relate it to the “bebop” style of jazz? Modernism in jazz is the broad monumental shift in the cultural and art sensibility of people from the West which can be traced back from the year 1890 and which over times creates a new outlook in morals and manners. Modernism is by major forces in the society such as critical social thought, urbanization and industrialization. In the 1940s, burgeoning bebop movement offered a direct and simple correlations with modernism. A simple Bebop arrangement followed
First of all, there are various differences between the styles of bebop, cool, hard bop, free jazz, and fusion. Bebop seems to be the most intricate with its erratic tempos, while cool is the most soothing and relaxing. On the other hand, hard bop is the most brassy and dynamic with its horns, trumpets, and rhythm section, while free jazz is the less restricted. Free jazz exhibits no boundaries, no form, and no newly established rules. Fusion is a combination between jazz and rock, in other words
Cool jazz and Bebop are two very different types of music, but they are under the same umbrella of jazz. Bebop was developed somewhere in the 1940s, and was characterized by very fast tempos, complex and very quick chord progressions, as well as heavy improvisation. Due to the high difficulty, bebop musicians tended to be virtuosic in their instrument. Cool jazz was also developed somewhere in the 1940s, but was applied the name “cool jazz” in the 1950s. This new style was an antithesis in a way
Bebop is a genre distinguished by it fast tempos, dissonant harmonies, and complex rhythms. The mid-1940’s was bereft with bop artists such as “Dizzy” Gillespie and Charlie Parker who were at the forefront of the movement. The transition between the swing riffs of Count Basie in the 1920’s to 1930’s to the improvisations of Thelonious Monk during post World War II is full of history. This research will explore the beginnings and evolution of Bebop as a jazz subgenre and its influence on the rise
Recognized by his puffed-out cheeks and unusual trumpet, Dizzy Gillespie was one of the key figures in the birth of bebop jazz. Gillespie is known for his "swollen cheeks and signature trumpet's bell and got his start in mid-1930s by working in prominent swing bands, including those of Benny Carter and Charlie Barnet. He created his own band and developed his own signature style, known as "bebop", and work with musical greats such as Cab Calloway, Ella Fitzgerald, Earl Hines, Charlie Parker and Duke Ellinton
The Philosophical and Sociological Developments for Bebop During the 1940's When discussing the history of Jazz, an important type of music is developed that changed the music industry. This music, bebop, helped to influence other types of music, and it also let us appreciate jazz more As is so often the case in jazz, when a style or way of playing becomes too commercialized, the evolution turned in the opposite direction. A group of musicians, who had something new to say, something definitely
These outstanding live jazz performances are brought by the master of bebop and piano music Thelonious Monk. Monk opens with “Lulu’s Back in Town” in both performances and showcase some of the most popular of his songs; Blue Monk, ‘Round Midnight, Don’t Blame Me, and Epistrophy. Everybody gets a chance to shine on these songs. Every musician is allotted time specifically to perform multiple solo acts, often improvising on the initial theme of the song. Dissonance plays a major role in the performance
of jazz, and bebop music. He was well known for his swollen cheeks and famous angled trumpet bell. Gillespie worked with the jazz greats such as Charlie Parker, Duke Ellington and Ella Fitzgerald. He is considered one of the most influential figures of jazz and bebop of his time. Dizzy Gillespie was born John Birks Gillespie on October 21, 1917 in Cheraw, South Carolina. Dizzy was the youngest of nine children and the With his new big band, Gillespie attempted to popularize bebop and make himself
later dropped out of school to start a music career. He created Bebop with Dizzy Gillespie and together they made a couple of albums. Near the end of his career, he started using drugs and having some mental problems. At one point, he even tried to kill himself by drinking iodine. His health deteriorated and he eventually died as a result of his drug abuse. He is best known for being a great musical artist and for developing Bebop. He is often remembered for saying “Don’t play the saxophone,
“brilliant showman” (Mcdearman 233) are all phrases that can describe the great Dizzy Gillespie. Right on the sunset the Big Band era, yet right at the dawn of the Be-Bop era, Dizzy Gillespie’s composition of “Night in Tunisia” flawlessly blends Big-Band, Bebop, and even Afro-Cuban styles all into one timeless and iconic jazz tune; it is impossible to put this tune into just one category because of its seamless transitions and inclusions of all three styles (Farington, pg. 166). In 1942, Dizzy Gillespie
The 19th century had been a very erratic ride for music, with the arrival of Jazz. Jazz itself also had a very interesting journey, from a sorrowful blues to a very technical bebop. Cool jazz was introduced in the early 1950s as a reaction to bebop, through Miles Davis’ “The birth of cool”. Two examples of cool jazz include the following, Dave Brubeck’s “Unsquare Dance” and the modern jazz quartet’s arrangement of Bach’s “Rise up in the morning”. These extracts of music both consist of the characteristics
record, released in 1957, was actually recorded earlier in 1949 and 1950. As one of the most influential jazz albums of all time, its title depicts the genesis of cool jazz. In the evolution of jazz this post bebop style of the late 1940s through the 1950s was a departure from the emphasis in bebop on virtuoso players in fast tempos with focus on melodies and syncopated rhythms. Cool jazz aimed to be a more subdued, smooth and subtle form of jazz music with a lighter tone, slower tempos and controlled
interpretation. Rather than relying on a written piece, the artist improvises. Jazz has taken many forms over the past seventy years; there is almost always a single person who can be credited with the evolution of that sound. From Thelonius Monk, and his bebop, to Dizzy Gillespie’s big band, to Miles Davis’ cool jazz, or to John Coltrane’s free jazz; America’s music has been developed and refined countless times through individual experimentation and innovation. In my opinion the most noteworthy artist in
Miles Davis organized a nonet, called The Miles Davis Nonet, with pianist and arranger Gil Evans and baritone saxophonist Gerry Mulligan, taking an active role that soon became his own project. While still considered to be a bebop group, this band was unique in which it featured a more unusual line-up with a French horn, trombone, and tuba. In the compositions, it is also remarkable that the arrangements were “similar to human voice” through “carefully arranged compositions
represent the struggle and achievement of artists whose lives belong to the past but whose music continues to live in the present. In the process, we will decide what “jazz” will mean in the century ahead. Bibliography: DeVeaux, Scott. Birth of Bebop, The. Berkeley and Los Angeles, California: University of California Press, 1997 http://www.la.psu.edu/~jselzer/burke/hawk1.html 2/18/00 http://www.ponyexpress.net/~colehawkins/abouthawk.html 2/18/00 Kernfeld, Berry. New Grove Dictionary
received as swing music. Gillespie and Charlie Parker are known as the co-founders of the bebop movement; the two worked together in the 1940’s and early 50’s. Gillespie and his friends was trying to make the music of bebop more of a classy style, something different from the sound of swing music from the tone and rhythm of the music. “Bebop was an extreme, it was the only kind of idea that could have restored any amount of excitement and beauty to contemporary”
unmistakable. First of all, there is the rootedness in bebop, secondly the amalgamation of big band jazz with Japanese elements of music, and thirdly the ingenious use of the woodwind section.”. An example of her composition is on the album “Kogun”. Her arrangement sounds like an oriental and swing that lasts for seven minutes long. Also, in her music, she wanted to tell a story in using the Japanese element in the song, but it still has a root in bebop
When words fail, music speaks, that is what they say, and it is the truth. People think to listen jazz and blues when they are sad with a broken heart or when they are in love, lose their job. However, in the begging, when jazz and blues were not jazz and blues yet, when everything was to start the rhythms full of happiness predominated. The first jazz and blues musicians where African slaves or ex-slaves, so there heritage it was strong, and the music used to accompany spiritual, works and social
respect to jazz and its origins in the 20th century. Parker was a much different figure, yet he is still known to be one of the greatest jazz improvisers and innovators of our time. Charlie Parker was a jazz alto saxophonist who, through his work in bebop and his immense talent as a musician, inspired many performers and composers throughout the years. On August 29, 1920, Parker was born in Kansas City, Missouri. He got his start on the alto saxophone in 1933, and in 1935 he moved on to become a full-time
forgotten is John Birks Gillespie, known to the jazz world as "Dizzy" Gillespie. "Dizzy" Gillespie was a trumpet player, composer, bandleader and politician of mostly the early 40's to mid 50's. This was a time period in Jazz called Bebop, Bop or sometimes known as Rebop. Bebop got its name from the musical language musicians would speak to one another while trying to explain a rhythm. "Bop, Bop, Doba sho ba, Bop, Bop." this was also a common style of singing which was first introduced by Louis Armstrong