Who Helped the Development of Bebop and Jazz an Overall Art Form

Subgenre of jazz music originated in the United states of america in mid-1940s

Bebop
Alto sax thespian Charlie Parker was a leading performer and composer of the bebop era. He is pictured here with Tommy Potter, Max Roach and Miles Davis at the Three Deuces club in New York Urban center.
Stylistic origins	Swing Kansas City jazz
Cultural origins	Mid-1940s, The states
Derivative forms	Advanced jazz post-bop wabap [fr]
Subgenres
Hard bop
Regional scenes
Us
Other topics
Jazz piano Progressive music Hipster (1940s subculture)

Bebop or bop is a style of jazz developed in the early-to-mid-1940s in the United States. The style features compositions characterized by a fast tempo, complex chord progressions with rapid chord changes and numerous changes of fundamental, instrumental virtuosity, and improvisation based on a combination of harmonic structure, the use of scales and occasional references to the melody.

Bebop adult every bit the younger generation of jazz musicians expanded the creative possibilities of jazz beyond the popular, dance-oriented swing music-manner with a new "musician's music" that was not as danceable and demanded shut listening.^[i] Every bit bebop was not intended for dancing, it enabled the musicians to play at faster tempos. Bebop musicians explored advanced harmonies, complex syncopation, contradistinct chords, extended chords, chord substitutions, asymmetrical phrasing, and intricate melodies. Bebop groups used rhythm sections in a style that expanded their role. Whereas the fundamental ensemble of the swing music era was the big band of up to fourteen pieces playing in an ensemble-based way, the archetype bebop group was a small combo that consisted of saxophone (alto or tenor), trumpet, piano, guitar, double bass, and drums playing music in which the ensemble played a supportive role for soloists. Rather than play heavily bundled music, bebop musicians typically played the melody of a composition (chosen the "head") with the accompaniment of the rhythm section, followed past a section in which each of the performers improvised a solo, then returned to the melody at the end of the limerick.

Some of the nearly influential bebop artists, who were typically composer-performers, are: alto sax histrion Charlie Parker; tenor sax players Dexter Gordon, Sonny Rollins, and James Moody; clarinet thespian Buddy DeFranco; trumpeters Fats Navarro, Clifford Brownish, Miles Davis, and Dizzy Gillespie; pianists Bud Powell and Thelonious Monk; electric guitarist Charlie Christian; and drummers Kenny Clarke, Max Roach, and Art Blakey.

Etymology [edit]

"In spite of the explanations of the origins of these words, players actually did sing the words "bebop" and "rebop" to an early bop phrase every bit shown in the following case."^[ii] Play(assist·info)

The term "bebop" is derived from nonsense syllables (vocables) used in scat singing; the first known example of "bebop" being used was in McKinney'south Cotton wool Pickers' "Four or Five Times", recorded in 1928.^[3] Information technology appears once again in a 1936 recording of "I'se a Muggin'" past Jack Teagarden.^[3] A variation, "rebop", appears in several 1939 recordings.^[3] The offset, known print appearance also occurred in 1939, but the term was little-used afterward until applied to the music at present associated with it in the mid-1940s.^[iii] Thelonious Monk claims that the original title "Bip Bop" for his composition "52nd Street Theme", was the origin of the name bebop.^[iv]

Some researchers speculate that it was a term used by Charlie Christian because it sounded like something he hummed along with his playing.^[v] Dizzy Gillespie stated that the audiences coined the name later hearing him scat the then-nameless compositions to his players and the press ultimately picked information technology up, using it every bit an official term: "People, when they'd wanna ask for those numbers and didn't know the name, would inquire for bebop."^[6] Another theory is that it derives from the cry of "Arriba! Arriba!" used past Latin American bandleaders of the period to encourage their bands.^[vii] At times, the terms "bebop" and "rebop" were used interchangeably. By 1945, the use of "bebop"/"rebop" every bit nonsense syllables was widespread in R&B music, for instance Lionel Hampton's "Hey! Ba-Ba-Re-Bop".^{[ citation needed ]} The bebop musician or bopper became a stock character in jokes of the 1950s, overlapping with the beatnik.^[8]

Instrumentation [edit]

Several bebop musicians headlining on 52nd Street, May 1948

The classic bebop combo consisted of saxophone, trumpet, double bass, drums and pianoforte. This was a format used (and popularized) by both Parker (alto sax) and Gillespie (trumpet) in their 1940s groups and recordings, sometimes augmented by an extra saxophonist or guitar (electrical or audio-visual), occasionally adding other horns (often a trombone) or other strings (usually violin) or dropping an instrument and leaving only a quartet.

Musical style [edit]

Bebop differed drastically from the straightforward compositions of the swing era and was instead characterized by fast tempos, asymmetrical phrasing, intricate melodies, and rhythm sections that expanded on their office as tempo-keepers. The music itself seemed jarringly different to the ears of the public, who were used to the bouncy, organized, danceable compositions of Benny Goodman and Glenn Miller during the swing era. Instead, bebop appeared to sound racing, nervous, erratic and oftentimes fragmented.

'Bebop' was a label that sure journalists afterward gave it, simply we never labeled the music. It was just modern music, nosotros would telephone call information technology. We wouldn't phone call information technology annihilation, really, simply music.

While swing music tended to feature orchestrated big band arrangements, bebop music highlighted improvisation. Typically, a theme (a "caput," often the master tune of a pop or jazz standard of the swing era) would be presented together at the outset and the end of each piece, with improvisational solos based on the chords of the compositions. Thus, the bulk of a piece in bebop manner would be improvisation, the only threads holding the work together being the underlying harmonies played by the rhythm section. Sometimes improvisation included references to the original melody or to other well-known melodic lines ("quotes", "licks" or "riffs"). Sometimes they were entirely original, spontaneous melodies from commencement to stop.

Chord progressions for bebop compositions were often taken direct from pop swing-era compositions and reused with a new and more complex melody, forming new compositions (see contrafact). This practice was already well-established in earlier jazz, just came to be fundamental to the bebop style. The fashion fabricated apply of several relatively common chord progressions, such as dejection (at base of operations, I-Iv-V, but infused with Two-Five motion) and 'rhythm changes' (I-VI-2-5, the chords to the 1930s popular standard "I Got Rhythm"). Late bop also moved towards extended forms that represented a departure from popular and show compositions. Bebop chord voicings often dispensed with the root and fifth tones, instead basing them on the leading intervals that defined the tonality of the chord. That opened upwardly creative possibilities for harmonic improvisation such as tritone substitutions and utilize of diminished scale based improvised lines that could resolve to the cardinal center in numerous and surprising ways.

Bebop musicians as well employed several harmonic devices not typical of previous jazz. Complicated harmonic substitutions for more bones chords became commonplace. These substitutions often emphasized sure dissonant intervals such as the apartment ninth, sharp 9th or the abrupt eleventh/tritone. This unprecedented harmonic development which took place in bebop is often traced back to a transcendent moment experienced by Charlie Parker while performing "Cherokee" at Clark Monroe's Uptown Firm, New York, in early on 1942. Every bit described by Parker:^[x]

I'd been getting bored with the stereotyped changes that were being used, ... and I kept thinking at that place'south bound to be something else. I could hear it sometimes. I couldn't play it.... I was working over "Cherokee", and, every bit I did, I found that by using the higher intervals of a chord every bit a tune line and backing them with appropriately related changes, I could play the thing I'd been hearing. It came alive.

Gerhard Kubik postulates that the harmonic development in bebop sprung from the blues, and other African-related tonal sensibilities, rather than twentieth century Western art music, every bit some take suggested. Kubik states: "Auditory inclinations were the African legacy in [Parker's] life, reconfirmed by the experience of the blues tonal system, a sound world at odds with the Western diatonic chord categories. Bebop musicians eliminated Western-style functional harmony in their music while retaining the potent central tonality of the blues as a basis for cartoon upon various African matrices."^[ten] Samuel Floyd states that blues were both the bedrock and propelling forcefulness of bebop, bringing near 3 main developments:

• A new harmonic conception, using extended chord structures that led to unprecedented harmonic and melodic variety.
• A developed and even more highly syncopated, linear rhythmic complexity and a melodic angularity in which the blue note of the fifth degree was established as an important melodic-harmonic device.
• The reestablishment of the dejection every bit the music'southward primary organizing and functional principle.^[11]

Some of the harmonic innovations in bebop appear like to innovations in Western "serious" music, from Claude Debussy to Arnold Schoenberg, although bebop has few direct borrowings from classical music and appears to largely revive tonal-harmonic ideas taken from the blues in a basically not-Western approach rooted in African traditions.^[x] However, bebop probably drew on many sources. An insightful YouTube video with Jimmy Raney, a jazz guitarist who played with Charlie Parker, describes how Parker would mind to the music of Béla Bartók, a leading 20th century classical composer. Raney describes Parker's noesis of Bartók and Arnold Schoenberg, in particular Schoenberg's Pierrot Lunaire, and says that a section from Bartók's 5th Quartet sounded a lot like some of Parker's jazz improvisation.^[12]

History [edit]

Swing era influences [edit]

Dizzy Gillespie, at the Downbeat Social club, NYC, ca 1947

Bebop grew out of the culmination of trends that had been occurring inside swing music since the mid-1930s: less explicit timekeeping by the drummer, with the primary rhythmic pulse moving from the bass pulsate to the ride cymbal; a changing role for the piano abroad from rhythmic density towards accents and fills; less ornate horn department arrangements, trending towards riffs and more support for the underlying rhythm; more emphasis on freedom for soloists; and increasing harmonic composure in arrangements used past some bands. The path towards rhythmically streamlined, solo-oriented swing was blazed by the territory bands of the southwest with Kansas City as their musical capital; their music was based on blues and other simple chord changes, riff-based in its approach to melodic lines and solo accompaniment, and expressing an approach adding melody and harmony to swing rather than the other mode around. Ability to play sustained, loftier energy, and creative solos was highly valued for this newer style and the basis of intense competition. Swing-era jam sessions and "cut contests" in Kansas City became legendary. The Kansas City approach to swing was epitomized by the Count Basie Orchestra, which came to national prominence in 1937.^{[ citation needed ]}

Ane young admirer of the Basie orchestra in Kansas City was a teenage alto saxophone player named Charlie Parker. He was especially enthralled by their tenor saxophone player Lester Young, who played long flowing melodic lines that wove in and out of the chordal structure of the composition merely somehow e'er fabricated musical sense. Young was equally daring with his rhythm and phrasing every bit with his approach to harmonic structures in his solos. He would frequently repeat simple two or three note figures, with shifting rhythmic accents expressed by volume, articulation, or tone. His phrasing was far removed from the 2 or 4 bar phrases that horn players had used until then. They would often be extended to an odd number of measures, overlapping the musical stanzas suggested past the harmonic construction. He would take a breath in the middle of a phrase, using the pause, or "costless space", as a creative device. The overall upshot was that his solos were something floating above the remainder of the music, rather than something springing from it at intervals suggested by the ensemble sound. When the Basie orchestra burst onto the national scene with its 1937 recordings and widely broadcast New York engagements, it gained a national following, with legions of saxophone players striving to imitate Young, drummers striving to imitate Jo Jones, piano players striving to imitate Basie, and trumpet players striving to imitate Buck Clayton. Parker played along with the new Basie recordings on a Victrola until he could play Immature's solos note for note.^[13]

In the late 1930s the Duke Ellington Orchestra and the Jimmie Lunceford Orchestra were exposing the music world to harmonically sophisticated musical arrangements past Billy Strayhorn and Sy Oliver, respectively, which unsaid chords equally much equally they spelled them out. That understatement of harmonically sophisticated chords would soon be used by young musicians exploring the new musical language of bebop.^{[ citation needed ]}

The bright technique and harmonic sophistication of pianist Fine art Tatum inspired young musicians including Charlie Parker and Bud Powell. In his early days in New York, Parker held a chore washing dishes at an establishment where Tatum had a regular gig.^[14]

One of the divergent trends of the swing era was a resurgence of small-scale ensembles playing "caput" arrangements, following the approach used with Basie'south large band. The small band format lent itself to more than impromptu experimentation and more than extended solos than did the bigger, more highly arranged bands. The 1939 recording of "Torso and Soul" by Coleman Hawkins with a small-scale band featured an extended saxophone solo with minimal reference to the theme that was unique in recorded jazz, and which would become characteristic of bebop. That solo showed a sophisticated harmonic exploration of the composition, with unsaid passing chords. Hawkins would eventually get on to atomic number 82 the starting time formal recording of the bebop style in early 1944.^[15]

Going beyond swing in New York [edit]

As the 1930s turned to the 1940s, Parker went to New York every bit a featured player in the Jay McShann Orchestra. In New York he found other musicians who were exploring the harmonic and melodic limits of their music, including Dizzy Gillespie, a Roy Eldridge-influenced trumpet player who, like Parker, was exploring ideas based on upper chord intervals, beyond the seventh chords that had traditionally divers jazz harmony. While Gillespie was with Cab Calloway, he adept with bassist Milt Hinton and developed some of the cardinal harmonic and chordal innovations that would be the cornerstones of the new music; Parker did the same with bassist Cistron Ramey while with McShann's grouping. Guitarist Charlie Christian, who had arrived in New York in 1939 was, like Parker, an innovator extending a southwestern style. Christian'due south major influence was in the realm of rhythmic phrasing. Christian commonly emphasized weak beats and off beats and ofttimes ended his phrases on the second half of the fourth beat. Christian experimented with asymmetrical phrasing, which was to become a cadre element of the new bop fashion.^{[ commendation needed ]}

Bud Powell was pushing forward with a rhythmically streamlined, harmonically sophisticated, virtuosic piano style and Thelonious Monk was adapting the new harmonic ideas to his fashion that was rooted in Harlem step piano playing.^{[ citation needed ]}

Drummers such equally Kenny Clarke and Max Roach were extending the path set by Jo Jones, calculation the ride cymbal to the high hat cymbal as a master timekeeper and reserving the bass drum for accents. Bass drum accents were colloquially termed "bombs", which referenced events in the world outside of New York as the new music was existence developed. The new style of drumming supported and responded to soloists with accents and fills, almost similar a shifting call and response. This change increased the importance of the string bass. Now, the bass not only maintained the music's harmonic foundation, just also became responsible for establishing a metronomic rhythmic foundation by playing a "walking" bass line of iv quarter notes to the bar. While small swing ensembles usually functioned without a bassist, the new bop style required a bass in every pocket-size ensemble.^{[ citation needed ]}

The kindred spirits developing the new music gravitated to sessions at Minton's Playhouse, where Monk and Clarke were in the house band, and Monroe's Uptown House, where Max Roach was in the house band.^[16] Part of the atmosphere created at jams similar the ones constitute at Minton'south Playhouse was an air of exclusivity: the "regular" musicians would often reharmonize the standards, add complex rhythmic and phrasing devices into their melodies, or "heads", and play them at breakneck tempos in order to exclude those whom they considered outsiders or simply weaker players.^[1] These pioneers of the new music (which would after be termed bebop or bop, although Parker himself never used the term, feeling it demeaned the music) began exploring advanced harmonies, complex syncopation, altered chords and chord substitutions. The bop musicians advanced these techniques with a more freewheeling, intricate and oft arcane approach. Bop improvisers built upon the phrasing ideas first brought to attention by Lester Young's soloing style. They would often deploy phrases over an odd number of bars and overlap their phrases across bar lines and across major harmonic cadences. Christian and the other early boppers would too begin stating a harmony in their improvised line before it appeared in the song course being outlined by the rhythm section. This momentary dissonance creates a strong sense of frontwards motion in the improvisation. The sessions besides attracted top musicians in the swing idiom such as Coleman Hawkins, Lester Young, Ben Webster, Roy Eldridge, and Don Byas. Byas became the first tenor saxophone role player to fully digest the new bebop style in his playing. In 1944 the coiffure of innovators was joined by Dexter Gordon, a tenor saxophone player from the w coast in New York with the Louis Armstrong band, and a young trumpet player attending the Juilliard School of Music, Miles Davis.^[16]

Early recordings [edit]

Bebop originated every bit "musicians' music", played by musicians with other coin-making gigs who did non care about the commercial potential of the new music. Information technology did non attract the attending of major record labels nor was information technology intended to. Some of the early bebop was recorded informally. Some sessions at Minton's in 1941 were recorded, with Thelonious Monk alongside an assortment of musicians including Joe Guy, Hot Lips Folio, Roy Eldridge, Don Byas, and Charlie Christian. Christian is featured in recordings from May 12, 1941 (Esoteric ES 548). Charlie Parker and Airheaded Gillespie were both participants at a recorded jam session hosted by Baton Eckstine on Feb xv, 1943, and Parker at some other Eckstine jam session on February 28, 1943 (Stash ST-260; ST-CD-535).

Formal recording of bebop was showtime performed for small specialty labels, who were less concerned with mass-marketplace appeal than the major labels, in 1944. On February 16, 1944, Coleman Hawkins led a session including Light-headed Gillespie and Don Byas, with a rhythm department consisting of Clyde Hart (piano), Oscar Pettiford (bass) and Max Roach (drums) that recorded "Woody'northward You" (Apollo 751), the offset formal recording of bebop. Charlie Parker and Clyde Hart were recorded in a quintet led past guitarist Tiny Grimes for the Savoy characterization on September 15, 1944 (Tiny's Tempo, I'll E'er Love Yous Merely the Same, Romance Without Finance, Cherry-red Cross). Hawkins led another bebop-influenced recording session on October 19, 1944, this time with Thelonious Monk on piano, Edward Robinson on bass, and Denzil Best on drums (On the Bean, Recollections, Flyin' Hawk, Driftin' on a Reed; reissue, Prestige PRCD-24124-2).

Parker, Gillespie, and others working the bebop idiom joined the Earl Hines Orchestra in 1943, so followed vocaliser Billy Eckstine out of the band into the Billy Eckstine Orchestra in 1944. The Eckstine band was recorded on V-discs, which were broadcast over the Armed Forces Radio Network and gained popularity for the band showcasing the new bebop style. The format of the Eckstine band, featuring vocalists and entertaining banter, would later be emulated past Gillespie and others leading bebop-oriented big bands in a mode that might be termed "pop bebop". Starting with the Eckstine ring'due south session for the De Luxe label on December v, 1944 (If That's the Way You Feel, I Desire to Talk About You, Blowing the Blues Abroad, Opus X, I'll Wait and Pray, The Real Thing Happened to Me), bebop recording sessions grew more frequent. Parker had left the band past that appointment, but it withal included Gillespie along with Dexter Gordon and Gene Ammons on tenor, Leo Parker on baritone, Tommy Potter on bass, Art Blakey on drums, and Sarah Vaughan on vocals. Blowing the Dejection Away featured a tenor saxophone duel between Gordon and Ammons.

On January iv, 1945, Clyde Hart led a session including Parker, Gillespie, and Don Byas recorded for the Continental label (What'south the Affair Now, I Desire Equally of Information technology, That's the Blues, Thousand.I. Blues, Dream of You, Seventh Avenue, Sorta Kinda, Ooh Ooh, My My, Ooh Ooh). Gillespie recorded his outset session as a leader on January 9, 1945, for the Manor label, with Don Byas on tenor, Trummy Young on trombone, Clyde Hart on Piano, Oscar Pettiford on bass, and Irv Kluger on drums. The session recorded I Can't Become Started, Skillful Bait, Be-bop (Airheaded'south Fingers), and Salt Peanuts (which Manor wrongly named "Salted Peanuts"). Thereafter, Gillespie would record bebop prolifically and gain recognition as i of its leading figures. Gillespie featured Gordon as a sideman in a session recorded on February 9, 1945 for the Society label (Groovin' Loftier, Blue 'north' Boogie). Parker appeared in Gillespie-led sessions dated Feb 28 (Groovin' High, All the Things You Are, Airheaded Temper) and May eleven, 1945 (Table salt Peanuts, Shaw 'Nuff, Lover Human being, Hothouse) for the Guild label. Parker and Gillespie were sidemen with Sarah Vaughan on May 25, 1945, for the Continental characterization (What More than Tin a Adult female Do, I'd Rather Have a Memory Than a Dream, Mean to Me). Parker and Gillespie appeared in a session under vibraphonist Ruby-red Norvo dated June six, 1945, later released nether the Punch label (Hallelujah, Go Happy, Slam Slam Blues, Congo Blues). Sir Charles Thompson'due south all-star session of September iv, 1945 for the Apollo label (Takin' Off, If I Had You lot, Twentieth Century Blues, The Street Vanquish) featured Parker and Gordon. Gordon led his first session for the Savoy label on October 30, 1945, with Sadik Hakim (Argonne Thornton) on piano, Gene Ramey on bass, and Eddie Nicholson on drums (Blow Mr Dexter, Dexter'south Deck, Dexter'south Cuttin' Out, Dexter's Minor Mad). Parker's first session equally a leader was on November 26, 1945, for the Savoy characterization, with Miles Davis and Gillespie on trumpet, Hakim/Thornton and Gillespie on piano, Curley Russell on bass and Max Roach on drums (Warming Up a Riff, Now'due south the Time, Billie's Bounce, Thriving on a Riff, Ko-Ko, Meandering). After appearing every bit a sideman in the R&B-oriented Cootie Williams Orchestra through 1944, Bud Powell was in bebop sessions led by Frankie Socolow on May 2, 1945 for the Duke label (The Man I Love, Contrary the Charges, Blue Fantasy, September in the Rain), then Dexter Gordon on January 29, 1946 for the Savoy label (Long Tall Dexter, Dexter Rides Once again, I Tin can't Escape From You, Dexter Digs In). The growth of bebop through 1945 is as well documented in informal live recordings.

Breakout [edit]

By 1946 bebop was established as a broad-based movement among New York jazz musicians, including trumpeters Fats Navarro and Kenny Dorham, trombonists J. J. Johnson and Kai Winding, alto saxophonist Sonny Stitt, tenor saxophonist James Moody, baritone saxophonists Leo Parker and Serge Chaloff, vibraphonist Milt Jackson, pianists Erroll Garner and Al Haig, bassist Slam Stewart, and others who would contribute to what would get known as "modern jazz". The new music was gaining radio exposure with broadcasts such equally those hosted past "Symphony Sid" Torin. Bebop was taking root in Los Angeles equally well, amidst such modernists as trumpeters Howard McGhee and Fine art Farmer, alto players Sonny Criss and Frank Morgan, tenor players Teddy Edwards and Lucky Thompson, trombonist Melba Liston, pianists Dullard Marmarosa, Jimmy Bunn and Hampton Hawes, guitarist Barney Kessel, bassists Charles Mingus and Red Callender, and drummers Roy Porter and Connie Kay. Gillespie's "Rebop Six" (with Parker on alto, Lucky Thompson on tenor, Al Haig on pianoforte, Milt Jackson on vibes, Ray Brown on bass, and Stan Levey on drums) started an engagement in Los Angeles in December 1945. Parker and Thompson remained in Los Angeles after the rest of the band left, performing and recording together for half-dozen months before Parker suffered an addiction-related breakdown in July. Parker was once again agile in Los Angeles in early on 1947. Parker and Thompson's tenures in Los Angeles, the arrival of Dexter Gordon and Wardell Gray after in 1946, and the promotional efforts of Ross Russell, Norman Granz, and Cistron Norman helped solidify the city's status as a middle of the new music.

Gillespie landed the starting time recording date with a major label for the new music, with the RCA Bluebird characterization recording Featherbrained Gillespie And his Orchestra on February 22, 1946 (52nd Street Theme, A Nighttime in Tunisia, Ol' Human Rebop, Anthropology). Later Afro-Cuban styled recordings for Bluebird in collaboration with Cuban rumberos Chano Pozo and Sabu Martinez, and arrangers Gil Fuller and George Russell (Manteca, Cubana Be, Cubana Bop, Guarache Guaro) would be among his nearly popular, giving rise to the Latin trip the light fantastic toe music craze of the late 1940s and early 1950s. Gillespie, with his extroverted personality and humor, glasses, lip beard and beret, would become the near visible symbol of the new music and new jazz culture in popular consciousness. That of class slighted the contributions of others with whom he had developed the music over the preceding years. His show style, influenced by black vaudeville circuit entertainers, seemed similar a throwback to some and offended some purists ("also much grinning" according to Miles Davis), but it was laced with a destructive sense of humor that gave a glimpse of attitudes on racial matters that blackness musicians had previously kept away from the public at large. Before the Civil Rights Movement, Gillespie was confronting the racial divide by lampooning it. The intellectual subculture that surrounded bebop made it something of a sociological move as well as a musical one.^{[ citation needed ]}

With the imminent demise of the big swing bands, bebop had go the dynamic focus of the jazz earth, with a wide-based "progressive jazz" movement seeking to emulate and adapt its devices. It was to be the most influential foundation of jazz for a generation of jazz musicians.^{[ commendation needed ]}

Beyond [edit]

By 1950, bebop musicians such as Clifford Brownish and Sonny Stitt began to smoothen out the rhythmic eccentricities of early bebop. Instead of using jagged phrasing to create rhythmic involvement, equally the early on boppers had, these musicians constructed their improvised lines out of long strings of eighth notes and simply accented certain notes in the line to create rhythmic variety. The early 1950s also saw some smoothing in Charlie Parker'southward style.

During the early 1950s bebop remained at the tiptop of sensation of jazz, while its harmonic devices were adapted to the new "absurd" school of jazz led by Miles Davis and others. It continued to attract immature musicians such equally Jackie McLean, Sonny Rollins, and John Coltrane. As musicians and composers began to piece of work with expanded music theory during the mid-1950s, its accommodation past musicians who worked it into the bones dynamic arroyo of bebop would lead to the development of post-bop. Around that same time, a motion towards structural simplification of bebop occurred amidst musicians such as Horace Silver and Fine art Blakey, leading to the movement known as hard bop. Evolution of jazz would occur through the interplay of bebop, cool, post-bop, and hard bop styles through the 1950s.

Influence [edit]

The musical devices developed with bebop were influential far beyond the bebop movement itself. "Progressive jazz" was a broad category of music that included bebop-influenced "art music" arrangements used by big bands such as those led by Boyd Raeburn, Charlie Ventura, Claude Thornhill, and Stan Kenton, and the cerebral harmonic explorations of smaller groups such every bit those led by pianists Lennie Tristano and Dave Brubeck. Voicing experiments based on bebop harmonic devices were used by Miles Davis and Gil Evans for the groundbreaking "Birth of the Absurd" sessions in 1949 and 1950. Musicians who followed the stylistic doors opened by Davis, Evans, Tristano, and Brubeck would form the core of the cool jazz and "west coast jazz" movements of the early on 1950s.

By the mid-1950s musicians began to be influenced by music theory proposed by George Russell. Those who incorporated Russell's ideas into the bebop foundation would define the post-bop movement that would later incorporate modal jazz into its musical language.

Hard bop was a simplified derivative of bebop introduced by Horace Silver and Fine art Blakey in the mid-1950s. It became a major influence until the late 1960s when complimentary jazz and fusion jazz gained clout.

The neo-bop movement of the 1980s and 1990s revived the influence of bebop, post-bop, and hard bop styles after the costless jazz and fusion eras.

Bebop style likewise influenced the Beat Generation whose spoken-word style drew on African-American "jive" dialog, jazz rhythms, and whose poets often employed jazz musicians to accompany them. Jack Kerouac would draw his writing in On the Road as a literary translation of the improvisations of Charlie Parker and Lester Young.^{[17] [18]} The "beatnik" stereotype borrowed heavily from the dress and mannerisms of bebop musicians and followers, in item the beret and lip beard of Dizzy Gillespie and the patter and bongo drumming of guitarist Slim Gaillard. The bebop subculture, divers every bit a non-conformist group expressing its values through musical communion, would repeat in the attitude of the psychedelia-era hippies of the 1960s. Fans of bebop were not restricted to the United States; the music also gained cult status in France and Japan.

More recently, hip-hop artists (A Tribe Called Quest, Guru) have cited bebop every bit an influence on their rapping and rhythmic fashion. Equally early as 1983, Shawn Brown rapped the phrase "Rebop, bebop, Scooby-Doo" toward the end of the hit "Rappin' Duke". Bassist Ron Carter collaborated with A Tribe Called Quest on 1991's The Low End Theory, and vibraphonist Roy Ayers and trumpeter Donald Byrd were featured on Guru's Jazzmatazz, Vol. 1 in 1993. Bebop samples, especially bass lines, ride cymbal swing clips, and horn and pianoforte riffs are constitute throughout the hip-hop compendium.

Musicians [edit]

References [edit]

1. ^ ^{a b} Lott, Eric. Double Five, Double-Time: Bebop's Politics of Style. Callaloo, No. 36 (Summer, 1988), pp. 597–605
2. ^ Tanner, Paul O. W. and Gerow, Maurice (1964). A Study of Jazz, 81. Second edition. ISBN 0-697-03557-3.
3. ^ ^{a b c d} Gleason, Ralph J. (fifteen Feb 1959) "Jazz Fan Actually Digs the Language – All the Style Back to Its Origin". Toledo Bract.
4. ^ Kelley, Robin (2009). Thelonious Monk: The Life and Times of an American Original. Simon & Schuster. p. 95. ISBN978-1439190494.
5. ^ Jim Dawson and Steve Propes, What Was The Beginning Rock'due north'Roll Tape?, 1992, ISBN 0-571-12939-0
6. ^ Painter, Nell Irvin (2006). Creating Black Americans . Oxford University Printing US. pp. 228–229. ISBN0-19-513755-8 . Retrieved July 9, 2009.
7. ^ Peter Gammond, The Oxford Companion to Popular Music, 1991, ISBN 0-nineteen-311323-half dozen
8. ^ Cameron, William Bruce (1963). Informal Sociology. Random Business firm. p. 93.
9. ^ Du Noyer, Paul (2003). The Illustrated Encyclopedia of Music (1st ed.). Fulham, London: Flame Tree Publishing. p. 130. ISBN1-904041-96-five.
10. ^ ^{a b c} Kubik, Gerhard. "Bebop: a case in point. The African Matrix in Jazz Harmonic Practices." (Critical essay) Black Music Enquiry Periodical 22 Mar 2005. Digital.
11. ^ Floyd, Samuel A., Jr. (1995). The power of black music: Interpreting its history from Africa to the United states of america. New York: Oxford Academy Press.
12. ^ Raney, Jimmy and Jamey Abersold. "Jimmy & Jamey Discuss Charlie Parker", https://www.youtube.com/watch?5=10guXUWGGB4
13. ^ Bird Lives!The Loftier Life And Hard Times of Charlie (Yardbird) Parker, by Ross Russell, p. 89-92, Da Capo Printing, 1996, 404 p.
14. ^ Bird Lives!The High Life And Hard Times of Charlie (Yardbird) Parker, by Ross Russell, p. 100-102, Da Capo Press, 1996, 404 p.
15. ^ see Early bebop recordings
16. ^ ^{a b} Miles Davis (1989) Autobiography, chapter 3, pp. 43–5, 57–viii, 61–2
17. ^ Gair, Christopher (2008). The Beat Generation. Oxford: Oneworld Publications. pp. 16–17. ISBN9781851685424.
18. ^ Augustyn, Adam, ed. (2011). American Literature from 1945 through today. Britannica Educational Publishing. p. 101. ISBN978-1615301331.

Further reading [edit]

• Berendt, Joachim E. The Jazz Book: From Ragtime to Fusion and Across. Trans. Bredigkeit, H. and B. with Dan Morgenstern. Westport, CT: Lawrence Hill & Co., 1975.
• Deveaux, Scott. The Nascency of Bebop: A Social and Musical History. Berkeley: Academy of California Press, 1999.
• Giddins, Gary. Celebrating Bird: The Triumph of Charlie Parker. New York City: Morrow, 1987.
• Gioia, Ted. The History of Jazz. Oxford, New York: Oxford Academy Press, 1997.
• Gitler, Ira. Swing to Bop: An Oral History of the Transition of Jazz in the 1940s. Oxford: Oxford University Press, 1987.
• Rosenthal, David. Hard bop: Jazz and Black Music, 1955–1965. New York: Oxford Academy Press, 1992.
• Tirro, Frank. "The Silent Theme Tradition in Jazz". The Musical Quarterly 53, no. 3 (July 1967): 313–34.

External links [edit]

• Verve History of Jazz page on Bebop
• Charlie Parker bebop solo licks Archived 2012-03-16 at the Wayback Machine
• Bebop for Guitar – Scales, Vocabulary, and Chromaticism

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Source: https://en.wikipedia.org/wiki/Bebop

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