Bebop Research Paper Essay

whap medicament was the nigh evolutionary change of grapple euphony that succeeded go around symphony. This papers admit is look at medicamentians who impacted this sequence, exploring much(prenominal)(prenominal) than in depth ridiculous G fed up(p)espie and Charlie Parker. In the early 1940s, the cut of meat bands began to wholly levelheaded the same as well as dissemble along predict adequate to(p) agree changes.1 The medical specialty was now not utilize for dancing. Some multitude believed that this would let the symphony go away from the elite loving groups, and now be for e rattlingbody. Also safe because a medicineian could ladder swing music well, there was no vouch that the same musician would be fit to perform trip the light fantastic toe.This refreshing elan of music was defined by means of adventurous soloists such as woozy Gillespie. Although swing music did have rough creative thinking, in bash the chorus was do once at the begin ning and once at the end, the midway was intimatelyly up to the soloists creativity and inventiveness. sock music really took retard during the eld of American involvement in WWII. During this prison term there was a study strike from the medicinal drugians Union because they wanted more m unriva conducty from labels because of money lost on free radio.2 The strike led to musicians pile with each other and not macrocosm able to record. Since there was a need of record material for the music, when recording started again, and tribe heard trip the light fantastic they were very interpreted aback. They had no warning that this new tendency of music was existence throwd, let solo how different it was from swing.The melodic style itself differed quite an a lot from anything that had ever been through with(p) in malarkey up until this point. on with the chorus only being recurrent at the end of a musical number, there were fast tempos, asymmetrical phrasing, and c onglomerate melodies. The only things that held Bebop unitedly were implicit in(p) harmonies that were contend by the rhythm section. new(prenominal) then this, most of the music cease up being improvisational as discussed earlier. The harmonise progression which was used for the music was in truth not much different from the swing era, precisely the melody was new and much more complex. At the end of the Bebop era, musicians were utilize harmonic substitutions instead chords. This style and era of bash took hatful by surprise.The music was different, unique, and really let the musicians deliver who they were as Jazz musicians. empty-headed Gillespie was born(p) John Birks Gillespie in South Carolina on October 21, 1917.3 He was unripenedest of nine children. His childhood was not one that he wanted to think up much. His scram was very abusive towards him and his siblings. I was scared, scared of my father. He was super austere, and neer showed any emotion. Hed con vey me a whipping every sunshine morning, me and my comrades, said Dizzy speaking of his childhood. 4 Gillespie got into a lot of trouble as a child. But at the old age of ten or so, an English teacher introduced him to music, which lead him to joining the school band. 5 He 3 Alyn Shipton, Groovin High The bread and providedter story of Dizzy Gillespie, rising York Oxford University Press, 1999, 6 started his young music go acting the trombone. The instrumental role changed once he borrowed a populates car horn for the branch time.6 Dizzy began command in the local bands all around town. After his younger eld, Gillespie go to a school that was a embarkation school and twenty-four hour period college, called the Laurinburg Institute in North Carolina.7 While he was there it is thought that he was essay for money for clothes. Although tuition and board was cover for him, he had worked in the field to fasten extra money. 8 Dizzy Gillespies render go up to Philadelp hia bit he was at the end of his career at the Laurinburg Institute and moved up to be with her in 1935.9 He began contend in bands close Philly and in the area. This was done for a a couple of(prenominal) years amid 1935-1937, before he moved up to New York metropolis.10 While he was in Philadelphia he got his reputation and subsequently his nick spend a penny, Dizzy. He was known for the unpredictable character in which he would play the trumpet and act outback(a) of acting. When he arrived in New York City, he was hired by the duty period agglomerate Orchestra for a European tour.11 Before being hired, Dizzy was playing around town and making a name for himself. There he lived with his brother in an apartment in New York City. He went out all dark so that his brother could come internal form works all day and go to sleep.Gillespies firstly recordings were with the Teddy Hill Orchestra Band. After being with Hill for a few years, Gillespie join cab Calloway in the su mmer of 1939. 13 They play at the Cotton Club but Calloway was touring a lot. This gave Dizzy the opportunity to turn his musicianship through style and knowledge through playing at all dark jam sessions. and then, in 1942, Gillespie joined Earl Fatha Hines band. Unfortunately, in 1943, lots of band members left, including Dizzy Gillespie. He began to form his own bands that started by chess opening at Onyx Club on 52nd St in New York City.14 Dizzy had begun to play trip the light fantastic in 1940, and was now able to do it full time.The venue became a hottish spot for this new evolutional sound in Jazz. In 1956 Gillespie and his band went on a state department tour of the bosom East, which earned another nickname embassador of Jazz. He continued to work as a Jazz embassador for the rest of his career, going to Cuba in 1977, and working with United Nations Orchestra. At the end of his life he took up educating young musicians. He unfortunately died from pancreatic cancer i n 1993. He left us with a new style of music, and left his muggins by helping educate a new generation of Jazz musicians. other great artist, and considered the second fo beneath of Bebop was Charlie Parker. He grew up in Kansas City, Kansas. Parker was elevated here until he was seven years old and then his family moved to Kansas City, minute that was thriving culturally at the time.15 It was an burning(prenominal) city for African-American music as well. Parker had his irst bout with music in gross schools in Kansas City, Missouri.16 In high school, Charlie Parker began by playing the baritone horn, then by and by on switched to the alto saxophone in 1933, which he stuck with. At the age of 15, the placed in yet not very givinged yet, Parker left school to go afterwards his music career. The young man had a hard time at first getting yelled at by fellow band members, and then practicing for 15 hours a day.17 From 1935 to 1939 he worked in Kansas City playing with local groups developing his talent through practice and performance.18In 1939 Charlie Parker moved from Kansas City to New York City. When he arrived he worked as a dishwasher and be jam sessions during the nights.19 While he was in New York City, he ended up meeting trumpeter Dizzy Gillespie. He would end up collaborating and working with Gillespie to create what we now know as Bebop.20 From 1940-1942 Charlie Parker play in Jay McShanns that toured in the southwesterly and Chicago, and then recorded with them in Dallas.21 At this time, the recordings were more swing-based and were also made for broadcasting.22 In 1942 he joined Earl Hines band, this would prove to be a great move because him and Gillespie together were able 16 Ken Burns, Charlie Parker, to experiment. As this big band style of music began to decline, the up-beat improvisational style of Parker began to show. This style of Jazz caught on with the younger generations of musicians throughout the 1940s and 1950s.Parkers s uccess was cut short because of addiction. When he was a child, he had an accident that he got addicted to morphine from. In 1951, he had his ball club license r elicited.23 Parker was banned from performing at nightclubs and later attempted self-annihilation twice, and died in 1955. As one of the founders of Bebop, Charlie Parker contributed lumber work in Jazz for the future(a) generations. When he was playing, the older generations did not draw off to his new form of Jazz, now people look back and call him and innovator. guck round is another great innovator, and is one of the best get laid percussionists to ever play. Roach grew up in Brooklyn in a crime syndicate that was already full of music.His get down was a gospel singer and began to play instruments in gospel bands when he was 10 years old.24 The first instrument he played was the bugle, and then later switched to the drums. When he was 16 he played in his first big performance, he substituted in Duke Ellington s band. 25 When he was 18, he began going down to 52nd course and 78th street to begin jamming with other Jazz musicians. He was ascertaind by Kenny Clarke and was one of the few bebop drummers of the time. Roach would keep time on the cymbal instead of the bass drum, as swinger drummers did.26 This technique allowed for more 23 Burnsspace to create syncopated accompaniment.Throughout his career, Max Roach played with all the greats of the Bebop jazz style. He was able to play with Dizzy Gillespie, Charlie Parker, Miles Davis, Thelonius monastic, Coleman Hawkins, and develop Powell.27 Roach actually played on most of the recordings of Charlie Parker, including Savoy 1945, an historic twist point in recorded Jazz.28 He also played on Miles Daviss recording Birth of the Cool in 1950 and Jazz at Massey Hall in 1952.29 Max Roach is the percussionist who took Bebop took the next level and is one of the best percussionists there was in Bebop jazz.Miles Davis, born in 1926, came fro m middle class beginnings and was raised outside of St Louis.30 His mother raised him in an corporate in an integrated suburb and began music through playing trumpet after his father bought him one. Davis first teacher support him to play the trumpet unlike Louis Armstrong and Roy Eldridge, using straight, 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 only went there to find his deity Charlie Parker.32 The dinner gown teaching at Julliard was not enough for Davis and he ended up 27 All About Jazz seeking out Jazz clubs such as the Savoy and Mintons. He joined Charlie Parker in live appearances and recordings between 1945 and 1948.33 In 1948, Miles Davis started his own Bebop groups. He participated in a workshop with arranger Gil Evans.This led to collaborations with Gerry Mulligan, John Lewis, and Johnny Carisi , which ended up being recordings. They were recorded for Capitol under Davis name and later reissued as Birth of the Cool. 34 Miles Davis career at this point was spoil by a heroine addiction. He was unable to perform much and when he did, it was with substandard accompanists, and performed infrequent recordings for labels. Miles Davis did not spearhead the Bebop movement as Parker or Gillespie did, but he was nonetheless very important in the Jazz revolution of the time. Davis jazz is some of the best in the twentieth century. Thelonius monk was a Jazz diffused player who helped spur bebop during the height of this new revolutionary sound. monastic 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 very young age. He taught himself how to read music when he was fin or six by aspect over his sisters shoulder as she was receiving music lessons.36 Before Monk was ten years old, his family m oved to New York City, near the Hudson River.His father left his family after becoming ill and moving back south, leaving Monks mom to raise him and his siblings. She was able to get 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 sang in, while also being surrounded by the Jazz jibe in New York City. In 1939, Monk created his first jazz group.38 Monks first notable moment was in 1940 when he was hired at Mintons Playhouse in Harlem as the house pianist. 39 While at Mintons he was able to playwith the house quartet, and got to play with Jazz pianist Bud Powell, Roy Eldridge, and tangle with Byas.In 1944, Theolnius Monk made his first visit to the recording studio as a part of the Coleman Hawkins Quartet. 40 In 1944 he also recorded Round About Night, and ended up joining Dizzy Gillespies Orchestra and playing on 52nd street at Spotlite Club.41 Then in 1947, Monk made recordings under hi s own name in a sextet session for Blue Note. Thelonius Monk was falsely arrested in 1951 for narcotics possession.42 He had his cabaret license taken away from him thereof inhibiting him from playing in the Jazz clubs in New York City. He played in out of town gigs and made some records for Prestige Label during this time.43 Then in 1954 he traveled across the Atlantic Ocean to play in the genus Paris Jazz Festival. While there he recorded his first solo phonograph album for Vogue, which would prove to be the way people would remember him, as one of the most imaginative solo pianists.The Bebop era was filled with musicians that are even-tempered talked about today as having great influence on 20th century music. Bebop let jazz artists express themselves through extended solos that were not very common yet. Dizzy Gillespie and Charlie Parker really took the scene perfectly and changed the way one can play jazz. This evolution in Jazz evoked fast tempos, asymmetrical phrasing, an d rhythm sections expanding their roles in the band. The Bebop era gave listeners great Jazz in an evolutionary style, that people still enjoy today.