Jazz History 7

8/3/2019 Jazz History 7

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7 Bebop


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Georges Top 10 Be Boppers

1. Coleman Hawkins(November 21, 1904 May 19, 1969)

1. A) Lester Young(August 27, 1909 March 15, 1959)

2. Charlie Christian(July 29, 1916 March 2, 1942)

3. Charlie Parker(August 29, 1920 March 12, 1955)

4. Dizzy Gillespie(October 21, 1917 January 6, 1993) 5. Theolonious Monk(October 10, 1917 February 17, 1982)

6. Bud Powell(September 27, 1924 July 31, 1966)

7. J.J. Johnson(January 22, 1924,- February 4, 2001)

8. Max Roach(January 10, 1924 August 16, 2007

9. Miles Davis(May 26, 1926 September 28, 1991) 10. Sonny Stitt(February 2, 1924, July 22, 1982)

11. Clifford Brown(October 30, 1930 June 26, 1956)


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Bebop

Bebop or bop is a style ofjazz characterized byfast tempo, instrumental virtuosity andimprovisation based on the combination ofharmonic structure and melody. It was developedin the early and mid-1940s. It first surfaced inmusicians' argot some time during the first twoyears of American involvement in the SecondWorld War. This style of jazz ultimately became

synonymous with modern jazz, as either categoryreached a certain final maturity in the 1960s.


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Characterized by

Fast tempos, or very slow ballads

Virtuosity

Small groups

Head charts Long improvisations

melodies were often very intricate lines over existingchord progressions (contrafact)

Chord changes were more important than the melody

Began as a jam session music, existed for years beforeit was documented in any way


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Black musicians wanted music that the white cats couldntplay but obviously that changed

Music was not for dancing, for listening only

Bebop musicians wanted to be respected as intellectuals

Some say this era marked the end of popularity of jazz

Many of the beboppers used heroin, some believed you

had to be high to authentically play bebop Music had advanced chord changes and difficult keys;

cutting contests weeded out less able players

Legend has it that Louis Armstrong called it music ofmalice but this has been disputed.

Bebop arguably set the stage for jazz improvisers from 1940to today


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Typical Bebop Tune

Charlie Parker and Dizzy Gillespie play "Hot

House"


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Coleman Hawkins


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Coleman Randolph Hawkins (November 21,

1904 May 19, 1969) was an Americanjazztenor saxophonist. Hawkins was one of thefirst prominent jazz musicians on hisinstrument. As Joachim E. Berendt explained,

"there were some tenor players before him,but the instrument was not an acknowledgedjazz horn". While Hawkins is most stronglyassociated with the swing music and big band

era, he had a role in the development ofbebop in the 1940s.


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The 1939 recording of "Body and Soul" byColeman Hawkins is an important antecedentof bebop. Hawkins' willingness to strayeven

brieflyfrom the ordinary resolution ofmusical themes and his playful jumps todouble-time signaled a departure fromexisting jazz. The recording was popular; butmore importantly, from a historicalperspective, Hawkins became an inspiration toa younger generation of jazz musicians, most

notably Charlie Parker, in Kansas City.


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Hawkins-Body And Soul


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Lester Young


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Lester Willis Young (August 27, 1909 March 15,1959), nicknamed "Prez", was an American jazz

tenor saxophonist and clarinetist. He also playedtrumpet, violin, and drums.

Coming to prominence while a member ofCountBasie's orchestra, Young was one of the mostinfluential players on his instrument, playing witha cool tone and using sophisticated harmonies.He invented or popularized much of the hipsterethos which came to be associated with the

music.


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Lester Young and Teddy Wilson -"All Of

Me"


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Ken Burns

Episode 08 12:05-19:36


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Charlie Christian


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Charles Henry "Charlie" Christian (July 29, 1916 March 2, 1942) was an American swing and jazzguitarist.

Christian was an important early performer on theelectric guitar, and is cited as a key figure in thedevelopment ofbebop and cool jazz. He gainednational exposure as a member of the Benny GoodmanSextet and Orchestra from August 1939 to June 1941.His single-string technique combined withamplification helped bring the guitar out of the rhythmsection and into the forefront as a solo instrument.John Hammond and George T. Simon called Christianthe best improvisational talent of the swing era. Gene

Lees writes that "many critics and musicians considerthat Christian was one of the founding fathers ofbebop, or if not that, at least a precursor to it".


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Rose Room

This is an old standard, on which Duke

Ellington based his classic In A Mellow Tone.

Legend has it that this is the song which Benny

Goodman heard Christian play and hired him.


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Oklahoma-raised guitarist Charlie Christian (1916) wasmore of a bluesman than a jazzman because he startedplaying solo: bluesmen used the guitar as a leadinstrument, jazzmen didn't. From the viewpoint of jazz,Christian's guitar was more like a saxophone than like theguitar that had been traditionally played in jazz (a part ofthe rhythm section). Charlie Christian improved over theinnovations of acoustic guitarists Lonnie Johnson and Eddie

Lang, and perhaps applied to his instrument the lesson ofLester Young. He developed his style in relative isolation inOklahoma before being discovered (1939) and brought toNew York to join Benny Goodman's sextet and band, armedwith an electric guitar. Christian was legendary for creatingendless series of variations on a theme, during sessionsthat could last virtually forever, in a manner whose onlyprecedent was pianist Art Tatum. His Solo Flight(march1941) with the Goodman orchestra seemed the prelude toa new kind of music altogether. Alas, he died in 1942 at 26of turbercolosis.


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Swing To Bop

Recorded Live at Mintons in 1941


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Ken Burns

1:07:43-1:10:30


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Charlie Parker


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Charles Parker, Jr. (August 29, 1920 March 12,1955), famously called Bird or Yardbird,[was an

American jazz saxophonist and composer. Parker, is widely considered to have been one of

the most influentialjazz musicians. Parkeracquired the nickname "Yardbird" early in his

career and the shortened form "Bird" remainedParker's sobriquet for the rest of his life, inspiringthe titles of a number of Parker compositions,such as "Yardbird Suite", "Ornithology", "Bird

Gets the Worm" and "Bird of Paradise."


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Moose The Mooche

This is a Contrefact on the Gershwin tune, I

Got Rhythm, which most jazz musicians call

Rhythm Changes.


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Confirmation

Considered a test piece for jazz musicians


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Charlie Parker

Born in Kansas City, Kansas, and raised inKansas City, Missouri

Showed no talent as a child, but around 1936,

began practicing 15 hours a day, takingchallenging tunes through every key

Made recording debut with Jay McShanns

territory band in 1938 Developed a heroin addiction from taking

morphine after a car accident


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According to an interview Parker gave in the 1950s, one night in1939, he was playing "Cherokee" in a jam session with guitaristWilliam 'Biddy' Fleet when he hit upon a method for developing hissolos that enabled him to play what he had been hearing in his

head for some time, by connecting harmony using the diminishedrelationship of dominants. Still with McShann's orchestra, Parker atthis time realized that the twelve tones of the chromatic scale canlead melodically to any key, breaking some of the confines ofsimpler jazz soloing.

Early in its development, this new type of jazz was rejected by many

of the established, traditional jazz musicians who disdained theiryounger counterparts with comments like Eddie Condon's putdown:"They flat their fifths, we drink ours."The beboppers, in response,called these traditionalists "moldy figs". However, some musicians,such as Coleman Hawkins and Benny Goodman, were more positiveabout its development, and participated in jam sessions andrecording dates in the new approach with its adherents.


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Ken Burns Episode 7

Beginning to 26:07


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Dizzy Gillespie


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John Birks "Dizzy" Gillespie; October 21, 1917 January 6,1993) was an Americanjazz trumpet player, bandleader,singer, and composer.

Together with Charlie Parker, he was a major figure in thedevelopment ofbebop and modern jazz. He taught andinfluenced many other musicians, including trumpetersMiles Davis, Fats Navarro, Clifford Brown, Arturo Sandoval,Lee Morgan, Jon Faddis and Chuck Mangione.

Allmusic's Scott Yanow wrote that "Dizzy Gillespie'scontributions to jazz were huge. One of the greatest jazztrumpeters of all time (some would say the best), Gillespiewas such a complex player that his contemporaries endedup copying Miles Davis and Fats Navarro instead, and it wasnot until Jon Faddis's emergence in the 1970s that Dizzy'sstyle was successfully recreated . . . Arguably Gillespie isremembered, by both critics and fans alike, as one of thegreatest jazz trumpeters of all time.


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Gillespie-Salt Peanuts 1947

Dizzy Gillespie Big Band was popular

This give us a great example of Gillespies

showmanship but also his musicianship: Hewas regarded as a great teacher who would

never hesitate to sit at the piano and show

musicians the chords to a song.


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Manteca 1959

Gillespie was a pioneer in Latin Jazz andBrazillian Jazz.

Chega De Saudade( No More Blues) 1963

From New Wave

One Note Samba


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Theolonious Monk


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Thelonious Sphere Monk (October 10, 1917

February 17, 1982) was an Americanjazz pianistand composer considered "one of the giants ofAmerican music". Monk had a uniqueimprovisational style and made numerouscontributions to the standard jazz repertoire,

including "Epistrophy", "'Round Midnight", "BlueMonk", "Straight, No Chaser" and "Well, YouNeedn't". Monk is the second most recorded jazzcomposer after Duke Ellington, which is

particularly remarkable as Ellington composedover 1,000 songs while Monk wrote about 70


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His compositions and improvisations are full

of dissonant harmonies and angular melodictwists, and are consistent with Monk's

unorthodox approach to the piano, which

combined a highly percussive attack with

abrupt, dramatic use of silences and

hesitations. This was not a style universally

appreciated; poet and jazz critic Philip Larkin

dismissed Monk as 'the elephant on thekeyboard'.


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Monk's manner was idiosyncratic. Visually, hewas renowned for his distinctive style in suits,

hats and sunglasses. He was also noted for thefact that at times, while the other musicians inthe band continued playing, he would stop, standup from the keyboard and dance for a few

moments before returning to the piano. He is one[7] of five jazz musicians to have been

featured on the cover ofTime (the other fourbeing Louis Armstrong, Duke Ellington, Wynton

Marsalis, and Dave Brubeck) as of 2010


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'Round Midnight

Epistrophy

Evidence


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Regarding Bebop

The beboppers' attitude was summed up in a

famous quotation attributed to Monk by Mary

Lou Williams: "We wanted a music that they

couldn't play" "they" being the (white)

bandleaders who had taken over and profited

from swing music.


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Monk tunes played by Jazzers

Blue Monk

Epistrophy

Bemsha Swing

Round Midnight Off Minor

Reflections

Rhythm-n-ing

Evidence

Well, You Neednt


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Bud Powell


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Earl Rudolph "Bud" Powell (September 27, 1924

July 31, 1966) was an American Jazz pianist.Powell has been described as one of "the two

most significant pianists of the style of modern

jazz that came to be known as bop", the other

being his friend and contemporary TheloniousMonk. Along with Thelonious Monk, Charlie

Parker and Dizzy Gillespie, Powell was a key

player in the history ofbebop, and his virtuosity

as a pianist led many to call him "the Charlie

Parker of the piano"


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J.J. Johnson


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J. J. Johnson (born James Louis Johnson;

January 22, 1924, Indianapolis, IndianaFebruary 4, 2001) was a United States jazztrombonist, composer and arranger. He wassometimes credited as Jay Jay Johnson.

Johnson was one of the first trombonists toembrace bebop music. He has long beenregarded as one of the leading trombonists ofthe post-swing era, exerting a pervasiveinfluence on other jazz musicians.


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Blue Trombone


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Max Roach


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Joy Spring-with Clifford Brown

Freedom Day with Abbey Lincoln

Max Roach with Booker Little Great Drum Solo

Interview with Max Roach


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Miles Davis


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Miles Davis was a student a Juilliard, but was

more interested in finding Charlie Parker to

learn how to play jazz

Parker took Davis under his wing and Davis

replaced Dizzy Gillespie

Davis would try to write down the chord

changes on napkins when he would go and

hear the bebop musicians


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Miles Davis with Charlie Parker "Night In

Tunisia"


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Sonny Stitt


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Edward "Sonny" Stitt (February 2, 1924, Boston,Massachusetts July 22, 1982, Washington, D.C.)wasan Americanjazz saxophonist of the bebop/hard bop

idiom. He was also one of the best-documentedsaxophonists of his generation, recording over 100albums in his lifetime. He was nicknamed the "LoneWolf" by jazz critic Dan Morgenstern in tribute to his

relentless touring and his devotion to jazz. He isconsidered the greatest disciple ofCharlieParkerAlthough his playing was at first heavily inspiredby Charlie Parker and Lester Young, Stitt eventuallydeveloped his own style, one which influenced John

Coltrane. Stitt was especially effective with blues andwith ballad pieces such as "Skylark".


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Cherokee

Bill Cosby's Sonny Stitt Story


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Clifford Brown


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Clifford Brown (October 30, 1930 June 26,1956), aka "Brownie," was an influential and

highly rated American jazz trumpeter. He diedaged 25, leaving behind only four years' worthof recordings. Nonetheless, he had aconsiderable influence on later jazz trumpet

players, including Donald Byrd, Lee Morgan,Booker Little, Freddie Hubbard, Woody Shaw,Valery Ponomarev, Wynton Marsalis, andmany others.


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The clean-living Brown has been cited as perhapsbreaking the influence ofheroin on the jazz

world, a model established by Charlie Parker.Clifford stayed away from drugs and was not fondof alcohol.

In June 1956, Brown and Richie Powell werebeing driven from Philadelphia to Chicago byPowell's wife Nancy for the band's nextappearance. While driving on a rainy night on thePennsylvania Turnpike, west of Bedford, she lostcontrol of the car and it went off the road. All

three were killed in the resulting crash. Brown isburied in Mt. Zion Cemetery, in Wilmington,Delaware.


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Clifford Brown-Max Roach" Joy Spring

"I Come From Jamaica

"Walkin"


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Ken Burns

Episode 09 29:30-34:50

Jazz History 7

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