Cultural response to the Bebop Revolution was a varied as the

soloists themselves. In approaching the early to mid 1950s, two styles

would emerge and create immense buzz; particularly in their regions
of origin. Cool Jazz surfaced on the West Coast, and Hard Bop cooked
up in the East.
Cool Jazz was a relaxed, almost apathetic response to Bebop.
While borrowing from the harmonic complexity of Bebop, Cool Jazz
works tended to be more heavily arranged and favored more lax
tempos that warranted less intensity from the drums. One important
set of recordings is The Birth of the Cool sessions; Miles Davis, Gil
Evans, and Gerry Mulligan led these sessions. It featured a nonet with
very odd instrumentation, including tuba and French horn. Of these
recordings, the track Boplicity is rich in harmony and arranging that
one would find out of place among Bebop of the 1940s. The solos are
all woven into the texture, gesturing back to earlier Jazz. Cool Jazz is
very interesting in its design; modern harmonic context with ideas of
olden jazz.
Hard Bop was a very different response to Bebop. It didnt just
borrow from Bebop; it integrated Bebop with more blues and gospel
tradition. Hard Bop featured very energetic drum work and solos. Art
Blakeys album, Moanin, is a shining example in the sub genre. The
song, Moanin, borrows very strongly from the gospel/church

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tradition. It harkens back to call and response as its main motif, and
even goes as far as strongly implementing the Amen progression!
(IV-I) Lee Morgan, the trumpeter on Moanin, really shows the
powerful blues influence over players in this idiom through his
improvised solos.
Bebop created a domino effect that would shape Jazz to come
for decades. Two early responses to this were Cool Jazz and Hardbop,
two clashing but related genres. Despite their differences in timbre,
tempo, and outside influences, these two genres would both prove
more commercially successful as well as critically successful.