767:, who played long flowing melodic lines that wove in and out of the chordal structure of the composition but somehow always made musical sense. Young was equally daring with his rhythm and phrasing as 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 two or four 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 by the harmonic structure. He would take a breath in the middle of a phrase, using the pause, or "free space", as a creative device. The overall effect was that his solos were something floating above the rest 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
912:, 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 often 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 also begin stating a harmony in their improvised line before it appeared in the song form being outlined by the rhythm section. This momentary dissonance creates a strong sense of forward motion in the improvisation. The sessions also attracted top musicians in the swing idiom such as
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904:, where Max Roach was in the house band. Part of the atmosphere created at jams like the ones found at Minton's 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. These pioneers of the new music (which would later be termed
1330:) would be among his most popular, giving rise to the Latin dance music craze of the late 1940s and early 1950s. Gillespie, with his extroverted personality and humor, glasses, lip beard and beret, would become the most visible symbol of the new music and new jazz culture in popular consciousness. That of course slighted the contributions of others with whom he had developed the music over the preceding years. His show style, influenced by
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893:. This change increased the importance of the string bass. Now, the bass not only maintained the music's harmonic foundation, but also became responsible for establishing a metronomic rhythmic foundation by playing a "walking" bass line of four quarter notes to the bar. While small swing ensembles commonly functioned without a bassist, the new bop style required a bass in every small ensemble.
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1028:, 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 by Gillespie and others leading bebop-oriented big bands in a style that might be termed "popular bebop". Starting with the Eckstine band's session for the
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it derives from the cry of "Arriba! Arriba!" used by Latin
American bandleaders of the period to encourage their bands. At times, the terms "bebop" and "rebop" were used interchangeably. (Although rebop differed from bebop with its more impressionist use of discordant chords.) By 1945, the use of "bebop"/"rebop" as nonsense syllables was widespread in
604:"). Late bop also moved towards extended forms that represented a departure from pop 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 up creative possibilities for harmonic improvisation such as
600:). This practice was already well-established in earlier jazz, but came to be central to the bebop style. The style made use of several relatively common chord progressions, such as blues (at base, I-IV-V, but infused with II-V motion) and "rhythm changes" (I-VI-II-V, the chords to the 1930s pop standard "
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entertainers, seemed like a throwback to some and offended some purists ("too much grinning" according to Miles Davis), but it was laced with a subversive sense of humor that gave a glimpse of attitudes on racial matters that black musicians had previously kept away from the public at large. Before
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Bebop originated as "musicians' music," played by musicians with other money-making gigs who did not care about the commercial potential of the new music. It did not attract the attention of major record labels nor was it intended to. Some of the early bebop was recorded informally. Some sessions at
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were extending the path set by Jo Jones, adding the ride cymbal to the high hat cymbal as a primary 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 being developed.
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with a small 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 implied passing chords. Hawkins would eventually
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I'd been getting bored with the stereotyped changes that were being used ... and I kept thinking there's bound to be something else. I could hear it sometimes. I couldn't play it.... I was working over "Cherokee", and, as I did, I found that by using the higher intervals of a chord as a melody line
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While swing music tended to feature orchestrated big band arrangements, bebop music highlighted improvisation. Typically, a theme (a "head," often the main melody of a pop or jazz standard of the swing era) would be presented together at the beginning and the end of each piece, with improvisational
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stated that the audiences coined the name after hearing him scat the then-nameless compositions to his players and the press ultimately picked it up, using it as an official term: "People, when they'd wanna ask for those numbers and didn't know the name, would ask for bebop." Another theory is that
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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 way around. Ability to play sustained, high energy, and
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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 six months before Parker suffered an addiction-related breakdown in July. Parker was again active in Los Angeles in
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playing music in which the ensemble played a supportive role for soloists. Rather than play heavily arranged music, bebop musicians typically played the melody of a composition (called the "head") with the accompaniment of the rhythm section, followed by a section in which each of the performers
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One of the divergent trends of the swing era was a resurgence of small ensembles playing "head" arrangements, following the approach used with Basie's big band. The small band format lent itself to more impromptu experimentation and more extended solos than did the bigger, more highly arranged
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since the mid-1930s: less explicit timekeeping by the drummer, with the primary rhythmic pulse moving from the bass drum to the ride cymbal; a changing role for the piano away from rhythmic density towards accents and fills; less ornate horn section arrangements, trending towards riffs and more
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began to smooth out the rhythmic eccentricities of early bebop. Instead of using jagged phrasing to create rhythmic interest, as the early 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
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as a literary translation of the improvisations of
Charlie Parker and Lester Young. The "beatnik" stereotype borrowed heavily from the dress and mannerisms of bebop musicians and followers, in particular the beret and lip beard of Dizzy Gillespie and the patter and bongo drumming of guitarist
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The classic bebop combo consisted of saxophone, trumpet, double bass, drums and piano. 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 (electric or acoustic),
640:, and other African-related tonal sensibilities, rather than twentieth century Western art music, as some have suggested. Kubik states: "Auditory inclinations were the African legacy in life, reconfirmed by the experience of the blues tonal system, a sound world at odds with the Western
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Formal recording of bebop was first performed for small specialty labels, who were less concerned with mass-market appeal than the major labels, in 1944. On
February 16, 1944, Coleman Hawkins led a session including Dizzy Gillespie and Don Byas, with a rhythm section consisting of
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With the imminent demise of the big swing bands, bebop had become the dynamic focus of the jazz world, with a broad-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.
674:, although bebop has few direct borrowings from classical music and appears to largely revive tonal-harmonic ideas taken from the blues in a basically non-Western approach rooted in African traditions. However, bebop probably drew on many sources. An insightful YouTube video with
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Bebop musicians also employed several harmonic devices not typical of previous jazz. Complicated harmonic substitutions for more basic chords became commonplace. These substitutions often emphasized certain dissonant intervals such as the flat ninth, sharp ninth or the sharp
1091:(which Manor wrongly named "Salted Peanuts"). Thereafter, Gillespie would record bebop prolifically and gain recognition as one of its leading figures. Gillespie featured Gordon as a sideman in a session recorded on February 9, 1945 for the Guild label (
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317:-style with a new "musician's music" that was not as danceable and demanded close listening. As bebop was not intended for dancing, it enabled the musicians to play at faster tempos. Bebop musicians explored advanced harmonies, complex
866:. Christian commonly emphasized weak beats and off beats and often ended his phrases on the second half of the fourth beat. Christian experimented with asymmetrical phrasing, which was to become a core element of the new bop style.
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support for the underlying rhythm; more emphasis on freedom for soloists; and increasing harmonic sophistication in arrangements used by some bands. The path towards rhythmically streamlined, solo-oriented swing was blazed by the
483:. A variation, "rebop", appears in several 1939 recordings. The first known print appearance also occurred in 1939, but the term was little used subsequently until applied to the music now associated with it in the mid-1940s.
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During the early 1950s bebop remained at the top of awareness of jazz, while its harmonic devices were adapted to the new "cool" school of jazz led by Miles Davis and others. It continued to attract young musicians such as
593:. 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 start to finish.
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occasionally adding other horns (often a trombone) or other strings (usually violin) or dropping an instrument and leaving only a quartet. This was in stark contrast to the large ensembles favoured during the swing era.
965:, Roy Eldridge, Don Byas, and Charlie Christian. Christian is featured in recordings from May 12, 1941 (Esoteric ES 548). Charlie Parker and Dizzy Gillespie were both participants at a recorded jam session hosted by
798:, respectively, which implied chords as much as they spelled them out. That understatement of harmonically sophisticated chords would soon be used by young musicians exploring the new musical language of bebop.
1376:. As musicians and composers began to work with expanded music theory during the mid-1950s, its adaptation by musicians who worked it into the basic dynamic approach of bebop would lead to the development of
564:, and rhythm sections that expanded on their role 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
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solos based on the chords of the compositions. Thus, the majority of a piece in bebop style would be improvisation, the only threads holding the work together being the underlying harmonies played by the
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categories. Bebop musicians eliminated
Western-style functional harmony in their music while retaining the strong central tonality of the blues as a basis for drawing upon various African matrices."
576:"Bebop" was a label that certain journalists later gave it, but we never labeled the music. It was just modern music, we would call it. We wouldn't call it anything, really, just music.
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Chord progressions for bebop compositions were often taken directly from popular swing-era compositions and reused with a new and more complex melody, forming new compositions (see
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creative solos was highly valued for this newer style and the basis of intense competition. Swing-era jam sessions and "cutting contests" in Kansas City became legendary. The
456:"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 as shown in the following example."
1527:) have cited bebop as an influence on their rapping and rhythmic style. As early as 1983, Shawn Brown rapped the phrase "Rebop, bebop, Scooby-Doo" toward the end of the hit "
1135:). Parker's first session as a leader was on November 26, 1945, for the Savoy label, with Miles Davis and Gillespie on trumpet, Hakim/Thornton and Gillespie on piano,
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620:. This unprecedented harmonic development which took place in bebop is often traced back to a transcendent moment experienced by Charlie Parker while performing "
1211:, and others who would contribute to what would become known as "modern jazz". The new music was gaining radio exposure with broadcasts such as those hosted by
1508:. The bebop subculture, defined as a non-conformist group expressing its values through musical communion, would echo in the attitude of the psychedelia-era
862:, who had arrived in New York in 1939 was, like Parker, an innovator extending a southwestern style. Christian's major influence was in the realm of rhythmic
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developed in the early to mid-1940s in the United States. The style features compositions characterized by a fast tempo (usually exceeding 200 bpm), complex
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Kubik, Gerhard. "Bebop: a case in point. The
African Matrix in Jazz Harmonic Practices." (Critical essay) Black Music Research Journal 22 Mar 2005. Digital.
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1001:). Hawkins led another bebop-influenced recording session on October 19, 1944, this time with Thelonious Monk on piano, Edward Robinson on bass, and
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Floyd, Samuel A., Jr. (1995). The power of black music: Interpreting its history from Africa to the United States. New York: Oxford
University Press.
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and developed some of the key harmonic and chordal innovations that would be the cornerstones of the new music; Parker did the same with bassist
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What's the Matter Now, I Want Every Bit of It, That's the Blues, G.I. Blues, Dream of You, Seventh Avenue, Sorta Kinda, Ooh Ooh, My My, Ooh Ooh
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whose spoken-word style drew on
African-American "jive" dialog, jazz rhythms, and whose poets often employed jazz musicians to accompany them.
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in 1993. Bebop samples, especially bass lines, ride cymbal swing clips, and horn and piano riffs are found throughout the hip-hop compendium.
1440:" sessions in 1949 and 1950. Musicians who followed the stylistic doors opened by Davis, Evans, Tristano, and Brubeck formed the core of the
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by lampooning it. The intellectual subculture that surrounded bebop made it something of a sociological movement as well as a musical one.
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Bebop developed as the younger generation of jazz musicians expanded the creative possibilities of jazz beyond the popular, dance-oriented
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If That's the Way You Feel, I Want to Talk About You, Blowing the Blues Away, Opus X, I'll Wait and Pray, The Real Thing
Happened to Me
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movement of the 1980s and 1990s revived the influence of bebop, post-bop, and hard bop styles after the free jazz and fusion eras.
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Bird Lives!The High Life And Hard Times of Charlie (Yardbird) Parker, by Ross Russell, p. 100-102, Da Capo Press, 1996, 404 p.
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of the 1960s. Fans of bebop were not restricted to the United States; the music also gained cult status in France and Japan.
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Bird Lives!The High Life And Hard Times of Charlie (Yardbird) Parker, by Ross Russell, p. 89-92, Da Capo Press, 1996, 404 p.
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1455:. Those who incorporated Russell's ideas into the bebop foundation defined the post-bop movement that later incorporated
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of up to fourteen pieces playing in an ensemble-based style, the classic bebop group was a small combo that consisted of
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1107:). Parker and Gillespie appeared in a session under vibraphonist Red Norvo dated June 6, 1945, later released under the
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Bud Powell was pushing forward with a rhythmically streamlined, harmonically sophisticated, virtuosic piano style and
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751), the first formal recording of bebop. Charlie Parker and Clyde Hart were recorded in a quintet led by guitarist
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Orchestra through 1944, Bud Powell was in bebop sessions led by Frankie Socolow on May 2, 1945 for the Duke label (
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A new harmonic conception, using extended chord structures that led to unprecedented harmonic and melodic variety.
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on February 15, 1943, and Parker at another Eckstine jam session on February 28, 1943 (Stash ST-260; ST-CD-535).
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states that blues were both the bedrock and propelling force of bebop, bringing about three main developments:
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A developed and even more highly syncopated, linear rhythmic complexity and a melodic angularity in which the
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The new style of drumming supported and responded to soloists with accents and fills, almost like a shifting
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By 1946 bebop was established as a broad-based movement among New York jazz musicians, including trumpeters
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842:-influenced trumpet player who, like Parker, was exploring ideas based on upper chord intervals, beyond the
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and backing them with appropriately related changes, I could play the thing I'd been hearing. It came alive.
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Lott, Eric. Double V, Double-Time: Bebop's Politics of Style. Callaloo, No. 36 (Summer, 1988), pp. 597–605
1123:) featured Parker and Gordon. Gordon led his first session for the Savoy label on October 30, 1945, with
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Some of the harmonic innovations in bebop appear similar to innovations in Western "serious" music, from
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On January 4, 1945, Clyde Hart led a session including Parker, Gillespie, and Don Byas recorded for the
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during the swing era. Instead, bebop appeared to sound racing, nervous, erratic and often fragmented.
479:' "Four or Five Times", recorded in 1928. It appears again in a 1936 recording of "I'se a Muggin'" by
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Minton's in 1941 were recorded, with Thelonious Monk alongside an assortment of musicians including
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The musical devices developed with bebop were influential far beyond the bebop movement itself. "
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One young admirer of the Basie orchestra in Kansas City was a teenage alto saxophone player named
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1956:. Trans. Bredigkeit, H. and B. with Dan Morgenstern. Westport, CT: Lawrence Hill & Co., 1975.
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based improvised lines that could resolve to the key center in numerous and surprising ways.
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early 1947. Parker and Thompson's tenures in Los Angeles, the arrival of Dexter Gordon and
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The reestablishment of the blues as the music's primary organizing and functional principle.
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in a way that expanded their role. Whereas the key ensemble of the swing music era was the
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Gillespie landed the first recording date with a major label for the new music, with the
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Warming Up a Riff, Now's the Time, Billie's Bounce, Thriving on a Riff, Ko-Ko, Meandering
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Some of the most influential bebop artists, who were typically composer-performers, are
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rhythmic variety. The early 1950s also saw some smoothing in Charlie Parker's style.
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As the 1930s turned to the 1940s, Parker went to New York as a featured player in the
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1215:. Bebop was taking root in Los Angeles as well, among such modernists as trumpeters
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Tiny's Tempo, I'll Always Love You Just the Same, Romance Without Finance, Red Cross
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were exposing the music world to harmonically sophisticated musical arrangements by
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624:" at Clark Monroe's Uptown House, New York, in early 1942. As described by Parker:
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era and was instead characterized by fast tempos, asymmetrical phrasing, intricate
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was a leading performer and composer of the bebop era. He is pictured here with
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1307:). Later Afro-Cuban styled recordings for Bluebird in collaboration with Cuban
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By the mid-1950s musicians began to be influenced by music theory proposed by
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improvised a solo, then returned to the melody at the end of the composition.
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1840:
Raney, Jimmy and Jamey Abersold. "Jimmy & Jamey Discuss Charlie Parker",
1153:
Long Tall Dexter, Dexter Rides Again, I Can't Escape From You, Dexter Digs In
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chords that had traditionally defined jazz harmony. While Gillespie was with
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of the fifth degree was established as an important melodic-harmonic device.
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What More Can a Woman Do, I'd Rather Have a Memory Than a Dream, Mean to Me
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was adapting the new harmonic ideas to his style that was rooted in Harlem
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go on to lead the first formal recording of the bebop style in early 1944.
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Bebop grew out of the culmination of trends that had been occurring within
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in the mid-1950s. It became a major influence until the late 1960s when
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label recording Dizzy Gillespie And his Orchestra on February 22, 1946 (
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The Man I Love, Reverse the Charges, Blue Fantasy, September in the Rain
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in 1943, then followed vocalist Billy Eckstine out of the band into the
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Bebop differed drastically from the straightforward compositions of the
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Blow Mr Dexter, Dexter's Deck, Dexter's Cuttin' Out, Dexter's Minor Mad
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The kindred spirits developing the new music gravitated to sessions at
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The term "bebop" is derived from nonsense syllables (vocables) used in
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1982:
Swing to Bop: An Oral History of the Transition of Jazz in the 1940s
1797:(1st ed.). Fulham, London: Flame Tree Publishing. p. 130.
1643:"Jazz Fan Really Digs the Language – All the Way Back to Its Origin"
1428:. Voicing experiments based on bebop harmonic devices were used by
936:, a tenor saxophone player from the west coast in New York with the
498:
because it sounded like something he hummed along with his playing.
229:
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52nd Street Theme, A Night in Tunisia, Ol' Man Rebop, Anthropology
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Takin' Off, If I Had You, Twentieth Century Blues, The Street Beat
710:
637:
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postulates that the harmonic development in bebop sprang from the
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1095:). Parker appeared in Gillespie-led sessions dated February 28 (
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Parker, Gillespie, and others working the bebop idiom joined the
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helped solidify the city's status as a center of the new music.
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1151:), then Dexter Gordon on January 29, 1946 for the Savoy label (
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on trombone, Clyde Hart on Piano, Oscar Pettiford on bass, and
801:
The brilliant technique and harmonic sophistication of pianist
763:. He was especially enthralled by their tenor saxophone player
487:
claims that the original title "Bip Bop" for his composition "
36:
1119:
all-star session of September 4, 1945 for the Apollo label (
1664:
Thelonious Monk: The Life and Times of an American Original
1060:
featured a tenor saxophone duel between Gordon and Ammons.
1007:
On the Bean, Recollections, Flyin' Hawk, Driftin' on a Reed
1335:
the Civil Rights Movement, Gillespie was confronting the
775:. Parker played along with the new Basie recordings on a
27:
Subgenre of jazz music developed in the U.S. in mid-1940s
1143:). After appearing as a sideman in the R&B-oriented
1085:
I Can't Get Started, Good Bait, Be-bop (Dizzy's Fingers)
2030:
2026:
Bebop for Guitar – Scales, Vocabulary, and Chromaticism
1097:
Groovin' High, All the Things You Are, Dizzy Atmosphere
475:; the first known example of "bebop" being used was in
805:
inspired young musicians including Charlie Parker and
494:
Some researchers speculate that it was a term used by
1127:(Argonne Thornton) on piano, Gene Ramey on bass, and
306:, the use of scales and occasional references to the
1994:
Tirro, Frank. "The Silent Theme Tradition in Jazz".
900:, where Monk and Clarke were in the house band, and
682:, describes how Parker would listen to the music of
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Hallelujah, Get Happy, Slam Slam Blues, Congo Blues
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Dizzy Gillespie, at the Downbeat Club, NYC, c. 1947
249:
239:
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195:
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67:. Unsourced material may be challenged and removed.
1977:. Oxford, New York: Oxford University Press, 1997.
1928:. Britannica Educational Publishing. p. 101.
1719:
1963:. Berkeley: University of California Press, 1999.
1903:. Oxford: Oneworld Publications. pp. 16–17.
1535:collaborated with A Tribe Called Quest on 1991's
779:until he could play Young's solos note for note.
1961:The Birth of Bebop: A Social and Musical History
1954:The Jazz Book: From Ragtime to Fusion and Beyond
1968:Celebrating Bird: The Triumph of Charlie Parker
940:band, and a young trumpet player attending the
744:
574:
1878:
1876:
1613:Tanner, Paul O. W. and Gerow, Maurice (1964).
1328:Manteca, Cubana Be, Cubana Bop, Guarache Guaro
1284:later in 1946, and the promotional efforts of
746:Bebop wasn't developed in any deliberate way.
3724:Charlie Parker on Dial: The Complete Sessions
3592:Now's the Time: the Quartet of Charlie Parker
3488:
2046:
1101:Salt Peanuts, Shaw 'Nuff, Lover Man, Hothouse
741:, which came to national prominence in 1937.
8:
1024:in 1944. The Eckstine band was recorded on
981:(bass) and Max Roach (drums) that recorded "
523:in jokes of the 1950s, overlapping with the
1926:American Literature from 1945 through today
1842:https://www.youtube.com/watch?v=10guXUWGGB4
3731:Bird: The Complete Charlie Parker on Verve
3495:
3481:
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3084:
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2053:
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1991:. New York: Oxford University Press, 1992.
171:at the Three Deuces club in New York City.
147:
138:
1989:Hard bop: Jazz and Black Music, 1955–1965
127:Learn how and when to remove this message
3710:Charlie Parker's Savoy and Dial sessions
1984:. Oxford: Oxford University Press, 1987.
1818:
1816:
1814:
1600:
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534:
1726:. Oxford University Press US. pp.
1594:
491:", was the origin of the name "bebop."
1696:What Was The First Rock'n'Roll Record?
858:while with McShann's group. Guitarist
539:Several bebop musicians headlining on
294:with rapid chord changes and numerous
1795:The Illustrated Encyclopedia of Music
1759:The Oxford Companion to Popular Music
1641:Gleason, Ralph J. (15 February 1959)
1637:
1635:
1633:
1631:
7:
65:adding citations to reliable sources
3769:"Big Foot" aka "Driftin' on a Reed"
2009:Verve History of Jazz page on Bebop
1388:, leading to the movement known as
678:, a jazz guitarist who played with
25:
3408:Album covers of Blue Note Records
1889:, chapter 3, pp. 43–5, 57–8, 61–2
1351:By 1950, bebop musicians such as
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1491:Bebop style also influenced the
1448:" movements of the early 1950s.
1139:on bass and Max Roach on drums (
1083:on drums. The session recorded
41:
3717:Complete Charlie Parker on Dial
3568:Charlie Parker Memorial, Vol. 2
3552:Charlie Parker Memorial, Vol. 1
2014:Charlie Parker bebop solo licks
1778:Cameron, William Bruce (1963).
1075:label, with Don Byas on tenor,
813:bands. The 1939 recording of "
298:, instrumental virtuosity, and
52:needs additional citations for
2788:Institutions and organizations
1998:53, no. 3 (July 1967): 313–34.
1970:. New York City: Morrow, 1987.
1499:would describe his writing in
1093:Groovin' High, Blue 'n' Boogie
826:Going beyond swing in New York
1:
2485:Cool jazz and West Coast jazz
997:label on September 15, 1944 (
735:Kansas City approach to swing
690:, in particular Schoenberg's
3576:The Genius of Charlie Parker
1924:Augustyn, Adam, ed. (2011).
850:, he practiced with bassist
3932:Charlie Parker with Strings
3560:The Immortal Charlie Parker
1782:. Random House. p. 93.
1459:into its musical language.
1032:label on December 5, 1944 (
4027:
3667:Summit Meeting at Birdland
1899:Gair, Christopher (2008).
1870:see Early bebop recordings
1562:
788:Jimmie Lunceford Orchestra
302:based on a combination of
269:Hipster (1940s subculture)
29:
3963:
3510:
3452:
2814:See Template: Jazz theory
1552:Guru's Jazzmatazz, Vol. 1
942:Juilliard School of Music
515:". The bebop musician or
477:McKinney's Cotton Pickers
254:
244:
146:
3600:The Cole Porter Songbook
3584:The Charlie Parker Story
1722:Creating Black Americans
1436:for the groundbreaking "
1332:black vaudeville circuit
1187:, baritone saxophonists
1022:Billy Eckstine Orchestra
784:Duke Ellington Orchestra
199:Mid-1940s, United States
3939:Charlie Parker Omnibook
3890:Scrapple from the Apple
3691:Live at Rockland Palace
3683:The Washington Concerts
1793:Du Noyer, Paul (2003).
1565:List of bebop musicians
4001:African-American music
1617:, 81. Second edition.
1117:Sir Charles Thompson's
1058:Blowing the Blues Away
782:In the late 1930s the
748:
737:was epitomized by the
728:of the southwest with
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586:
544:
468:
32:Bebop (disambiguation)
3883:Relaxin' at Camarillo
3659:One Night in Birdland
1996:The Musical Quarterly
1952:Berendt, Joachim E.
902:Monroe's Uptown House
832:Jay McShann Orchestra
739:Count Basie Orchestra
714:
626:
606:tritone substitutions
538:
455:
3787:"Bird Gets the Worm"
3202:Bibliography of jazz
2982:Continental European
1668:Simon & Schuster
1521:A Tribe Called Quest
1213:"Symphony Sid" Torin
1183:, tenor saxophonist
1099:) and May 11, 1945 (
1018:Earl Hines Orchestra
707:Swing era influences
507:music, for instance
61:improve this article
30:For other uses, see
3627:Jazz at Massey Hall
3536:South of the Border
3443:Straight, No Chaser
3232:Straight-ahead jazz
2689:Winter & Winter
2138:French horn in jazz
1987:Rosenthal, David.
1975:The History of Jazz
1901:The Beat Generation
1716:Painter, Nell Irvin
1541:, and vibraphonist
1481:gained ascendancy.
1179:, alto saxophonist
3643:Bird at St. Nick's
3387:West African music
3212:British dance band
3002:European free jazz
2975:British dance band
2468:Musicians by genre
2248:Free improvisation
2019:2012-03-16 at the
1780:Informal Sociology
1538:The Low End Theory
898:Minton's Playhouse
717:
696:jazz improvisation
545:
469:
427:electric guitarist
304:harmonic structure
292:chord progressions
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3343:New Orleans blues
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2707:Beaches (Toronto)
2118:Swing performance
1549:were featured on
1438:Birth of the Cool
1247:, Jimmy Bunn and
891:call and response
880:Drummers such as
860:Charlie Christian
688:Arnold Schoenberg
672:Arnold Schoenberg
513:Hey! Ba-Ba-Re-Bop
496:Charlie Christian
489:52nd Street Theme
430:Charlie Christian
341:(alto or tenor),
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264:Progressive music
177:Stylistic origins
137:
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16:(Redirected from
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4011:Jazz terminology
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3855:Moose the Mooche
3806:Chasin' the Bird
3635:Bird on 52nd St.
3608:Swedish Schnapps
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3227:Continental jazz
3120:Washington, D.C.
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2987:Czech and Slovak
2845:
2629:India Navigation
2327:Progressive jazz
2181:Avant-garde jazz
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1959:Deveaux, Scott.
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1402:Progressive jazz
1318:, and arrangers
1231:, tenor players
952:Early recordings
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610:diminished scale
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467:
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210:Avant-garde jazz
204:Derivative forms
196:Cultural origins
188:Kansas City jazz
154:Alto saxophonist
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3782:Billie's Bounce
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3463:Jazz portal
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3375:Novelty ragtime
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2619:Groove Merchant
2609:Flying Dutchman
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2317:Orchestral jazz
2297:Mainstream jazz
2285:Afro-Cuban jazz
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2076:Outline of jazz
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2021:Wayback Machine
2005:
1966:Giddins, Gary.
1949:
1947:Further reading
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1615:A Study of Jazz
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1583:Jazz portal
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1515:More recently,
1493:Beat Generation
1446:west coast jazz
1422:Lennie Tristano
1410:Charlie Ventura
1398:
1349:
1263:, and drummers
1223:, alto players
1195:, vibraphonist
1161:
1145:Cootie Williams
1129:Eddie Nicholson
1013:PRCD-24124-2).
979:Oscar Pettiford
954:
938:Louis Armstrong
914:Coleman Hawkins
871:Thelonious Monk
836:Dizzy Gillespie
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819:Coleman Hawkins
792:Billy Strayhorn
757:
753:Thelonious Monk
750:
726:territory bands
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692:Pierrot Lunaire
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531:Instrumentation
521:stock character
500:Dizzy Gillespie
485:Thelonious Monk
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432:; and drummers
423:Thelonious Monk
411:Dizzy Gillespie
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327:extended chords
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240:Regional scenes
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3436:Round Midnight
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2069:General topics
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2003:External links
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1980:Gitler, Ira.
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1935:978-1615301331
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1670:. p. 95.
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1563:Main article:
1560:
1557:
1545:and trumpeter
1453:George Russell
1397:
1394:
1353:Clifford Brown
1348:
1345:
1324:George Russell
1257:Charles Mingus
1245:Dodo Marmarosa
1237:Lucky Thompson
1171:, trombonists
1160:
1157:
1137:Curley Russell
1052:on drums, and
967:Billy Eckstine
953:
950:
827:
824:
761:Charlie Parker
743:
708:
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703:
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680:Charlie Parker
668:Claude Debussy
664:
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642:diatonic chord
591:rhythm section
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509:Lionel Hampton
481:Jack Teagarden
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403:Clifford Brown
395:Buddy DeFranco
371:Charlie Parker
323:altered chords
296:changes of key
286:is a style of
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3039:Flamenco jazz
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2228:Flamenco jazz
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2163:Women in jazz
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2148:Jazz trombone
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2096:Improvisation
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1910:9781851685424
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1887:Autobiography
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1804:1-904041-96-5
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1767:0-19-311323-6
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1737:0-19-513755-8
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1704:0-571-12939-0
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1660:Kelley, Robin
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1506:Slim Gaillard
1502:
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1467:Horace Silver
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1382:Horace Silver
1379:
1375:
1374:John Coltrane
1371:
1370:Sonny Rollins
1367:
1366:Jackie McLean
1361:
1358:
1354:
1346:
1344:
1340:
1338:
1337:racial divide
1333:
1329:
1325:
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1317:
1316:Sabu Martinez
1313:
1310:
1306:
1302:
1297:
1295:
1291:
1287:
1283:
1278:
1275:on bass, and
1274:
1270:
1266:
1262:
1261:Red Callender
1258:
1254:
1253:Barney Kessel
1250:
1249:Hampton Hawes
1246:
1242:
1239:, trombonist
1238:
1234:
1233:Teddy Edwards
1230:
1226:
1222:
1218:
1217:Howard McGhee
1214:
1210:
1206:
1202:
1201:Erroll Garner
1198:
1194:
1193:Serge Chaloff
1190:
1186:
1182:
1178:
1174:
1173:J. J. Johnson
1170:
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1059:
1055:
1054:Sarah Vaughan
1051:
1047:
1044:on baritone,
1043:
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968:
964:
963:Hot Lips Page
960:
951:
949:
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943:
939:
935:
934:Dexter Gordon
931:
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919:
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823:
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815:Body and Soul
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639:
635:
634:Gerhard Kubik
630:
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623:
619:
613:
611:
607:
603:
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583:
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573:
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567:
566:Benny Goodman
563:
559:
552:Musical style
551:
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408:
404:
400:
397:; trumpeters
396:
392:
388:
384:
383:Sonny Rollins
380:
379:Dexter Gordon
376:
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352:
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316:
311:
309:
305:
301:
300:improvisation
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245:United States
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78: –
77:
73:
72:Find sources:
66:
62:
56:
55:
50:This article
48:
44:
39:
38:
33:
19:
3967:
3954:Bird and Diz
3952:
3944:
3937:
3930:
3920:
3820:Confirmation
3756:Anthropology
3741:Compositions
3729:
3722:
3715:
3708:
3689:
3681:
3673:
3665:
3657:
3651:Bird Is Free
3649:
3641:
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3606:
3598:
3590:
3582:
3574:
3566:
3558:
3550:
3542:
3534:
3528:Bird and Diz
3526:
3454:
3441:
3434:
3427:
3423:(miniseries)
3420:
3412:
3382:Sophisti-pop
2812:
2803:Jazz royalty
2793:Jazz funeral
2589:Contemporary
2480:Chamber jazz
2434:Saxophonists
2404:Clarinetists
2376:Third stream
2213:Chamber jazz
2185:
2113:Scat singing
1995:
1988:
1981:
1974:
1973:Gioia, Ted.
1967:
1960:
1953:
1925:
1919:
1900:
1894:
1886:
1866:
1857:
1848:
1836:
1827:
1794:
1788:
1779:
1773:
1758:
1753:
1741:. Retrieved
1721:
1710:
1695:
1692:Steve Propes
1686:
1663:
1654:
1647:Toledo Blade
1646:
1614:
1609:
1550:
1536:
1529:Rappin' Duke
1514:
1497:Jack Kerouac
1490:
1483:
1461:
1450:
1426:Dave Brubeck
1406:Boyd Raeburn
1399:
1362:
1350:
1341:
1327:
1308:
1304:
1301:RCA Bluebird
1298:
1290:Norman Granz
1286:Ross Russell
1282:Wardell Gray
1251:, guitarist
1241:Melba Liston
1229:Frank Morgan
1209:Slam Stewart
1197:Milt Jackson
1169:Kenny Dorham
1165:Fats Navarro
1162:
1152:
1148:
1140:
1132:
1120:
1112:
1104:
1100:
1096:
1092:
1089:Salt Peanuts
1088:
1084:
1077:Trummy Young
1068:
1062:
1057:
1046:Tommy Potter
1033:
1015:
1006:
998:
971:
955:
926:Roy Eldridge
918:Lester Young
909:
905:
895:
882:Kenny Clarke
879:
875:stride piano
868:
848:Cab Calloway
840:Roy Eldridge
829:
811:
800:
781:
773:Buck Clayton
765:Lester Young
758:
749:
745:
718:
665:
646:Samuel Floyd
632:
627:
614:
602:I Got Rhythm
595:
587:
582:Kenny Clarke
575:
570:Glenn Miller
555:
546:
516:
493:
473:scat singing
470:
434:Kenny Clarke
419:Barry Harris
399:Fats Navarro
364:
312:
283:
279:
278:
250:Other topics
161:Tommy Potter
123:
114:
104:
97:
90:
83:
71:
59:Please help
54:verification
51:
4006:Jazz genres
3949:(1988 film)
3897:Swingmatism
3869:Ornithology
3619:Live albums
3513:Discography
3365:Quiet storm
3328:Contradanza
3110:New Orleans
3105:Kansas City
2908:Jazz mugham
2903:Azerbaijani
2827:Second line
2822:Rare groove
2808:Jazz theory
2798:Jazz poetry
2783:Contrafacts
2767:Saint Lucia
2747:New Orleans
2679:Strata-East
2654:MPS Records
2584:Cobblestone
2505:Smooth jazz
2495:Jazz fusion
2439:Trombonists
2352:Sacred jazz
2337:Smooth jazz
2270:Jazz fusion
2153:Jazz violin
2133:Jazz guitar
2108:Jam session
2081:Jazz (word)
1883:Miles Davis
1547:Donald Byrd
1531:". Bassist
1501:On the Road
1479:fusion jazz
1430:Miles Davis
1418:Stan Kenton
1357:Sonny Stitt
1294:Gene Norman
1255:, bassists
1243:, pianists
1225:Sonny Criss
1199:, pianists
1185:James Moody
1181:Sonny Stitt
1177:Kai Winding
1125:Sadik Hakim
1065:Continental
1056:on vocals.
1038:Gene Ammons
1009:; reissue,
1003:Denzil Best
991:Tiny Grimes
983:Woody'n You
946:Miles Davis
922:Ben Webster
852:Milt Hinton
730:Kansas City
721:swing music
684:Béla Bartók
676:Jimmy Raney
608:and use of
541:52nd Street
413:; pianists
407:Miles Davis
387:James Moody
355:double bass
319:syncopation
315:swing music
228: [
169:Miles Davis
3990:Categories
3763:Au Privave
3749:Ah-Leu-Cha
3350:Brass band
3338:Jump blues
3182:Ethno jazz
3145:Australian
3125:West Coast
2882:Zimbabwean
2722:Copenhagen
2644:Mainstream
2454:Violinists
2444:Trumpeters
2414:Guitarists
2322:Organ trio
2307:Modal jazz
2280:Latin jazz
2260:Gypsy jazz
2158:Vocal jazz
2143:Jazz piano
1589:References
1533:Ron Carter
1471:Art Blakey
1457:modal jazz
1386:Art Blakey
1320:Gil Fuller
1312:Chano Pozo
1277:Stan Levey
1269:Connie Kay
1265:Roy Porter
1221:Art Farmer
1207:, bassist
1189:Leo Parker
1131:on drums (
1081:Irv Kluger
1050:Art Blakey
1042:Leo Parker
1040:on tenor,
1005:on drums (
975:Clyde Hart
856:Gene Ramey
807:Bud Powell
598:contrafact
543:, May 1948
442:Art Blakey
415:Bud Powell
259:Jazz piano
87:newspapers
3841:Donna Lee
3834:Dexterity
3792:Bloomdido
3318:Acid jazz
3175:Worldwide
3161:Brazilian
2958:Bulgarian
2920:Indo jazz
2870:Cape jazz
2757:North Sea
2712:Cape Town
2699:Festivals
2674:Riverside
2649:Milestone
2574:Blue Note
2569:Bethlehem
2553:post-1950
2525:Standards
2510:Soul jazz
2459:Vocalists
2419:Organists
2391:Musicians
2381:Trad jazz
2342:Soul jazz
2265:Jazz-funk
2253:Punk jazz
2243:Free funk
2238:Free jazz
2233:Folk jazz
2223:Dixieland
2218:Cool jazz
2208:Cape jazz
2123:Jazz bass
2086:Jazz band
1559:Musicians
1543:Roy Ayers
1519:artists (
1475:free jazz
1442:cool jazz
1434:Gil Evans
1396:Influence
1273:Ray Brown
1048:on bass,
977:(piano),
886:Max Roach
877:playing.
803:Art Tatum
796:Sy Oliver
657:blue note
616:eleventh/
519:became a
448:Etymology
438:Max Roach
375:tenor sax
339:saxophone
165:Max Roach
3974:Category
3775:Barbados
3702:Box sets
3544:Big Band
3323:Afrobeat
3237:Pre-1920
3222:Jazz Age
3138:Oceanian
3088:American
3062:Canadian
2946:European
2937:Japanese
2898:Armenian
2860:Malawian
2855:Ethiopia
2742:Montreux
2737:Montreal
2732:Monterey
2669:Prestige
2639:Landmark
2624:Impulse!
2604:ESP-Disk
2533:Pre-1920
2490:Hard bop
2429:Pianists
2409:Drummers
2399:Bassists
2332:Ska jazz
2275:Jazz rap
2201:Post-bop
2191:Hard bop
2091:Big band
2017:Archived
1761:, 1991,
1718:(2006).
1698:, 1992,
1662:(2009).
1570:See also
1463:Hard bop
1390:hard bop
1378:post-bop
1309:rumberos
1159:Breakout
1011:Prestige
993:for the
930:Don Byas
864:phrasing
786:and the
777:Victrola
769:Jo Jones
622:Cherokee
579:—
562:melodies
391:clarinet
377:players
367:alto sax
335:big band
220:post-bop
215:hard bop
117:May 2018
3914:Related
3370:Ragtime
3355:Exotica
3311:Related
3217:Ragtime
3195:History
3100:Chicago
3067:Haitian
3046:Swedish
3034:Spanish
3017:Italian
2970:British
2965:Belgian
2932:Iranian
2848:African
2776:Culture
2752:Newport
2727:Jakarta
2717:Chicago
2614:Freedom
2312:Nu jazz
2196:Neo-bop
1885:(1989)
1743:July 9,
1517:hip-hop
1510:hippies
1486:neo-bop
1205:Al Haig
1111:label (
1067:label (
1030:De Luxe
1026:V-discs
959:Joe Guy
844:seventh
702:History
618:tritone
525:beatnik
505:R&B
393:player
369:player
343:trumpet
101:scholar
76:"Bebop"
3813:Cheryl
3694:(1997)
3686:(1983)
3678:(1978)
3670:(1977)
3662:(1977)
3654:(1961)
3646:(1958)
3638:(1958)
3630:(1953)
3611:(1958)
3603:(1956)
3595:(1956)
3587:(1956)
3579:(1956)
3571:(1956)
3563:(1956)
3555:(1956)
3547:(1954)
3539:(1952)
3531:(1952)
3022:Polish
3012:German
3007:French
2992:Danish
2953:Balkan
2915:Indian
2875:Marabi
2832:Venues
2359:Stride
2302:Marabi
2292:M-Base
2173:Genres
1932:
1907:
1801:
1765:
1734:
1730:–229.
1702:
1674:
1621:
1416:, and
1372:, and
1347:Beyond
1292:, and
1087:, and
987:Apollo
928:, and
517:bopper
440:, and
409:, and
385:, and
357:, and
351:guitar
308:melody
103:
96:
89:
82:
74:
18:Be-bop
3996:Bebop
3921:Bebop
3848:Ko-Ko
3401:Media
3360:Plugg
3333:Blues
3287:2010s
3282:2000s
3277:1990s
3272:1980s
3267:1970s
3262:1960s
3257:1950s
3252:1940s
3247:1930s
3242:1920s
3207:Blues
3077:Cuban
2997:Dutch
2925:Sitar
2891:Asian
2684:Verve
2548:1940s
2543:1930s
2538:1920s
2515:Swing
2475:Bebop
2364:Swing
2186:Bebop
1444:and "
1073:Manor
995:Savoy
906:bebop
817:" by
638:blues
558:swing
359:drums
347:piano
280:Bebop
232:]
225:wabap
183:Swing
142:Bebop
108:JSTOR
94:books
3946:Bird
3421:Jazz
3414:Bird
3302:2022
3297:2021
3292:2020
3027:Yass
2762:Pori
2664:Muse
2500:Scat
2101:Jazz
2062:Jazz
1930:ISBN
1905:ISBN
1799:ISBN
1763:ISBN
1745:2009
1732:ISBN
1700:ISBN
1672:ISBN
1619:ISBN
1525:Guru
1484:The
1477:and
1469:and
1432:and
1424:and
1384:and
1355:and
1322:and
1314:and
1267:and
1259:and
1235:and
1227:and
1219:and
1203:and
1191:and
1175:and
1167:and
1109:Dial
884:and
838:, a
794:and
568:and
511:'s "
462:Play
421:and
288:jazz
167:and
80:news
2659:MPS
2634:JMT
2599:ECM
2594:CTI
2579:BYG
1728:228
1115:).
985:" (
910:bop
908:or
670:to
284:bop
282:or
63:by
3992::
1875:^
1813:^
1694:,
1666:.
1645:.
1630:^
1597:^
1523:,
1412:,
1408:,
1368:,
1288:,
961:,
948:.
944:,
924:,
920:,
916:,
698:.
527:.
444:.
436:,
425:;
417:,
405:,
401:,
389:;
381:,
373:;
353:,
349:,
345:,
325:,
321:,
310:.
230:fr
163:,
3906:"
3902:"
3899:"
3895:"
3892:"
3888:"
3885:"
3881:"
3878:"
3874:"
3871:"
3867:"
3864:"
3860:"
3857:"
3853:"
3850:"
3846:"
3843:"
3839:"
3836:"
3832:"
3829:"
3825:"
3822:"
3818:"
3815:"
3811:"
3808:"
3804:"
3801:"
3797:"
3794:"
3790:"
3784:"
3780:"
3777:"
3773:"
3765:"
3761:"
3758:"
3754:"
3751:"
3747:"
3496:e
3489:t
3482:v
2054:e
2047:t
2040:v
1938:.
1913:.
1807:.
1747:.
1680:.
1649:.
1625:.
1326:(
751:—
130:)
124:(
119:)
115:(
105:·
98:·
91:·
84:·
57:.
34:.
20:)
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