Bebop in the 1940s. The Bebop Revolution of the 1940s Research Paper 2019-01-08

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A History of Jazz Music

bebop in the 1940s

Big band music required large groups of players. Charlie Parker sax solo, Dizzy Gillespie trumpet solo, Al Haig piano solo. Swing bandsmen, especially the younger ones, had begun to question the established assumptions of their trade. The music became more complex and harder to assimilate. Jay McShann – pianist and band leader; his band features the likes of Ben Webster and Charlie Parker. Bebop was a response to this impasse, an attempt to reconstitute jazz--or more precisely, the specialized idiom of the improvising virtuoso--in such a way as to give its black creators the greatest professional autonomy within the marketplace.


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The Bebop Revolution of the 1940s Research Paper

bebop in the 1940s

His playing emphasized cymbals rather the bass drum, playing around with time signatures and innovating and experimenting in a number of ways, giving more freedom to the jazz ensemble as a whole. Bebop marked a departure from swing in every essential element. The Music Bebop was at the forefront of jazz and went through its most concentrated growth and development from 1940 — 1955. Improvisers such as Charlie Parker and Dizzy Gillespie traded improvisations, replacing the battling horn sections of big bands. One group consisted of players who had begun their careers playing in the traditional style, and were either returning to it, or continuing what they had been playing all along, such as 's Bobcats, , , and. Seven-inch 45s soon took over the pop single market and were the favorite of teenagers across the country.

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How the Rise of Bebop Changed Jazz

bebop in the 1940s

It developed in after hours jam sessions from musicians who were all experts in 'swing' but wanted to create something n … ew that would distinguish them from other players. It is these important musical artefacts that are included in our wide-ranging collection, all carefully restored, each spotlighting soloists of significance anxious to put down their personal markers as contributing voices in the bebop revolution. In the late '40s, he played on a number of 's classic recordings of the era, as well as those of artists like and. Overview By - Jazz Musician and Historian With the big band era in full swing, the 1940s began ominously. Petrillo initiated a ban on recording, in hopes of coercing record companies into returning part of their profits to the union to be used for special concerts and projects.

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Jazz Music History by Decade: 1940 to 1950

bebop in the 1940s

Laughing Bull: A lost soul who has finished hisbattles somewhere on this planet. The cabaret tax was put in place in 1944. We would continue to live in our mistakes or our lack of creativity. They were not the heirs to their masters' orchestras: they were sidemen, who embodied a different aesthetic. Music plays a big role in change. Thus each solo appeared to be unique in nature, not the repetition of a distinctive pattern.

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Jazz History: The Standards (1940s)

bebop in the 1940s

Parker returns with Ah-Leu-Cha and Donna Lee, again flanked by Davis in their classic quintet. Spike and Vicious have their final fight. I hope that you learn a lot and enjoy yourself. This style of jazz ultimately became synonymous with modern jazz, as either category reached a certain final maturity in the 1960s. It's not the drum solos I like; it's the rhythm section drummer.

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How the Rise of Bebop Changed Jazz

bebop in the 1940s

Safe to say, this one does and is 77 minutes of the most marvellous music. At Minton's in Harlem, under the guiding hands of a group of African American geniuses - Charlie Parker, Dizzy Gillespie and Thelonious Monk at the fore front. They were soon joined by a small but enthusiastic group of disciple's. Thelonious Sphere Monk, pianist and composer, and a true iconoclast, seemed to many to embody bop's zaniest aspects. In contrast to the regular phrasing of big band music, Gillespie and Parker often created irregular phrases of odd length, and combined swing and straight eighth-note rhythms within the swing style. The problem with this is that bugs lived in the sod and weeds grew into the houses.

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A History of Jazz Music

bebop in the 1940s

Then take it to other keys and other positions as you bring this line into different musical situations. Young Dexter Gordon, the son of a well-to-do black doctor, had already made something of an impact on tour with Lionel Hampton and Billy Eckstine. This forced the record companies to focus on recording singers and singing groups and reissuing previously recorded material. Monk was really a transitional figure between bop and the further innovations of , and he only started attaining recognition in the late 1950s. As America entered into the fray, inevitable changes occurred in the music industry and in jazz. Although he gives trumpeter Howard McGee a well-deserved spotlight, DeVeaux all but ignores such early bebop greats as trumpeters Fats Navarro and Miles Davis, pianist Bud Powell, and tenor saxophonist Dexter Gordon.

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Jazz History: The Standards (1940s)

bebop in the 1940s

Gillespie and Parker teamed up in 1945 and in the following years created a series of recordings that revolutionized the jazz world. Soloists employed a broad and daring variety of forms, ranges and techniques, and felt bound to melodic themes only in spirit. They used the style of jazz to do so because unlike any other styles of music it used a lot of improvisation, swing notes, and creativity. By the late 1940s, 's Allstars band became a leading ensemble. The psychological revolution was particularly felt by the blacks. Wartime rations made big bands less financially viable Ex: metal rations, instruments harder to find and repair, so big bands were expensive. Glenn Miller – successful band leader.

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Bop jazz

bebop in the 1940s

Groovin High is something of a transitional piece, the resolutely modern approach adopted by Bird and Diz counter-balanced by the swing verities laid down by bassist-vocalist Slam Stewart and drummer Cozy Cole. Every jazz musician should be familiar with its language and techniques. Instead of playing what came natural, the bebop improviser tried to play what was not natural. There are few documents that can provide evidence of what the early forms of the music sounded like. The roots of bebop were planted in these clubs.

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