Bebop Research Paper Essay Essay
Bebop music was the following evolutionary alteration of Jazz music that succeeded swing music. This paper’s purpose is look at instrumentalists who impacted this epoch. researching more in deepness Dizzy Gillespie and Charlie Parker. In the early 1940’s. the swing sets began to all sound the same every bit good as work along predictable chord alterations. 1 The music was now non used for dancing. Some people believed that this would allow the music travel off from the elect societal groups. and now be for everybody. Besides merely because a instrumentalist could play swing music good. there was no warrant that the same instrumentalist would be able to execute Bebop.
This new manner of music was defined through adventuresome soloists such as Dizzy Gillespie. Although swing music did hold some creativeness. in Bebop the chorus was done one time at the beginning and one time at the terminal. the center was largely up to the soloist’s creativeness and ingeniousness. Bebop music truly took clasp during the old ages of American engagement in WWII. During this clip there was a major work stoppage from the Musicians Union because they wanted more money from labels because of money lost on free wireless. 2 The work stoppage led to instrumentalists thronging with each other and non being able to enter. Since there was a deficiency of recorded stuff for the music. when entering started once more. and people heard Bebop they were really taken aback. They had no warning that this new manner of music was being created. allow alone how different it was from swing.
The musical manner itself differed rather a batch from anything that had of all time been done in Jazz up until this point. Along with the chorus merely being repeated at the terminal of a musical figure. there were fast pacing. asymmetrical phrasing. and intricate tunes. The lone things that held Bebop together were implicit in harmoniousnesss that were played by the beat subdivision. Other so this. most of the music ended up being improvisational as discussed earlier. The chord patterned advance which was used for the music was really non much different from the swing epoch. but the tune was new and much more complex. At the terminal of the Bebop epoch. instrumentalists were utilizing harmonic permutations alternatively chords. This manner and epoch of Jazz took people by surprise.
The music was different. unique. and truly allow the instrumentalists express who they were as Jazz musicians. Dizzy Gillespie was born John Birks Gillespie in South Carolina on October 21. 1917. 3 He was youngest of nine kids. His childhood was non one that he wanted to retrieve much. His male parent was really opprobrious towards him and his siblings. “I was scared. scared of my male parent. He was ace austere. and ne’er showed any emotion. He’d give me a floging every Sunday forenoon. me and my brothers. ” said Dizzy speech production of his childhood. 4 Gillespie got into a batch of problem as a kid. But at the age of 10 or so. an English instructor introduced him to music. which lead him to fall ining the school set. 5 He 3 Alyn Shipton. Groovin High: The life of Dizzy Gillespie. New York: Oxford University Press. 1999. 6 started his immature music calling playing the trombone. The instrument changed one time he borrowed a neighbor’s cornet for the first clip. 6 Dizzy began playing in the local sets all around town. After his younger old ages. Gillespie attended a school that was a boarding school and twenty-four hours college. called the Laurinburg Institute in North Carolina.
7 While he was there it is thought that he was fighting for money for apparels. Although tuition and board was covered for him. he had worked in the field to do excess money. 8 Dizzy Gillespie’s female parent moved up to Philadelphia while he was at the terminal of his calling at the Laurinburg Institute and moved up to be with her in 1935. 9 He began playing in sets about Philly and in the country. This was done for a few old ages between 1935-1937. before he moved up to New York City. 10 While he was in Philadelphia he got his repute and later his moniker. “Dizzy” . He was known for the unpredictable nature in which he would play the cornet and act outside of executing. When he arrived in New York City. he was hired by the Teddy Hill Orchestra for a European circuit. 11 Before being hired. Dizzy was playing about town and doing a name for himself. There he lived with his brother in an flat in New York City. He went out all dark so that his brother could come place signifier working all twenty-four hours and travel to kip.
Gillespie’s first recordings were with the Teddy Hill Orchestra Band. After being with Hill for a few old ages. Gillespie joined Cab Calloway in the summer of 1939. 13 They played at the Cotton Club but Calloway was touring a batch. This gave Dizzy the chance to develop his musicianship through manner and cognition through playing at all dark jam Sessionss. Then. in 1942. Gillespie joined Earl “Fatha” Hines set. Unfortunately. in 1943. tonss of set members left. including Dizzy Gillespie. He began to organize his ain sets that started by opening at Onyx Club on 52nd St in New York City. 14 Dizzy had begun to play “bebop” in 1940. and was now able to make it full clip.
The locale became a hot topographic point for this new evolutional sound in Jazz. In 1956 Gillespie and his set went on a province section circuit of the Middle East. which earned another nickname “Ambassador of Jazz” . He continued to work as a Jazz embassador for the remainder of his calling. traveling to Cuba in 1977. and working with United Nations Orchestra. At the terminal of his life he took up educating immature instrumentalists. He unluckily died from pancreatic malignant neoplastic disease in 1993. He left us with a new manner of music. and left his grade by assisting educate a new coevals of Jazz instrumentalists.
Another great creative person. and considered the 2nd laminitis of Bebop was Charlie Parker. He grew up in Kansas City. Kansas. Parker was raised here until he was seven old ages old and so his household moved to Kansas City. Missouri that was booming culturally at the clip. 15 It was an of import metropolis for Afro-american music as good. Parker had his irst turn with music in public schools in Kansas City. Missouri. 16 In high school. Charlie Parker began by playing the barytone horn. so subsequently on switched to the alto saxophone in 1933. which he stuck with. At the age of 15. the determined in yet non really gifted yet. Parker left school to prosecute his music calling. The immature adult male had a difficult clip at first acquiring yelled at by fellow set members. and so practising for 15 hours a twenty-four hours. 17 From 1935 to 1939 he worked in Kansas City playing with local groups developing his endowment through pattern and public presentation. 18
In 1939 Charlie Parker moved from Kansas City to New York City. When he arrived he worked as a dish washer and attended jam Sessionss during the darks. 19 While he was in New York City. he ended up meeting cornetist Dizzy Gillespie. He would stop up join forcesing and working with Gillespie to make what we now know as Bebop. 20 From 1940-1942 Charlie Parker played in Jay McShann’s that toured in the sou’-west and Chicago. and so recorded with them in Dallas. 21 At this clip. the recordings were more swing-based and were besides made for broadcast medium. 22 In 1942 he joined Earl Hines set. this would turn out to be a great move because him and Gillespie together were able 16 Ken Burns. Charlie Parker. to experiment. As this “big band” manner of music began to worsen. the up-beat improvisational manner of Parker began to demo. This manner of Jazz caught on with the younger coevalss of instrumentalists throughout the 1940’s and 1950’s.
Parker’s success was cut short because of dependence. When he was a kid. he had an accident that he got addicted to morphine from. In 1951. he had his cabaret licence revoked. 23 Parker was banned from executing at cabarets and subsequently attempted suicide twice. and died in 1955. As one of the laminitiss of Bebop. Charlie Parker contributed quality work in Jazz for the future coevalss. When he was playing. the older coevalss did non take to his new signifier of Jazz. now people look back and name him and pioneer. Max Roach is another great pioneer. and is one of the best wind percussionists to of all time play. Roach grew up in Brooklyn in a house that was already full of music.
His female parent was a gospel vocalist and began to play instruments in Gospel sets when he was 10 old ages old. 24 The first instrument he played was the bugle. and so subsequently switched to the membranophones. When he was 16 he played in his first large public presentation. he substituted in Duke Ellington’s set. 25 When he was 18. he began traveling down to 52nd street and 78th street to get down thronging with other Jazz instrumentalists. He was influenced by Kenny Clarke and was one of the few bebop drummers of the clip. Roach would maintain clip on the cymbal alternatively of the bass membranophone. as swinger drummers did. 26 This technique allowed for more 23 Burns infinite to make rhythmic concomitant.
Throughout his calling. Max Roach played with all the greats of the Bebop wind manner. He was able to play with Dizzy Gillespie. Charlie Parker. Miles Davis. Thelonius Monk. Coleman Hawkins. and Bud Powell. 27 Roach really played on most of the recordings of Charlie Parker. including Savoy 1945. an of import turning point in recorded Jazz. 28 He besides played on Miles Davis’s entering Birth of the Cool in 1950 and Jazz at Massey Hall in 1952. 29 Max Roach is the percussionist who took Bebop took the following degree and is one of the best percussionists at that place was in Bebop wind.
Miles Davis. born in 1926. came from in-between category beginnings and was raised outside of St Louis. 30 His female parent raised him in an integrated in an integrated suburb and began music through playing cornet after his male parent bought him 1. Davis’ foremost teacher encouraged him to play the cornet unlike Louis Armstrong and Roy Eldridge. utilizing consecutive. vibratoless tones. 31 After a visit by Billy Ecksteins Band to St Louis. which included Dizzy Gillespie and Charlie Parker. he applied to the Julliard School of Music in New York City in 1944. Some people say that he merely went at that place to happen his graven image Charlie Parker. 32 The formal instruction at Julliard was non plenty for Davis and he ended up 27 All About Jazz seeking out Jazz nines such as the Savoy and Minton’s. He joined Charlie Parker in unrecorded visual aspects and recordings between 1945 and 1948. 33 In 1948. Miles Davis started his ain Bebop groups. He participated in a workshop with organizer Gil Evans.
This led to coactions with Gerry Mulligan. John Lewis. and Johnny Carisi. which ended up being recordings. They were recorded for Capitol under Davis’ name and subsequently reissued as Birth of the Cool. 34 Miles Davis calling at this point was marred by a heroine dependence. He was unable to execute much and when he did. it was with inferior accompanyists. and performed infrequent recordings for labels. Miles Davis did non spearhead the Bebop motion as Parker or Gillespie did. but he was however really of import in the Jazz revolution of the clip. Davis’ wind is some of the best in the twentieth century. Thelonius Monk was a Jazz piano player who helped spur bebop during the tallness of this new radical sound. Monk was born in 1917 in Rocky Mount. North Carolina. 35 He grew up with a piano in his house. and that became his first exposure to music at a really immature age. He taught himself how to read music when he was five or six by looking over his sisters shoulder as she was having music lessons. 36 Before Monk was 10 old ages old. his household moved to New York City. near the Hudson River.
His male parent left his household after going ailment and traveling back south. go forthing Monk’s ma to raise him and his siblings. She was able to acquire him a piano when he was eleven and he began taking formal lessons at this point. 37 He started playing piano in the church choir which is mother American ginseng in. while besides being surrounded by the Jazz scene in New York City. In 1939. Monk created his first wind group. 38 Monk’s foremost noteworthy minute was in 1940 when he was hired at Minton’s Playhouse in Harlem as the house piano player. 39 While at Minton’s he was able to playwith the house four. and got to play with Jazz piano player Bud Powell. Roy Eldridge. and Don Byas.
In 1944. Theolnius Monk made his first visit to the recording studio as a portion of the Coleman Hawkin’s Quartet. 40 In 1944 he besides recorded Round About Night. and ended up fall ining Dizzy Gillespie’s Orchestra and playing on 52nd street at Spotlite Club. 41 Then in 1947. Monk made recordings under his ain name in a sestet session for Blue Note. Thelonius Monk was falsely arrested in 1951 for narcotics ownership. 42 He had his cabaret licence taken off from him hence suppressing him from playing in the Jazz nines in New York City. He played in out of town gigs and made some records for Prestige Label during this clip. 43 Then in 1954 he traveled across the Atlantic Ocean to play in the Paris Jazz Festival. While there he recorded his first solo album for Vogue. which would turn out to be the manner people would retrieve him. as one of the most inventive solo piano players.
The Bebop epoch was filled with instrumentalists that are still talked approximately today as holding great influence on twentieth century music. Bebop let wind creative persons express themselves through extended solos that were non really common yet. Dizzy Gillespie and Charlie Parker truly took the scene suddenly and changed the manner one can play wind. This development in Jazz evoked fast pacing. asymmetrical phrasing. and rhythm subdivisions spread outing their functions in the set. The Bebop epoch gave hearers great Jazz in an evolutionary manner. that people still enjoy today.