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94-493: The Village Stompers were an American dixieland jazz group during the 1950s and '60s. The group developed a folk-dixie style that began with the hit song " Washington Square ". The Village Stompers came from Greenwich Village in New York City and consisted of Dick Brady, Don Coates, Ralph Casale, Frank Hubbell, Lenny Pogan, Al McManus, Don Steele, Mitchell May, and Joe Muranyi . Their song "Washington Square" reached No. 2 on

188-611: A Roy Eldridge -influenced trumpet player who, like Parker, was exploring ideas based on upper chord intervals, beyond the seventh chords that had traditionally defined jazz harmony. While Gillespie was with Cab Calloway , he practiced with bassist Milt Hinton 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 Gene Ramey while with McShann's group. Guitarist Charlie Christian , who had arrived in New York in 1939 was, like Parker, an innovator extending

282-550: A washboard . There are several active periodicals devoted to traditional jazz: the Jazz Rambler , a quarterly newsletter distributed by San Diego's America's Finest City Dixieland Jazz Society; The Syncopated Times , which covers traditional jazz, ragtime, and swing; Just Jazz and The Jazz Rag in the UK; and, to an extent, Jazz Journal , an online-only publication based in Europe covering

376-406: A "front line" of trumpet (or cornet ), trombone, and clarinet, with a " rhythm section " of at least two of the following instruments: guitar or banjo , string bass or tuba, piano, and drums. The Dixieland sound is created when one instrument (usually the trumpet) plays the melody or a variation on it, and the other instruments improvise around that melody. This creates a more polyphonic sound than

470-594: A New Baby ", " Royal Garden Blues " and many others. All of these tunes were widely played by jazz bands of the pre- WWII era, especially Louis Armstrong. They came to be grouped as Dixieland standards beginning in the 1950s. Largely occurring at the same time as the "New Orleans Traditional" revival movement in the United States, traditional jazz music made a comeback in the Low Countries . However, most Dutch jazz bands (such as The Ramblers ) had long since evolved into

564-807: A Riff, Now's the Time, Billie's Bounce, Thriving on a Riff, Ko-Ko, Meandering ). After appearing as 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, Reverse the Charges, Blue Fantasy, September in the Rain ), then Dexter Gordon on January 29, 1946 for the Savoy label ( Long Tall Dexter, Dexter Rides Again, I Can't Escape From You, Dexter Digs In ). The growth of bebop through 1945

658-563: A Woman Do, I'd Rather Have a Memory Than a Dream, Mean to Me ). Parker and Gillespie appeared in a session under vibraphonist Red Norvo dated June 6, 1945, later released under the Dial label ( Hallelujah, Get Happy, Slam Slam Blues, Congo Blues ). Sir Charles Thompson's all-star session of September 4, 1945 for the Apollo label ( Takin' Off, If I Had You, Twentieth Century Blues, The Street Beat ) featured Parker and Gordon. Gordon led his first session for

752-650: A combination of harmonic structure , the use of scales and occasional references to the melody . Bebop developed as the younger generation of jazz musicians expanded the creative possibilities of jazz beyond the popular, dance-oriented swing music -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 syncopation , altered chords , extended chords , chord substitutions, asymmetrical phrasing, and intricate melodies. Bebop groups used rhythm sections in

846-405: A jazz guitarist who played with Charlie Parker , describes how Parker would listen to the music of Béla Bartók , a leading 20th century classical composer. Raney describes Parker's knowledge of Bartók and Arnold Schoenberg , in particular Schoenberg's Pierrot Lunaire , and says that a section from Bartók's Fifth Quartet sounded a lot like some of Parker's jazz improvisation . Bebop grew out of

940-546: A new form of jazz ensemble generally referred to "Oude Stijl" ("Old Style") jazz in Dutch . Influenced by the instrumentation of the two principal orchestral forms of the wind band in the Netherlands and Belgium , the "harmonie " and the " fanfare ", traditional Dutch jazz bands do not feature a piano and contain no stringed instruments apart from the banjo . They include multiple trumpets, trombones and saxophones accompanied by

1034-416: A recorded jam session hosted by Billy Eckstine on February 15, 1943, and Parker at another Eckstine jam session on February 28, 1943 (Stash ST-260; ST-CD-535). 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

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1128-673: A rhythm section consisting of Clyde Hart (piano), Oscar Pettiford (bass) and Max Roach (drums) that recorded " Woody'n You " ( Apollo 751), the first formal recording of bebop. Charlie Parker and Clyde Hart were recorded in a quintet led by guitarist Tiny Grimes for the Savoy label on September 15, 1944 ( Tiny's Tempo, I'll Always Love You Just the Same, Romance Without Finance, 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

1222-940: A session including Parker, Gillespie, and Don Byas recorded for the Continental label ( 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 ). Gillespie recorded his first 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 Get Started, Good Bait, Be-bop (Dizzy's Fingers) , and Salt Peanuts (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

1316-643: A sideman in a session recorded on February 9, 1945 for the Guild label ( Groovin' High, Blue 'n' Boogie ). Parker appeared in Gillespie-led sessions dated February 28 ( Groovin' High, All the Things You Are, Dizzy Atmosphere ) and May 11, 1945 ( Salt Peanuts, Shaw 'Nuff, Lover Man, Hothouse ) for the Guild label. Parker and Gillespie were sidemen with Sarah Vaughan on May 25, 1945, for the Continental label ( What More Can

1410-432: A single clarinet, sousaphone and a section of marching percussion usually including a washboard . The music played by Dutch jazz bands includes both the original New Orleans tunes and the songs of the revival era. In terms of playing style, Dutch jazz bands occupy a position between revivalist and original New Orleans jazz, with more solos than the latter but without abandoning the principle of ensemble playing. With

1504-425: A sociological movement as well as a musical one. 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. By 1950, bebop musicians such as Clifford Brown and Sonny Stitt began to smooth out

1598-495: A sophisticated harmonic exploration of the composition, with implied passing chords. Hawkins would eventually go on to lead the first formal recording of the bebop style in early 1944. As the 1930s turned to the 1940s, Parker went to New York as 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 ,

1692-458: A southwestern style. Christian's major influence was in the realm of rhythmic phrasing . 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. Bud Powell was pushing forward with a rhythmically streamlined, harmonically sophisticated, virtuosic piano style and Thelonious Monk

1786-446: 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 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 rhythm section . Sometimes improvisation included references to

1880-501: 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 the Civil Rights Movement, Gillespie was confronting the racial divide by lampooning it. The intellectual subculture that surrounded bebop made it something of

1974-416: A variety of jazz styles. Arguably the happiest of all music is Dixieland jazz. The sound of several horns all improvising together on fairly simple chord changes with definite roles for each instrument but a large amount of freedom, cannot help but sound consistently joyful. By the mid-1930s the word 'Dixieland' was being applied freely to certain circles of white musicians. First by the trade press, then by

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2068-454: A way that expanded their role. Whereas the key ensemble of the swing music era was the big band of up to fourteen pieces playing in an ensemble-based style, the classic 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 arranged music, bebop musicians typically played

2162-545: Is also documented in informal live recordings. 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 become known as "modern jazz". The new music

2256-449: Is derived from nonsense syllables (vocables) used in scat singing ; the first known example of "bebop" being used was in McKinney's Cotton Pickers ' "Four or Five Times", recorded in 1928. It appears again in a 1936 recording of "I'se a Muggin'" by Jack Teagarden . A variation, "rebop", appears in several 1939 recordings. The first known print appearance also occurred in 1939, but the term

2350-540: Is sometimes called "Dixie-bop". Lacy went on to apply that approach to the music of Thelonious Monk , Charles Mingus , Duke Ellington , and Herbie Nichols . The word " Dixie " is the nickname of the Southern United States, wherein New Orleans – the birthplace of Dixieland Jazz – is located. Dixieland largely evolved into Chicago style in the late 1910s and the new style was popularly called that name by

2444-1272: The Billboard magazine Hot 100 singles chart in 1963, and No. 1 on the Adult Contemporary Chart. Their hits included "From Russia with Love"/"The Bridge of Budapest" in April 1964 (No. 81) and "Fiddler on the Roof"/"Moonlight on the Ganges" in December 1964 (No. 97) and No. 19 on the Adult Contemporary Chart. Three other tracks made the Billboard Bubbling Under chart: "The La-Dee-Song"/"Blue Grass" February 1964 (104), "Oh! Marie"/ " Limehouse Blues " in October 1964 (132), and "Those Magnificent Men in Their Flying Machines"/"Sweet Water Bay" in July 1965 (130 pop chart and 35 Adult Contemporary). The group disbanded in 1967. Dixieland The Original Dixieland Jazz Band , recording its first disc in 1917,

2538-585: The Rebirth Brass Band , have combined traditional New Orleans brass band jazz with such influences as contemporary jazz, funk , hip hop , and rap. The M-Base (Multi-Basic Array of Synchronous Extemporization) improvisational concept used by ensembles including Cassandra Wilson , Geri Allen , Greg Osby , Steve Coleman , Graham Haynes , Kevin Eubanks and others is an extension of the polyphonic improvisation of New Orleans jazz. The Dixieland revival renewed

2632-497: The swing era while the few remaining traditional jazz bands (such as the Dutch Swing College Band ) did not partake in the broader traditional revival movement, and continued to play ragtime and early jazz, greatly limiting the number of bands aspiring jazz musicians could join or (as they were using instruments unavailable to most Dutch musicians such as double basses and the piano) were forced to improvise, resulting in

2726-411: The "standard" band consists of a "front line" of trumpet (or cornet ), trombone, and clarinet, with a " rhythm section " of at least two of the following instruments: guitar or banjo , string bass or tuba, piano, and drums. Louis Armstrong 's All-Stars was the band most popularly identified with Dixieland during the 1940s, although Armstrong's own influence during the 1920s was to move the music beyond

2820-421: The 1930s and 1940s, the earlier group-improvisation style fell out of favor with the majority of younger black players, while some older players of both races continued on in the older style. Though younger musicians developed new forms, many beboppers revered Armstrong and quoted fragments of his recorded music in their own improvisations. The Dixieland revival in the late 1940s and 1950s was formed in reaction to

2914-587: 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 strong central tonality of the blues as a basis for drawing upon various African matrices." Samuel Floyd states that blues were both the bedrock and propelling force of bebop, bringing about three main developments: Some of

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3008-664: 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, then followed vocalist 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

3102-523: The Blues Away, Opus X, I'll Wait and Pray, The Real Thing Happened to Me ), bebop recording sessions grew more frequent. Parker had left the band by that date, but it still 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 Blues Away featured a tenor saxophone duel between Gordon and Ammons. On January 4, 1945, Clyde Hart led

3196-497: 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 black vaudeville circuit entertainers, seemed like

3290-535: The R&B style of James Brown . Soprano saxophonist Steve Lacy combined New Orleans style polyphonic improvisation with bebop . Bassist Charles Mingus paid homage to traditional jazz styles with compositions such as "Eat Dat Chicken" and "My Jellyroll Soul". The contemporary New Orleans brass band styles, such as the Dirty Dozen Brass Band , The Primate Fiasco, the Hot Tamale Brass Band and

3384-438: 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's Deck, Dexter's Cuttin' Out, Dexter's Minor Mad ). 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, Curley Russell on bass and Max Roach on drums ( Warming Up

3478-688: The West Coast style use banjo and tuba in the rhythm sections, which play in a two-to-the-bar rhythmic style. Much performed traditional Dixieland tunes include: " When the Saints Go Marching In ", " Muskrat Ramble ", " Struttin' with Some Barbecue ", " Tiger Rag ", " Dippermouth Blues ", " Milenberg Joys ", " Basin Street Blues ", " Tin Roof Blues ", " At the Jazz Band Ball ", " Panama ", " I Found

3572-433: 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 bands. The 1939 recording of " Body and Soul " by Coleman Hawkins 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

3666-468: The audience for musicians who had continued to play in traditional jazz styles and revived the careers of New Orleans musicians who had become lost in the shuffle of musical styles that had occurred over the preceding years. Younger black musicians shunned the revival, largely because of a distaste for tailoring their music to what they saw as nostalgia entertainment for white audiences with whom they did not share such nostalgia. The Jim Crow associations of

3760-470: 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 it derives from the cry of "Arriba! Arriba!" used by Latin American bandleaders of the period to encourage their bands. At times,

3854-498: The average band containing up to 15 players, Dutch jazz bands tend to be the largest ensembles to play traditional jazz music. Musical styles showing influences from traditional jazz include later styles of jazz, rhythm and blues , and early rock and roll . Traditional New Orleans second-line drumming and piano playing are prominent in the music of Fats Domino . The New Orleans drummer Idris Muhammad adapted second-line drumming to modern jazz styles and gained crossover influence on

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3948-555: 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 De Luxe label on December 5, 1944 ( If That's the Way You Feel, I Want to Talk About You, Blowing

4042-427: The bar. While small swing ensembles commonly functioned without a bassist, the new bop style required a bass in every small ensemble. 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. Part of the atmosphere created at jams like the ones found at Minton's Playhouse

4136-602: The basis of intense competition. Swing-era jam sessions and "cutting 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. Bebop wasn't developed in any deliberate way. — Thelonious Monk One young admirer of the Basie orchestra in Kansas City was a teenage alto saxophone player named Charlie Parker . He

4230-472: 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 as 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

4324-431: 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 " I Got Rhythm "). 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

4418-668: The city's status as a center of the new music. Gillespie landed the first recording date with a major label for the new music, with the RCA Bluebird label recording Dizzy Gillespie And his Orchestra on February 22, 1946 ( 52nd Street Theme, A Night in Tunisia, Ol' Man 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 most popular, giving rise to

4512-497: 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 Minton's in 1941 were recorded, with Thelonious Monk alongside an assortment of musicians including Joe Guy , Hot Lips Page , 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

4606-579: The culmination of trends that had been occurring within swing music 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 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

4700-407: The development of post-bop . Around that same time, a move towards structural simplification of bebop occurred among musicians such as Horace Silver and Art Blakey , leading to the movement known as hard bop . Development of jazz would occur through the interplay of bebop, cool, post-bop, and hard bop styles through the 1950s. The musical devices developed with bebop were influential far beyond

4794-415: 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 Slim Gaillard . The bebop subculture, defined as a non-conformist group expressing its values through musical communion, would echo in the attitude of the psychedelia-era hippies of the 1960s. Fans of bebop were not restricted to the United States;

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4888-582: The early 1920s. "Chicago style" is often applied to the sound of Chicagoans such as Jimmy McPartland , Eddie Condon , Muggsy Spanier , and Bud Freeman . The rhythm sections of these bands substitute the string bass for the tuba and the guitar for the banjo . Musically, the Chicagoans play in more of a swing-style 4-to-the-bar manner. The New Orleanian preference for an ensemble sound is deemphasized in favor of solos. Chicago-style Dixieland also differs from its southern origin by being faster paced, resembling

4982-675: The enduring popularity of traditional jazz. Country Joe McDonald 's Vietnam-era protest song " Feel Like I'm Fixin' to Die Rag " is based on tonal centers and incorporates the "B" refrain from the New Orleans standard " Muskrat Ramble ". Traditional jazz is a major tourist attraction for New Orleans to the present day. It has been an influence on the styles of more modern players such as Charles Mingus and Steve Coleman . New Orleans music combined earlier brass band marches, French quadrilles , biguine , ragtime , and blues with collective, polyphonic improvisation . The "standard" band consists of

5076-556: The first tenor saxophone player to fully assimilate the new bebop style in his playing. In 1944 the crew of innovators was joined by Dexter Gordon , a tenor saxophone player from the west coast in New York with the Louis Armstrong band, and a young trumpet player attending the Juilliard School of Music , Miles Davis . Bebop originated as "musicians' music," played by musicians with other money-making gigs who did not care about

5170-501: The flat ninth, sharp ninth or the sharp 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 House, New York, in early 1942. As described by Parker: 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

5264-565: The free jazz and fusion eras. Bebop style also 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 describe his writing in On the Road as a literary translation of the improvisations of Charlie Parker and Lester Young. The "beatnik" stereotype borrowed heavily from

5358-465: The groundbreaking " Birth of the Cool " sessions in 1949 and 1950. Musicians who followed the stylistic doors opened by Davis, Evans, Tristano, and Brubeck formed the core of the cool jazz and " west coast jazz " movements of the early 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 defined

5452-432: The harmonic innovations in bebop appear similar 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 non-Western approach rooted in African traditions. However, bebop probably drew on many sources. An insightful YouTube video with Jimmy Raney ,

5546-465: The heavily arranged big band sound of the 1930s or the straight melodies (with or without harmonizing) of bebop in the 1940s. The "West Coast revival", which used banjo and tuba, began in the late 1930s in San Francisco. The Dutch "old-style jazz" was played with trumpets, trombones and saxophones accompanied by a single clarinet, sousaphone and a section of Marching percussion usually including

5640-537: The hustle-bustle of city life. Chicago-style bands play a wide variety of tunes, including most of those of the more traditional bands plus many of the Great American Songbook selections from the 1930s by George Gershwin , Jerome Kern , Cole Porter , and Irving Berlin . Non-Chicagoans such as Pee Wee Russell and Bobby Hackett are often thought of as playing in this style. This modernized style came to be called Nicksieland , after Nick's Tavern, where it

5734-479: The jazz circuit after years of not playing (such as Kid Ory and Red Nichols ). Many Dixieland groups of the revival era consciously imitated the recordings and bands of decades earlier. Other musicians continued to create fresh performances and new tunes. For example, in the 1950s a style called "Progressive Dixieland" sought to blend polyphonic improvisation with bebop -style rhythm . Spike Jones & His New Band and Steve Lacy played with such bands. This style

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5828-519: The leading intervals that defined the tonality of the chord. That opened up creative possibilities for harmonic improvisation such as tritone substitutions and use of diminished scale based improvised lines that could resolve to the key center in numerous and surprising ways. 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

5922-725: 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 improvised a solo, then returned to the melody at the end of the composition. Some of the most influential bebop artists, who were typically composer-performers, are alto sax player Charlie Parker ; tenor sax players Dexter Gordon , Sonny Rollins , and James Moody ; clarinet player Buddy DeFranco ; trumpeters Fats Navarro , Clifford Brown , Miles Davis , and Dizzy Gillespie ; pianists Bud Powell , Barry Harris and Thelonious Monk ; electric guitarist Charlie Christian ; and drummers Kenny Clarke , Max Roach , and Art Blakey . The term "bebop"

6016-676: The music also gained cult status in France and Japan. More recently, hip-hop artists ( A Tribe Called Quest , Guru ) 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 " 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 piano riffs are found throughout

6110-472: 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

6204-475: 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

6298-443: The name "Dixieland" also did little to attract younger black musicians to the revival. The Dixieland revival music during the 1940s and 1950s gained a broad audience that established traditional jazz as an enduring part of the American cultural landscape, and spawned revival movements in Europe. Well-known jazz standard tunes such as " Basin Street Blues " and " When the Saints Go Marching In " are known even to non-jazz fans thanks to

6392-605: The new Basie recordings on a Victrola until he could play Young's solos note for note. In the late 1930s the Duke Ellington Orchestra and the Jimmie Lunceford Orchestra were exposing the music world to harmonically sophisticated musical arrangements by Billy Strayhorn and Sy Oliver , 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

6486-425: The new music was being developed. The new style of drumming supported and responded to soloists with accents and fills, almost like 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, but also became responsible for establishing a metronomic rhythmic foundation by playing a "walking" bass line of four quarter notes to

6580-419: The new musical language of bebop. The brilliant technique and harmonic sophistication of pianist Art Tatum inspired young musicians including Charlie Parker and Bud Powell . In his early days in New York, Parker held a job washing dishes at an establishment where Tatum had a regular gig. One of the divergent trends of the swing era was a resurgence of small ensembles playing "head" arrangements, following

6674-474: The orchestrated sounds of the swing era and the perceived chaos of the new bebop sounds (called "Chinese music" by Cab Calloway ). Led by the Assunto brothers' original Dukes of Dixieland , a band known for its virtuoso improvisation and recording history's first stereo record , the movement brought many semi-retired musicians a measure of fame late in their lives, as well as bringing retired musicians back onto

6768-455: 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. 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 contrafact ). This practice was already well-established in earlier jazz, but came to be central to

6862-411: 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 Coleman Hawkins , Lester Young , Ben Webster , Roy Eldridge , and Don Byas . Byas became

6956-420: The post-bop movement that later incorporated modal jazz into its musical language. Hard bop was a simplified derivative of bebop introduced by Horace Silver and Art Blakey in the mid-1950s. It became a major influence until the late 1960s when free jazz and fusion jazz gained ascendancy. The neo-bop movement of the 1980s and 1990s revived the influence of bebop, post-bop, and hard bop styles after

7050-429: The public. By the end of the decade it all but lost any direct 'Southern' association. Bebop 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 (usually exceeding 200 bpm), complex chord progressions with rapid chord changes and numerous changes of key , instrumental virtuosity, and improvisation based on

7144-454: 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 early 1947. Parker and Thompson's tenures in Los Angeles, the arrival of Dexter Gordon and Wardell Gray later in 1946, and the promotional efforts of Ross Russell , Norman Granz , and Gene Norman helped solidify

7238-460: 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 rhythmic variety. The early 1950s also saw some smoothing in Charlie Parker's style. During the early 1950s bebop remained at

7332-436: The swing era. 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 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 Benny Goodman and Glenn Miller during

7426-406: The swing era. Instead, bebop appeared to sound racing, nervous, erratic and often fragmented. "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. While swing music tended to feature orchestrated big band arrangements, bebop music highlighted improvisation. Typically,

7520-606: The term "Dixieland" was applied to early jazz by traditional jazz revivalists, starting in the 1940s and 1950s. In his book Jazz , the critic Rex Harris defined Dixieland as "Jazz played in a quasi-New Orleans manner by white musicians." The name is a reference to the "Old South", specifically anything south of the Mason-Dixon line . The term encompasses earlier brass band marches, French Quadrilles , beguine , ragtime , and blues with collective, polyphonic improvisation . While instrumentation and size of bands can be very flexible,

7614-551: 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 R&;B music, for instance Lionel Hampton 's " Hey! Ba-Ba-Re-Bop ". The bebop musician or bopper became a stock character in jokes of the 1950s, overlapping with the beatnik . The classic bebop combo consisted of saxophone, trumpet, double bass, drums and piano. This

7708-425: 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 Jackie McLean , Sonny Rollins , and John Coltrane . 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

7802-411: The traditional New Orleans style. The definitive Dixieland sound is created when one instrument (usually the trumpet) plays the melody or a recognizable paraphrase or variation on it, and the other instruments of the "front line" improvise around that melody. This creates a more polyphonic sound than the arranged ensemble playing of the big band sound or the straight "head" melodies of bebop . During

7896-406: 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), 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

7990-463: Was adapting the new harmonic ideas to his style that was rooted in Harlem stride piano playing. Drummers such as Kenny Clarke and Max Roach 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

8084-426: 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 bebop or bop , although Parker himself never used the term, feeling it demeaned

8178-427: 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 way around. Ability to play sustained, high energy, and creative solos was highly valued for this newer style and

8272-479: 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 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

8366-401: 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

8460-776: Was gaining radio exposure with broadcasts such as those hosted by "Symphony Sid" Torin . Bebop was taking root in Los Angeles as well, among such modernists as trumpeters Howard McGhee and Art Farmer , alto players Sonny Criss and Frank Morgan , tenor players Teddy Edwards and Lucky Thompson , trombonist Melba Liston , pianists Dodo 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 piano, 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

8554-411: Was little used subsequently until applied to the music now associated with it in the mid-1940s. Thelonious Monk claims that the original title "Bip Bop" for his composition " 52nd Street Theme ", was the origin of the name "bebop." Some researchers speculate that it was a term used by Charlie Christian because it sounded like something he hummed along with his playing. Dizzy Gillespie stated that

8648-540: Was popular, though the term was not limited to that club. The "West Coast revival" is a movement that was begun in the late 1930s by Lu Watters and his Yerba Buena Jazz Band in San Francisco and extended by trombonist Turk Murphy . It started out as a backlash to the Chicago style , which is closer in development towards swing . The repertoire of these bands is based on the music of Joe "King" Oliver , Jelly Roll Morton , Louis Armstrong , and W.C. Handy . Bands playing in

8742-402: Was the first instance of jazz music being called "Dixieland", though at the time, the term referred to the band, not the genre. The band's sound was a combination of African American/New Orleans ragtime and Sicilian music . The music of Sicily was one of the many genres in the New Orleans music scene during the 1910s, alongside sanctified church music, brass band music and blues. Much later,

8836-477: Was working over "Cherokee", and, as I did, I found that by using the higher intervals of a chord as a melody 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 sprang from the blues , and other African-related tonal sensibilities, rather than twentieth century Western art music, as some have suggested. Kubik states: "Auditory inclinations were

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