Hubbry Logo
Bill HardmanBill HardmanMain
Open search
Bill Hardman
Community hub
Bill Hardman
logo
8 pages, 0 posts
0 subscribers
Be the first to start a discussion here.
Be the first to start a discussion here.
Bill Hardman
Bill Hardman
Bill Hardman
View on Wikipedia
from Wikipedia

William Franklin Hardman Jr. (April 6, 1933 – December 6, 1990) was an American jazz trumpeter and flugelhornist who chiefly played hard bop. He was married to Roseline and they had a daughter Nadege.[1]

Career

[edit]

Hardman was born and grew up in Cleveland, Ohio,[2] and worked with local players including Bobby Few and Bob Cunningham; while in high school he appeared with Tadd Dameron, and after graduation he joined Tiny Bradshaw's band.[2] Hardman's first recording was with Jackie McLean in 1956; he later played with Charles Mingus, Art Blakey and the Jazz Messengers, Horace Silver, and Lou Donaldson, and led a group with Junior Cook.[2] Hardman also recorded as a leader: Saying Something on the Savoy label received critical acclaim in jazz circles,[citation needed] but was little known to the general public. He had three periods in as many decades with Art Blakey's Jazz Messengers;[2] Hardman's misfortune was not to be with the Messengers at the time of their popular Blue Note recordings. Blakey occasionally featured him playing several extended choruses unaccompanied.

He died in Paris, France, of a brain hemorrhage at the age of 57.[1][3]

Playing style and legacy

[edit]

A crackling hard bop player with blazing technique, crisp articulations, and a no-frills sound, Hardman later incorporated into his sound the fuller, more extroverted romantic passion of a Clifford Brown – a direction he would take increasingly throughout the late-1960s and 1970s. He figures by and large among the top ranks of hardbop titans of the time,[citation needed] although he never managed a commercial breakthrough like many of his colleagues such as Donald Byrd, Freddie Hubbard and Lee Morgan.

Discography

[edit]

As leader

[edit]

With Brass Company

As sideman

[edit]

With Dave Bailey

With Art Blakey

With Walter Bishop Jr

With Junior Cook

With Lou Donaldson

With Charles Earland

With Curtis Fuller

With Benny Golson

With Eddie Jefferson

  • Come Along with Me (Prestige, 1969)

With Ronnie Mathews

With Jackie McLean

With Jimmy McGriff

With Charles Mingus

With Hank Mobley

With Houston Person

With Mickey Tucker

With Steve Turre

  • Viewpoints and Vibrations (Stash, 1987)

With Mal Waldron

With Reuben Wilson

With Dodo Marmarosa

  • Dodo Marmarosa - The Chicago Sessions (1961-1962)[2 LP] (Argo Jazz, LP2, 1962-11-02)

References

[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Bill Hardman

View on Grokipedia
from Grokipedia
''Bill Hardman'' is an American jazz trumpeter and flugelhornist known for his fiery yet lyrical improvisations in the hard bop style and his extended collaborations with Art Blakey's Jazz Messengers. Born in Cleveland, Ohio, Hardman began his professional career as a teenager, gigging with Tadd Dameron and touring with Tiny Bradshaw in the early 1950s before relocating to New York City. He quickly established himself through work with Charles Mingus, Jackie McLean, and Horace Silver, and joined Art Blakey's Jazz Messengers in the mid-1950s, contributing to the group's defining hard bop recordings during several periods spanning the 1950s through the 1970s. His crisp, brash tone, influenced by Clifford Brown and earlier bebop figures, made him a respected sideman in the hard bop and post-bop scenes, with additional notable associations including Lou Donaldson and co-leadership of a group with Junior Cook. Although he never achieved widespread fame, Hardman recorded as a leader for labels such as Savoy and Muse, and remained active in jazz circles into the late 1980s after relocating to Paris, where he performed regularly across Europe until his death from a cerebral hemorrhage in 1990.

Early life

Birth and childhood

William Franklin Hardman Jr., professionally known as Bill Hardman, was born on April 6, 1933, in Cleveland, Ohio. He grew up in Cleveland, his hometown.

Early musical development

Bill Hardman began his musical development in Cleveland, studying trumpet during his youth. His early influence included Louis Armstrong. He worked with local Cleveland musicians including Bobby Few and Bob Cunningham, participating in the city's active jazz community. During his high school years, Hardman appeared with composer and arranger Tadd Dameron, gaining early exposure to professional-level performance in the local scene.

Jazz career

Entry into professional jazz

Bill Hardman began his professional musical career early in life in his hometown of Cleveland. While still a teenager, he worked with composer and bandleader Tadd Dameron, gaining early exposure to advanced harmonic and arranging concepts in a jazz context. In the mid-1950s, he toured with rhythm and blues bandleader Tiny Bradshaw, broadening his experience across genres and ensemble touring. By the mid-1950s, Hardman had become active in the New York jazz scene, where he played in Jackie McLean's group and made his first recordings in 1956. He also performed with Charles Mingus's groundbreaking bands during the 1950s. These associations marked his transition into the core of modern jazz and hard bop circles. Hardman fit easily into the hard bop style, incorporating stylistic elements of trumpeters Dizzy Gillespie, Fats Navarro, Miles Davis, and Clifford Brown. Known as a fiery but lyrical improviser, he was constantly in demand among some of the more adventurous composers and group leaders of the 1950s. This period established his reputation as a reliable and expressive trumpeter capable of handling the demands of innovative hard bop ensembles.

Work with Art Blakey & the Jazz Messengers

Bill Hardman had multiple tenures with Art Blakey & the Jazz Messengers across three decades, contributing his trumpet and flugelhorn playing to the group's signature hard bop sound. His initial stint began in the mid-1950s, lasting into 1958, during which he served as the ensemble's primary trumpeter and participated in key recordings. Notable among these was the 1957 session where the Messengers backed Thelonious Monk for an Atlantic Records album, showcasing Hardman's bold and expressive style alongside Johnny Griffin on tenor saxophone. Hardman rejoined the Jazz Messengers from 1966 to 1969 and again in 1970, reinforcing the band's frontline during these later periods. In addition to his instrumental role, he composed for the group. His fiery, precise trumpet work and occasional flugelhorn performances helped maintain the Messengers' reputation for energetic, rhythmically driven hard bop throughout his various engagements with Blakey.

Solo recordings and leadership

Bill Hardman recorded five albums as a leader, primarily showcasing his hard bop trumpet and occasional flugelhorn work in small-group settings. His debut as a leader came in 1961 with Saying Something, recorded by the Bill Hardman Quintet and released on Savoy Records. Featuring Sonny Red on alto saxophone, the album earned critical acclaim in jazz circles for Hardman's forceful, uncompromising trumpet style, though it remained little known to wider audiences. After a prolonged hiatus from leading sessions, Hardman returned in the late 1970s with a series of albums for Muse Records. Home (1978) presented him in a septet format with trombonist Slide Hampton, tenor saxophonist Junior Cook, pianist Mickey Tucker, and others, blending hard bop energy with Brazilian influences and strong ensemble interplay. He followed with Focus (1980), featuring a sextet including Hampton and Cook alongside pianist Walter Bishop Jr., and Politely (1981), a quintet date with Cook, Bishop, and others exploring standards and originals in a classic hard bop vein. Hardman's final album as leader was What's Up (1989) on SteepleChase, a sextet effort reuniting him with Cook, Tucker, and bassist Paul Brown, emphasizing his crisp articulation and expressive range in the hard bop tradition influenced by Clifford Brown. These recordings, though limited in number, affirmed his capabilities as a bandleader drawing from his earlier experience with Art Blakey & the Jazz Messengers to present cohesive, technically adept small-group jazz.

Sideman roles and collaborations

Bill Hardman maintained an active career as a sideman, contributing his distinctive trumpet and flugelhorn playing to a wide range of hard bop and post-bop recordings across several decades. His work outside his primary affiliations showcased his versatility as a lyrical yet fiery improviser, drawing influences from earlier bebop trumpet masters while fitting seamlessly into diverse ensemble settings. Hardman began his professional recording work as a sideman with alto saxophonist Jackie McLean in the mid-1950s, appearing on several Prestige and New Jazz sessions during 1956 and 1957. He was also a member of bassist Charles Mingus's groundbreaking bands in the 1950s and 1960s, participating in Mingus's innovative projects that blended composition, poetry, and collective improvisation. His collaborations with alto saxophonist Lou Donaldson were particularly notable in the early 1960s, including the Blue Note album Sunny Side Up (recorded 1960, released 1961), where Hardman played trumpet in a quintet setting with Donaldson, pianist Horace Parlan, bassist Peck Morrison, and drummer Al Harewood. Hardman also appeared on other Donaldson albums during this period and into the mid-1960s, adding his precise and energetic solos to the saxophonist's soul-infused hard bop style. Hardman continued sideman work through the 1970s and 1980s, recording with organist Charles Earland on albums like Infant Eyes (1979) and Pleasant Afternoon (1981), as well as trombonist Curtis Fuller on Crankin' (1971) and Smokin' (1972). These later contributions underscored his reputation as a dependable and adaptable player in the hard bop circuit, even as he pursued his own leadership opportunities. In 1970, he co-founded the Brass Company, a large ensemble with Bill Lee and Billy Higgins known for elaborate arrangements.

Contributions to film and television

Music credits in television

Bill Hardman is credited as a trumpet musician in the 1976 television movie Umbria Jazz '76: Art Blakey's Jazz Messengers, a broadcast recording of a live performance by Art Blakey and the Jazz Messengers at the Umbria Jazz festival in Perugia, Italy. The production, directed by Gianni Paggi, captured the ensemble's set with Hardman performing trumpet alongside Blakey on drums, Cameron Brown on bass, David Schnitter on tenor saxophone, and others. This appearance represents one of Hardman's few documented contributions to television, drawing directly from his hard bop background and prior work with Blakey's Jazz Messengers to bring jazz performance to a broadcast audience. No additional television music credits, such as soundtrack compositions or other broadcast performances, are verified in primary industry sources.

Personal life

Personal background and relationships

Bill Hardman was married to Roseline Hardman, who was at his side during his later years. The couple had a daughter named Nadege. In 1988, Hardman relocated to Paris, where his wife and daughter resided with him.

Death

Circumstances and location of death

Bill Hardman died at the age of 57 in Paris, France, from a cerebral hemorrhage. His wife, Roseline, confirmed the cause of death, and he was survived by her and their daughter Nadege, both residents of Paris. He had relocated to Paris in 1988 and had been living there for several years, continuing to perform regularly in Europe up to the time of his passing. Contemporary reports vary on the precise date, with The New York Times obituary stating December 6, 1990, while other jazz discographies and references list December 5, 1990. He died in a Paris hospital, according to accounts from friends quoted by Reuters.

Legacy

Influence and posthumous recognition

Bill Hardman is regarded as a reliable hard bop trumpeter whose playing style drew from the Clifford Brown tradition. He was particularly noted for his fiery but lyrical improvisations. Despite his extensive sideman contributions to key hard bop recordings, Hardman never became famous compared to some contemporaries. Posthumously, he remains a respected but relatively obscure figure in jazz, with his recordings valued by hard bop enthusiasts.
Add your contribution
Related Hubs
User Avatar
No comments yet.