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. Charlie Parker exhibits an extraordinary talent on his alto saxophone solos that only few saxophonists can match. The piano playing is not quite noticeable, but it plays gently and leisurely in the background. The drums merely accompanies alongside Parker's alto sax playing and Gillespie's trumpet mutes/piano playing. Parker plays in such a lightening manner in his alto sax, it's unbelievable. The tempos in Koko are erratic, which makes it especially difficult to follow. The virtuosity of Koko sounds uncontrolled. In fact, the melodies are very unpredictable, but creative. The snare and bass drum playing by Max Roach at 2:07 is atypical because it plays in solitary. Overall, Koko is an uplifting recording that exhibits prominently rapid tempos and erratic sounding melodies.

Moving along, Boplicity is a cool/west coast style recording by the Miles Davis Nonet. Boplicity contains hardly any blues influence or any dynamic contrasts. Unlike bebop, Boplicity is much more relaxed and comforting. The solos are significantly expressive and vivid. The tempos of a typical cool/west coast style are moderate with a sedative attitude. The horn section in Boplicity is nimble and soft, not like the brassiness of a hard bop recording. At :59, a contrast from delicate ensembles of the horn moves to a tone that is a bit more adequate from the saxophone; the baritone saxophone exhibits a poignant sound. The melody and arrangement of Boplicity is moderately intricate. The horn ensemble is rich and heavy in texture. Boplicity exhibits an improvised sound, although its significance is on the arrangements. At 1:36, Davis trumpet solos with clarity. The overall tone and melody of Boplicity is light and uplifting, not at all volatile and explosive. Boplicity is the most soothing of them all.

Hard bop is a style that exhibits a hard-ridden and volatile sound from brass instruments, such as the horns and trumpets. Hard bop characteristics is a contrast to cool/west cool style. Hard bop bears influences from blues and gospel and puts more emphasis on virtuoso improvisation. Unlike the intricacy of bebop, hard bop is simpler. Backstage Sally, a recording by Art Blakey and the Jazz Messengers is a hard bop piece that displays a dynamic groove and brassy sound. The beginning starts with horns playing together with drums in a shuffle-like beat. The dynamics of the drums is very enthralling; in particular, drums are heavy hitting. The drums contrasts from hard hitting to moderate. Unlike the other songs, the drum in this hard bop recording is especially noticeable. At 1:03, tenor sax solos play in an expressive manner. The trumpet, trombone, and other brass instruments play in an especially brassy way, even the background riffs are noticeable brassy. Evidently, there is call-and-response between the rhythm section and front line instruments. Overall, Backstage Sally is heavily brassy, vibrant, and bluesy. Therefore, hard bop is predominantly brassy and dynamic-feel style.

Much like Backstage Sally, Boogie Stop Shuffle, a hard bop piece by the Charles Mingus Septet is brassy as well. The beginning is predominantly brassy with the horns. Boogie Stop Shuffle exhibit's 12-bar blues in a fast playing manner. The bass plays ostinato riffs, while piano plays in a bluesy manner. The horns play in a sharp, but dissonant sound; the horns will vary and contrast from sounding like a bebop-style to hard bop. The bass line is particular