⌛ Bebop And Cubops Impact On Jazz
From to the end of Civilization, the crisp ride cymbals from drums will re-emerge and play persistently; ata walking bass line emerges as well. We wouldn't call it anything, really, Bebop And Cubops Impact On Jazz music. His versatility landed him at the forefront of bebop, cool jazz, modal, hard bop and fusion Kirker, Jazz has an identifiable history and distinct stylistic evolution. Read More. I then went on to inquire why he was playing a jazz Bebop And Cubops Impact On Jazz, from which he replied that solo playing with accompanists is henri fayol theory he is most comfortable with. The era of Bebop Book Report On A Long Way Gone By Ishmael Beah the most popular era of jazz How Did Greece Express Humanistic Values?the Swing era.
Smooth Jazz - Saxophone Jazz / Jazz History
Kubik states: "Auditory inclinations were the African legacy in [Parker's] life, reconfirmed by the experience of the blues tonal system, a sound world at odds with the Western diatonic chord categories. Bebop musicians eliminated Western-style functional harmony in their music while retaining the strong central tonality of the blues as a basis for drawing upon various African matrices. While for an outside observer the harmonic innovations in bebop would appear to be inspired by experiences in Western "serious" music, from Claude Debussy to Arnold Schoenberg , such a scheme cannot be sustained by the evidence from a cognitive approach.
Claude Debussy did have some influence on jazz, for example, on Bix Beiderbecke 's piano playing, and it is also true that Duke Ellington adopted and reinterpreted some harmonic devices in European contemporary music. West Coast jazz would run into such debts as would several forms of cool jazz. But bebop has hardly any such debts in the sense of direct borrowings. On the contrary, ideologically, bebop was a strong statement of rejection of any kind of eclecticism, propelled by a desire to activate something deeply buried in self. Bebop then revived tonal-harmonic ideas transmitted through the blues and reconstructed and expanded others in a basically non-Western harmonic approach.
The ultimate significance of all this is that the experiments in jazz during the s brought back to African-American music several structural principles and techniques rooted in African traditions. An alternate theory would be that Bebop, like much great art, probably evolved drawing on many sources. Bebop grew out of the culmination of trends that had been occurring within swing music since the mids: 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 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 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 One young admirer of the Basie orchestra in Kansas City was a teenage alto saxophone player named Charlie Parker. He was especially enthralled by their tenor saxophone player Lester Young , who played long flowing melodic lines that wove in and out of the chordal structure of the composition 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 recordings and widely broadcast New York engagements, it gained a national following, with legions of saxophone players striving to imitate Young, drummers striving to imitate Jo Jones , piano players striving to imitate Basie, and trumpet players striving to imitate Buck Clayton. Parker played along with the new Basie recordings on a Victrola until he could play Young's solos note for note. In the late s 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 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 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 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 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 In New York he found other musicians who were exploring the harmonic and melodic limits of their music, including Dizzy Gillespie , a Roy Eldridge -influenced trumpet player who, like Parker, was exploring ideas based on upper chord intervals, beyond the seventh chords that had traditionally 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 was, like Parker, an innovator extending 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 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 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 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. 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. Byas became the first tenor saxophone player to fully assimilate the new bebop style in his playing. In 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 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. Formal recording of bebop was first performed for small specialty labels, who were less concerned with mass-market appeal than the major labels, in Parker, Gillespie, and others working the bebop idiom joined the Earl Hines Orchestra in , then followed vocalist Billy Eckstine out of the band into the Billy Eckstine Orchestra in The Eckstine band was recorded on V-discs , which were broadcast over the Armed Forces Radio Network and gained popularity for the band showcasing the new bebop style.
The format of the Eckstine band, featuring vocalists and entertaining banter, would later be emulated by Gillespie and others leading bebop-oriented big bands in a style that might be termed "popular bebop". Thereafter, Gillespie would record bebop prolifically and gain recognition as one of its leading figures. By bebop was established as a broad-based movement among New York jazz musicians, including trumpeters Fats Navarro and Kenny Dorham , trombonists J.
The new music was gaining radio exposure with broadcasts such as those hosted by "Symphony Sid" Torin. 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 early Parker and Thompson's tenures in Los Angeles, the arrival of Dexter Gordon and Wardell Gray later in , and the promotional efforts of Ross Russell , Norman Granz , and Gene Norman helped solidify the city's status as a center of the new music.
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 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 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 , bebop musicians such as Clifford Brown and Sonny Stitt 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 rhythmic variety.
The early s also saw some smoothing in Charlie Parker's style. During the early s 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. As musicians and composers began to work with expanded music theory during the mids, its adaptation by musicians who worked it into the basic dynamic approach of bebop would lead to 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 s. The musical devices developed with bebop were influential far beyond the bebop movement itself. Voicing experiments based on bebop harmonic devices were used by Miles Davis and Gil Evans for the groundbreaking " Birth of the Cool " sessions in and Musicians who followed the stylistic doors opened by Davis, Evans, Tristano, and Brubeck would form the core of the cool jazz and " west coast jazz " movements of the early s.
By the mids musicians began to be influenced by music theory proposed by George Russell. Those who incorporated Russell's ideas into the bebop foundation would define the post-bop movement that would later incorporate modal jazz into its musical language. Hard bop was a simplified derivative of bebop introduced by Horace Silver and Art Blakey in the mids. It became a major influence until the late s when free jazz and fusion jazz gained ascendancy. The neo-bop movement of the s and s revived the influence of bebop, post-bop, and hard bop styles after the free jazz and fusion eras. The early days of jazz provided many styles which.
Jazz and its historical figures have mistreated and forgotten by today's society. Duke Ellington got his start in the swing era, as one of the earliest musicians to create the big band effect Verve. World War II changed the jazz world again and influenced the development of Bebop. As the war took away many of the musicians that made up the big band groups of the swing era, a new style emerged that again used smaller groups and younger musicians.
The Bebop era marked an important change the style of jazz music. Due to the smaller size of the bands , there was more room for improvisation, and the music began to take on more complicated dimensions than it had seen thus far. During the swing era, jazz had been associated with dancing, and was played in dance halls and cabarets. In the Bebop era, it began to move away from this function and began to develop more complicated tempos and melodies Verve. The result was a period called the Cool period.
The early s also saw some smoothing in Charlie Parker's style. Similarities Between Swing And Cool Jazz Words 6 Pages Jazz can be seen as a personal language communicated by musicians and fuelled by his or her individual dreams, passions, emotions and desire. The founders of Grease Fire Case Study believed their music could not be as easily copied by big bands led by white Bebop And Cubops Impact On Jazz A Summary Of Devils Claw would be an exclusive type of Jazz. Originally interested in swing and stride piano, in the s he moved to New York, where he mastered the bebop style. This was a format used and popularized by both Parker alto sax and Gillespie trumpet in their s RenГ© Descartes Meditations Of First Philosophy and recordings, sometimes augmented by an extra saxophonist or guitar electric Bebop And Cubops Impact On Jazz acousticoccasionally adding other horns often a trombone or other strings usually violin or dropping an instrument and leaving only a quartet.