a
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In January 1956, Hope recorded with another rising star,
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Sextet on most tracks, with Lawrence Jackson (trumpet),
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Verna, Paul (November 16, 1996). "The Final Sessions".
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Open Sky – Sonny Rollins and His World of Improvisation
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1030:(drums); some tracks trio, with Percy Heath and Jones
2452:"Alexander Hawkins: Retaining the Sense of Discovery"
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2222:"'Jazz on the West Side' Launches Fall Season Sat".
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Dimples, June (November 15, 1947). "Cocktale Sips".
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for them that year. This was followed by the sextet
2648:"Policeman Faces Lawsuit for Shooting Harlem Boy".
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2766:. Dennis Harrison's assessment of Hope's career.
2315:Madame Jazz: Contemporary Women Instrumentalists
2120:"Philly Joe Jones Joins Monk". (June 24, 1961).
2010:Jade Visions: The Life and Music of Scott LaFaro
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126:pianist, composer, and arranger, chiefly in the
2810:List of cool jazz and West Coast jazz musicians
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1993:
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122:(June 27, 1923 – May 19, 1967) was an American
2012:. pp. 89–90. University of North Texas Press.
1981:Price Guide To Collectable Jazz Album, 1949–69
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1078:(tenor sax), Freddie Douglas (soprano sax),
687:called Hope "the real genius of the piano."
2075:Tynan, John (January 1961). "Bitter Hope".
886:The Elmo Hope Quintet Featuring Harold Land
403:The Elmo Hope Quintet Featuring Harold Land
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2739:Hard Bop: Jazz and Black Music, 1955–1965
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2623:. jazzdisco. Retrieved January 12, 2014.
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824:Quartet, with Frank Foster (tenor sax),
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308:In August 1954, Hope was pianist for a
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2602:from the original on December 21, 2021
2518:Burford, Corinna (September 16, 2016)
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1999:
1983:. Iola, Wisconsin: Krause. p. 74.
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1050:Solo piano; some tracks are duo, with
832:(drums); quintet on some tracks, with
216:or other emergency, plus six months".
2823:
2670:The Biographical Encyclopedia of Jazz
2384:Cook, Richard; Morton, Brian (2010).
2260:
2258:
2066:
1726:
1467:
3143:20th-century American male musicians
2541:
2441:
1900:"Music as Written" (July 23, 1955).
1643:
1622:
1482:"Bertha Hope-Booker Interviewed for
2637:"Another Youth Shot by Policeman".
2317:. p. 116. Oxford University Press.
1749:Smith, Gregory E.; Kernfeld, Barry
1118:(drums; separately); released 1977
13:
2465:"Frank Hewitt: Never Stop Playing"
2255:
2196:Levin, Robert (December 6, 1962).
1664:American National Biography Online
14:
3189:
3158:African Americans in World War II
3118:Jazz musicians from New York City
2757:
2564:Dawkins, Arthur (June 10, 1985).
2450:Sharpe, John (January 15, 2013).
2008:LaFaro-Fernandez, Helene (2009).
1658:Kernfeld, Barry (February 2000).
507:(1961), and another, released as
2789:
2281:. p. 49. Duke University Press.
1803:. p. 31. Yale University Press.
1755:The New Grove Dictionary of Jazz
3138:20th-century American composers
2718:Cookin': Hard Bop and Soul Jazz
2621:"Elmo Hope Discography Project"
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1863:Cohen, Noal (August 28, 2013).
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524:on drums; in late 1964, it had
3133:20th-century American pianists
3088:Audio Fidelity Records artists
2776:Public radio broadcast on Hope
1751:"Hope, (St.) Elmo (Sylvester)"
930:Trio, with Jimmy Bond (bass),
690:
229:Hope's absence from the early
1:
3173:People from Morrisania, Bronx
2849:
2239:. (October 31, 1965). p. X17.
2235:"Who Makes Music and Where".
2226:. (November 14, 1964). p. 11.
1640:. Retrieved January 30, 2014.
1423:
1147:
188:Benjamin Franklin High School
176:
60:New York City, New York, U.S.
3113:American male jazz composers
2463:Conrad, Thomas (June 2005).
2430:Wynn, Ron (September 2004).
1248:Lou Donaldson Sextet, Vol. 2
1110:Trio, with John Ore (bass),
1018:(trumpet), Frank Foster and
695:
592:New Grove Dictionary of Jazz
515:a New York City jail complex
92:Musician, composer, arranger
7:
3148:20th-century jazz composers
3083:American male jazz pianists
2782:
2770:List of Hope's compositions
2741:. Oxford University Press.
2674:. Oxford University Press.
1753:. In Kernfeld, Barry (ed.)
1480:Weeks, Todd Bryant (2010).
750:Elmo Hope Quintet, Volume 2
547:
312:session led by saxophonist
302:Elmo Hope Quintet, Volume 2
10:
3194:
3108:Inner City Records artists
2764:"...the legend of St Elmo"
2716:Mathieson, Kenny (2012) .
2252:. (April 26, 1965). p. 39.
1666:. Oxford University Press.
1140:Last Sessions – Volume One
1128:Last Sessions – Volume Two
1100:Last Sessions – Volume One
476:Back in New York – 1961–67
416:Harold in the Land of Jazz
411:1957 Jazz Messengers album
379:New York City Cabaret Card
290:, which had Morris alumni
3128:Riverside Records artists
3098:Blue Note Records artists
2967:
2949:Sounds from Rikers Island
2866:
2857:
2737:Rosenthal, David (1993).
2277:Tapscott, Horace (2001).
1872:January 10, 2014, at the
1866:The Elmo Hope Discography
1064:Sounds from Rikers Island
510:Sounds from Rikers Island
501:. One album was entitled
334:the following year, with
104:
96:
88:
78:
64:
54:
44:
39:
30:
23:
3123:Prestige Records artists
2699:. Simon & Schuster.
1801:Jazz in Search of Itself
1766:Mattingly, Rick (1998).
533:in 1966. Fellow pianist
385:In Los Angeles – 1957–61
361:, for the saxophonist's
316:, which was released as
3178:People from East Harlem
3073:American jazz composers
2650:New York Amsterdam News
2639:New York Amsterdam News
2536:New York Amsterdam News
2313:Gourse, Leslie (1996).
2268:. Volume 108/46. p. 77.
2211:New York Amsterdam News
2152:New York Amsterdam News
2122:New York Amsterdam News
1835:The Wall Street Journal
1689:New York Amsterdam News
1591:New York Amsterdam News
1571:New York Amsterdam News
1534:New York Amsterdam News
1460:New York Amsterdam News
1384:Jazz at The Cellar 1958
513:(1963) in reference to
120:St. Elmo Sylvester Hope
74:New York City, New York
50:St. Elmo Sylvester Hope
3078:American jazz pianists
2691:Kelley, Robin (2008).
2534:(September 16, 2016).
2509:. Volume 119/1. p. 65.
2224:New Pittsburgh Courier
1979:Umphred, Neal (1994).
1944:. St. Martin's Press.
1938:Nisenson, Eric (2000)
1904:. Volume 47/30. p. 22.
1770:. p. 33. Hal Leonard.
666:The Penguin Jazz Guide
604:The Penguin Jazz Guide
40:Background information
16:American jazz musician
3029:(Curtis Counce, 1958)
2554:. Volume 47/3. p. 44.
2496:. Volume 80/7. p. 29.
2432:"Lafayette Gilchrist"
2079:. Volume 28/1. p. 61.
1638:The National Archives
264:and alto saxophonist
225:In New York – 1947–56
220:Later life and career
3026:Exploring the Future
2641:. November 30, 1940.
2372:. Volume 271. p. 36.
2109:Feather; Gitler 1999
1994:Feather; Gitler 1999
1929:, pp. 151, 208.
1799:Kart, Larry (2004).
1447:Feather; Gitler 1999
1331:Exploring the Future
1189:New Faces New Sounds
994:(drums; separately)
986:(bass; separately),
620:Legacy and influence
346:(tenor saxophones),
2815:List of jazz genres
2652:. January 18, 1941.
2388:. p. 144. Penguin.
2339:The Washington Post
1915:Buffalo Jazz Report
1607:, pp. 80, 147.
834:Charles Freeman Lee
762:Charles Freeman Lee
627:Lafayette Gilchrist
352:Buffalo Jazz Report
149:, and saxophonists
2957:The Final Sessions
2407:The New York Times
2250:The New York Times
2237:The New York Times
2170:The New York Times
1917:. Issue 32. p. 12.
1822:The New York Times
992:Granville T. Hogan
354:reviewer in 1976.
3103:Hard bop pianists
3048:
3047:
2893:Hope Meets Foster
2748:978-0-19-508556-3
2727:978-0-85786-620-2
2706:978-0-684-83190-9
2681:978-0-19-507418-5
2454:. All About Jazz.
2394:978-0-14-104831-4
2323:978-0-19-510647-3
2287:978-0-8223-2531-4
2198:The Village Voice
2032:, pp. 55–56.
2018:978-1-57441-273-4
1996:, pp. 328–9.
1950:978-1-250-09262-5
1809:978-0-300-10420-2
1776:978-0-634-00146-8
1678:, pp. 80–81.
1418:
1417:
1145:
1144:
814:Hope Meets Foster
631:Alexander Hawkins
486:Riverside Records
278:Blue Note Records
195:Sydenham Hospital
114:
113:
3185:
2877:Trio and Quintet
2844:
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2522:. The Bronx Ink.
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1084:Philly Joe Jones
1028:Philly Joe Jones
988:Philly Joe Jones
958:Philly Joe Jones
874:Philly Joe Jones
836:(trumpet) added
738:Philly Joe Jones
712:Personnel/Notes
700:
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643:Kurt Rosenwinkel
310:Prestige Records
296:Philly Joe Jones
206:taxi dance halls
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1874:Wayback Machine
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677:Thelonious Monk
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482:Freddie Hubbard
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374:The Happy Blues
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2978:Memorial Album
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2185:Mathieson 2012
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2111:, p. 329.
2096:
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2092:Mathieson 2012
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2065:
2063:, p. 276.
2053:
2049:Rosenthal 1993
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2030:Rosenthal 1993
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1986:
1971:
1969:, p. 312.
1967:Mathieson 2012
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1889:Mathieson 2012
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1847:Mathieson 2012
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1609:
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1505:
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1501:Mathieson 2012
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429:Lenny McBrowne
427:, and drummer
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262:Clifford Brown
255:Charlie Parker
247:Johnny Griffin
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1322:Curtis Counce
1317:
1314:
1313:
1310:
1307:
1305:
1304:
1300:
1295:
1294:Jackie McLean
1289:
1286:
1285:
1282:
1279:
1277:
1276:
1272:
1267:
1266:Sonny Rollins
1261:
1258:
1257:
1254:
1251:
1249:
1246:
1241:
1240:Lou Donaldson
1235:
1232:
1231:
1228:
1225:
1223:
1222:
1218:
1216:
1209:
1208:Lou Donaldson
1203:
1200:
1199:
1196:
1193:
1191:
1190:
1186:
1184:
1177:
1176:Lou Donaldson
1171:
1168:
1167:
1163:
1160:
1157:
1154:
1153:
1141:
1137:
1135:
1132:
1130:
1129:
1125:
1122:
1121:
1117:
1113:
1109:
1107:
1104:
1102:
1101:
1097:
1094:
1093:
1089:
1085:
1081:
1077:
1073:
1071:
1068:
1066:
1065:
1061:
1058:
1057:
1053:
1049:
1047:
1044:
1042:
1041:
1037:
1034:
1033:
1029:
1025:
1022:(tenor sax),
1021:
1017:
1016:Blue Mitchell
1014:Sextet, with
1013:
1011:
1008:
1006:
1005:
1001:
998:
997:
993:
989:
985:
981:
980:Paul Chambers
977:
974:
972:
971:
967:
964:
963:
959:
955:
954:Paul Chambers
951:
948:
946:
945:
941:
938:
937:
933:
929:
926:
924:
923:
919:
916:
915:
911:
907:
904:(tenor sax),
903:
899:
895:
893:
890:
888:
887:
883:
880:
879:
875:
871:
870:Paul Chambers
868:(tenor sax),
867:
863:
862:John Coltrane
859:
856:Sextet, with
855:
853:
850:
848:
847:
846:Informal Jazz
843:
840:
839:
835:
831:
827:
823:
821:
818:
816:
815:
811:
808:
807:
803:
799:
795:
793:
790:
788:
787:
783:
780:
779:
775:
771:
768:(tenor sax),
767:
763:
759:
757:
754:
752:
751:
747:
744:
743:
739:
735:
731:
729:
726:
724:
723:
719:
716:
715:
711:
708:
705:
702:
701:
688:
686:
682:
678:
674:
669:
667:
663:
658:
653:
651:
650:Walter Booker
646:
644:
640:
636:
632:
628:
617:
614:
610:
606:
605:
600:
598:
593:
583:
581:
577:
573:
569:
568:
562:
561:
556:
545:
543:
538:
536:
531:
530:Billy Higgins
527:
523:
522:Lex Humphries
518:
516:
512:
511:
506:
505:
500:
499:Robert Palmer
495:
493:
492:
487:
483:
473:
471:
467:
463:
458:
455:
454:
449:
445:
444:
439:
438:
432:
430:
426:
422:
418:
417:
412:
408:
404:
400:
399:Curtis Counce
396:
392:
382:
380:
376:
375:
370:
366:
365:
360:
359:Jackie McLean
355:
353:
349:
348:Paul Chambers
345:
341:
340:John Coltrane
337:
333:
332:
331:Informal Jazz
327:
326:
321:
320:
315:
314:Sonny Rollins
311:
306:
304:
303:
297:
293:
289:
288:
283:
279:
275:
271:
267:
266:Lou Donaldson
263:
258:
256:
252:
248:
243:
241:
237:
232:
217:
215:
211:
207:
202:
200:
196:
191:
189:
185:
174:
170:
168:
164:
163:Sonny Rollins
160:
159:Jackie McLean
156:
155:Lou Donaldson
152:
151:John Coltrane
148:
143:
141:
137:
133:
129:
125:
121:
109:
103:
99:
95:
91:
89:Occupation(s)
87:
84:
81:
77:
67:
63:
58:June 27, 1923
57:
53:
49:
43:
38:
34:
29:
22:
19:
3050:
3032:
3024:
3012:
3000:
2988:
2976:
2955:
2947:
2939:
2931:
2923:
2917:Here's Hope!
2915:
2907:
2899:
2891:
2883:
2875:
2859:
2850:
2805:Chamber jazz
2738:
2717:
2694:
2669:
2649:
2638:
2630:Bibliography
2629:
2628:
2616:
2604:. Retrieved
2586:
2574:. Retrieved
2569:
2559:
2551:
2535:
2527:
2514:
2506:
2501:
2493:
2488:
2468:
2459:
2435:
2426:
2414:
2406:
2401:
2385:
2369:
2364:
2357:The Guardian
2356:
2338:
2314:
2309:
2278:
2273:
2265:
2249:
2244:
2236:
2231:
2223:
2218:
2210:
2205:
2197:
2192:
2169:
2151:
2129:
2121:
2116:
2076:
2056:
2025:
2009:
1989:
1980:
1974:
1940:
1934:
1922:
1914:
1909:
1901:
1896:
1865:
1842:
1834:
1829:
1821:
1816:
1800:
1795:
1783:
1767:
1762:
1754:
1719:
1717:Gitler, Ira
1688:
1683:
1671:
1663:
1660:"Hope, Elmo"
1637:
1612:
1600:
1595:, p. 8.
1590:
1575:, p. 1.
1570:
1538:, p. 1.
1533:
1483:
1459:
1454:
1419:
1407:
1383:
1363:Contemporary
1355:
1329:
1301:
1273:
1247:
1219:
1187:
1139:
1126:
1098:
1088:Earl Coleman
1076:John Gilmore
1062:
1038:
1002:
984:Butch Warren
968:
944:Here's Hope!
942:
932:Frank Butler
920:
910:Frank Butler
884:
844:
812:
802:Willie Jones
784:
766:Frank Foster
748:
720:
670:
665:
656:
654:
647:
635:Frank Hewitt
623:
602:
601:
591:
589:
586:Compositions
565:
558:
551:
539:
528:on bass and
519:
508:
502:
496:
489:
479:
465:
459:
451:
441:
435:
433:
425:Scott LaFaro
414:
407:Pacific Jazz
402:
397:and bassist
388:
372:
362:
356:
351:
329:
323:
317:
307:
300:
294:on bass and
285:
259:
244:
228:
203:
199:Sullivan Law
192:
180:
171:
144:
119:
118:
106:Years active
70:(1967-05-19)
68:May 19, 1967
18:
3068:1967 deaths
3063:1923 births
3039:Harold Land
3002:Lights Out!
2933:Homecoming!
2885:Meditations
2797:Jazz portal
2664:Gitler, Ira
2606:January 22,
2576:January 22,
2570:Transcripts
2419:Kelley 2008
2302:Kelley 2008
2134:Kelley 2008
2061:Kelley 2008
1927:Kelley 2008
1788:Kelley 2008
1676:Kelley 2008
1617:Kelley 2008
1605:Kelley 2008
1555:Kelley 2008
1400:Harold Land
1376:Harold Land
1303:Lights Out!
1138:Details as
1052:Bertha Hope
1024:Percy Heath
1020:Jimmy Heath
1004:Homecoming!
978:Trio, with
952:Trio, with
902:Harold Land
900:(trumpet),
866:Hank Mobley
860:(trumpet),
858:Donald Byrd
796:Trio, with
786:Meditations
770:Percy Heath
764:(trumpet),
734:Percy Heath
732:Trio, with
691:Discography
542:St. Clare's
462:Bertha Hope
395:Harold Land
369:Gene Ammons
364:Lights Out!
344:Hank Mobley
338:(trumpet),
336:Donald Byrd
325:Meditations
292:Percy Heath
282:Alfred Lion
280:' producer
236:Snub Mosley
167:Harold Land
3057:Categories
3021:, 1956–58)
2990:Moving Out
2925:High Hope!
1424:References
1275:Moving Out
1148:As sideman
1134:Inner City
1106:Inner City
970:High Hope!
949:Celebrity
830:Art Taylor
774:Art Blakey
681:Bud Powell
580:Ira Gitler
504:High Hope!
391:Chet Baker
319:Moving Out
270:Marc Myers
240:Joe Morris
184:Bud Powell
177:Early life
136:Bud Powell
97:Instrument
46:Birth name
2941:Hope-Full
2880:(1953–57)
2851:Elmo Hope
2552:Down Beat
2507:Billboard
2494:Down Beat
2469:JazzTimes
2436:JazzTimes
2409:. p. C19.
2266:Billboard
2172:. p. H29.
2077:Down Beat
1902:Billboard
1837:. p. A20.
1824:. p. C19.
1420:Sources:
1414:Hifijazz
1253:Blue Note
1227:Blue Note
1195:Blue Note
1086:(drums);
1046:Riverside
1040:Hope-Full
1010:Riverside
927:Hifijazz
756:Blue Note
728:Blue Note
696:As leader
657:Down Beat
597:AABA form
560:Billboard
491:Hope-Full
470:soul jazz
466:Down Beat
453:Down Beat
268:. Critic
253:tunes or
25:Elmo Hope
3014:Sonority
2783:See also
2666:(1999).
2600:Archived
2359:. p. 10.
2341:. p. H5.
2213:. p. 14.
2200:. p. 10.
2154:. p. 23.
2124:. p. 20.
1870:Archived
1691:. p. 22.
1357:Sonority
1309:Prestige
1281:Prestige
1082:(bass),
1054:(piano)
1026:(bass),
960:(drums)
956:(bass),
934:(drums)
912:(drums)
908:(bass),
876:(drums)
872:(bass),
852:Prestige
828:(bass),
826:John Ore
820:Prestige
804:(drums)
800:(bass),
798:John Ore
792:Prestige
776:(drums)
772:(bass),
740:(drums)
736:(bass),
671:Pianist
555:dynamics
548:Artistry
526:John Ore
274:hard bop
251:Dizzy 's
132:hard bop
110:1940s–66
3041:, 1959)
3034:The Fox
3009:, 1956)
2997:, 1954)
2985:, 1953)
2970:sideman
2596:YouTube
1484:Allegro
1409:The Fox
1158:Leader
975:Beacon
892:Pacific
570:critic
437:The Fox
2960:(1966)
2952:(1963)
2944:(1962)
2936:(1962)
2928:(1961)
2920:(1961)
2912:(1959)
2904:(1956)
2896:(1955)
2888:(1955)
2869:leader
2745:
2724:
2703:
2678:
2392:
2321:
2285:
2016:
1948:
1807:
1774:
1336:Dooto
1164:Label
1161:Title
709:Label
706:Title
637:, and
405:which
161:, and
79:Genres
1393:1959
1369:1958
1341:1958
1315:1958
1287:1956
1259:1954
1233:1954
1201:1953
1169:1953
1123:1966
1095:1966
1059:1963
1035:1961
999:1961
965:1961
939:1961
917:1959
881:1957
841:1956
809:1955
781:1955
745:1954
717:1953
613:canon
609:fugue
257:'s."
231:bebop
128:bebop
100:Piano
2743:ISBN
2722:ISBN
2701:ISBN
2676:ISBN
2608:2010
2578:2010
2572:: 23
2390:ISBN
2370:Coda
2319:ISBN
2283:ISBN
2014:ISBN
1946:ISBN
1805:ISBN
1772:ISBN
1593:1941
1573:1941
1536:1940
1462:1940
1213:and
1181:and
1114:and
990:and
982:and
864:and
679:and
611:and
590:The
578:and
567:Coda
342:and
130:and
124:jazz
83:Jazz
65:Died
55:Born
3059::
2968:As
2867:As
2662:;
2598:.
2594:.
2568:.
2543:^
2476:^
2467:.
2443:^
2434:.
2377:^
2346:^
2330:^
2294:^
2257:^
2177:^
2159:^
2141:^
2099:^
2084:^
2068:^
2037:^
2001:^
1957:^
1881:^
1854:^
1728:^
1696:^
1662:.
1645:^
1636:.
1624:^
1580:^
1562:^
1543:^
1523:^
1508:^
1493:^
1469:^
1431:^
633:,
629:,
371:'
305:.
169:.
157:,
153:,
142:.
3037:(
3017:(
3005:(
2993:(
2981:(
2843:e
2836:t
2829:v
2778:.
2772:.
2751:.
2730:.
2709:.
2684:.
2610:.
2580:.
2538:.
2471:.
2438:.
2396:.
2325:.
2289:.
2020:.
1952:.
1811:.
1778:.
1486:"
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