Editing Elmo Hope (section)

===In Los Angeles – 1957–61===
Unable to earn a living in New York because of the performance ban, Hope toured with trumpeter [[Chet Baker]] in 1957 and then began living in Los Angeles.{{sfn|Feather; Gitler|1999|p=328}} He soon found other musicians who had been influenced by bebop, including saxophonist [[Harold Land]] and bassist [[Curtis Counce]].{{sfn|Mathieson|2012|p=312}} Hope played with Rollins again, and, in October 1957, recorded a session known as ''The Elmo Hope Quintet Featuring Harold Land''<ref name="Grove" /> which [[Pacific Jazz]] did not release until 1962, along with the contents of a [[Ritual: The Modern Jazz Messengers|1957 Jazz Messengers album]].<ref>{{cite book|last=Umphred|first=Neal|title=Price Guide To Collectable Jazz Album, 1949–69|year=1994|location=Iola, Wisconsin|publisher=Krause|page=74}}</ref> In March of the following year, Hope became part of Counce's band, and went on to record two albums with the bassist.<ref name="ANBO" /> Hope also did some arranging for others around this time, including for Land's 1958 ''[[Harold in the Land of Jazz]]''.{{sfn|Mathieson|2012|p=312}} Hope also had his own band, with personnel that varied,{{sfn|Mathieson|2012|p=312}} and in 1959 he played with [[Lionel Hampton]] in Hollywood.<ref name="Grove" />{{sfn|Feather; Gitler|1999|pp=328–9}} Later that year, after performances in San Francisco with two quartets – the first containing Rollins, bassist [[Scott LaFaro]], and drummer [[Lenny McBrowne]];<ref name="Grove" /><ref name="LaFaro" /> the other with Rollins replaced by Land – Hope travelled north with the Land group to play at a venue in Vancouver.<ref name="LaFaro">LaFaro-Fernandez, Helene (2009). ''Jade Visions: The Life and Music of Scott LaFaro''. pp. 89–90. University of North Texas Press. {{ISBN|978-1-57441-273-4}}.</ref>

Back in Los Angeles in August 1959, Hope was pianist for Land's quintet album ''[[The Fox (Harold Land album)|The Fox]]'';<ref name="Grove" /> he also wrote four of the album's compositions.<ref name="ANBO" /> This recording, along with ''[[Elmo Hope Trio]]'' from the same year, were, in the opinion of jazz historian [[David H. Rosenthal|David Rosenthal]], illustrative of Hope's musical development on the West Coast.{{sfn|Rosenthal|1993|pp=55–56}} The trio album received a rare five-star review from ''[[Down Beat]]'' 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."{{sfn|Rosenthal|1993|p=56}}

In 1960, Hope married the pianist Bertha Rosemond (better known as [[Bertha Hope]]), whom he met in California.<ref name="Bertha">Weeks, Todd Bryant (2010). [http://www.local802afm.org/images/allegro/mar10/Bertha_Hope-Booker_Interview.pdf "Bertha Hope-Booker Interviewed for ''Allegro''"]. Associated Musicians of Greater New York. [Interview transcript.] Retrieved January 13, 2014.</ref>{{sfn|Kelley|2008|p=276}} As a jazz musician on the West Coast, Hope found his life frustrating.<ref name="Tynan" /> In his only major published interview{{sfn|Mathieson|2012|p=314}} (written up for ''Down Beat'' in January 1961 and entitled "Bitter Hope"), he criticized the lack of creativity in the then-popular church-influenced [[soul jazz]], 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.<ref name="Tynan">Tynan, John (January 1961). "Bitter Hope". ''Down Beat''. Volume 28/1. p. 61.</ref> Hope left Los Angeles later in 1961.{{sfn|Rosenthal|1993|p=56}}{{sfn|Feather; Gitler|1999|p=329}} 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.<ref name="Bertha" />