Bebop Research Paper Essay

trip the light fantastic toe symphony was the next evolutionary change of void melody that succeeded swing music. This papers aim is construe at musicians who imp exemplifyed this duration, exploring more than in depth vertiginous Gillespie and Charlie Parker. In the primal 1940s, the swing destinys began to solely sound the same as well as take a shit along predict sufficient chord changes.1 The music was now non used for dancing. Some people believed that this would permit the music go by from the elite social groups, and now be for e realbody. Also just because a musician could bend swing music well, at that place was no stock-purchase warrant that the same musician would be fitting to realize sock.This new ardour of music was defined through adventurous soloists such as light Gillespie. Although swing music did have some creativity, in Bebop the chorus was d unitary once at the beginning and once at the h grey hazard, the oculus was mostly up to the soloists creativity and inventiveness. Bebop music rightfully took hold during the historic period of American involvement in WWII. During this cadence on that point was a major strike from the Musicians Union because they wanted more coin from labels because of currency lost on free radio.2 The strike direct to musicians pile with each other and not being able to record. Since there was a lack of enter material for the music, when recording started again, and people heard Bebop they were in truth taken aback. They had no warning that this new bearing of music was being caused, let alvirtuoso how different it was from swing.The musical style itself differed so mavenr a lot from anything that had ever been done in steer up until this point. Along with the chorus wholly being repeated at the end of a musical number, there were fast tempos, asymmetrical phrasing, and intricate melodies. The barely things that held Bebop to flummoxher were chthonianlying harmonies that we re played by the cycle per second section. otherwise then this, most of the music ended up being improvisational as discussed earlier. The chord progression which was used for the music was actu exclusivelyy not such(prenominal) different from the swing era, but the melody was new and much more complex. At the end of the Bebop era, musicians were employ harmonic substitutions instead chords. This style and era of hump took people by surprise.The music was different, unique, and really let the musicians express who they were as Jazz musicians. airheaded Gillespie was born John Birks Gillespie in S appearh Carolina on October 21, 1917.3 He was youngest of nine children. His childhood was not one that he wanted to opine much. His paternity was very abusive towards him and his siblings. I was scared, scared of my father. He was super austere, and never showed any emotion. Hed give me a whipping every Sunday morning, me and my brothers, said zany speaking of his childhood. 4 Gil lespie got into a lot of trouble as a child. But at the age of ten or so, an English instructor introduced him to music, which lead him to joining the school border. 5 He 3 Alyn Shipton, Groovin broad(prenominal) The life of giddy Gillespie, immature York Oxford University Press, 1999, 6 started his young music move playing the trombone. The instrument changed once he borrowed a neighbors trumpet for the basic time.6 Dizzy began playing in the local bands all around t feature. After his younger years, Gillespie attended a school that was a boarding school and day college, called the Laurinburg set up in North Carolina.7 enchantment he was there it is thought that he was struggling for money for clothes. Although tuition and board was covered for him, he had worked in the field to bring about extra money. 8 Dizzy Gillespies mother moved up to Philadelphia while he was at the end of his career at the Laurinburg Institute and moved up to be with her in 1935.9 He began playing in bands about Philly and in the area. This was done for a a couple of(prenominal) years between 1935-1937, before he moved up to New York City.10 While he was in Philadelphia he got his reputation and subsequently his nickname, Dizzy. He was know for the unpredictable nature in which he would play the trumpet and act outside of execute. When he arrived in New York City, he was hired by the Teddy Hill Orchestra for a European tour.11 Before being hired, Dizzy was playing around town and making a name for himself. on that point he lived with his brother in an apartment in New York City. He went out all night so that his brother could come stem form working all day and go to sleep.Gillespies initial recordings were with the Teddy Hill Orchestra Band. After being with Hill for a few years, Gillespie joined Cab Calloway in the summer of 1939. 13 They played at the Cotton Club but Calloway was touring a lot. This gave Dizzy the opportunity to ruin his musicianship through style an d knowledge through playing at all night jam sessions. 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 opening at Onyx Club on 52nd St in New York City.14 Dizzy had begun to play whop in 1940, and was now able to do it full time.The venue became a hot spot for this new evolutional sound in Jazz. In 1956 Gillespie and his band went on a state department tour of the Middle East, which realise another nickname Ambassador of Jazz. He continued to work as a Jazz ambassador 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 in 1993. He left us with a new style of music, and left his correct by helping educate a new generation of Jazz musicians.Another bulky artist, and considered the second founder of Bebop w as Charlie Parker. He grew up in Kansas City, Kansas. Parker was raised(a) here until he was seven years old and then his family moved to Kansas City, Missouri that was thriving culturally at the time.15 It was an important city for African-American music as well. Parker had his irst bout with music in public schools in Kansas City, Missouri.16 In high school, Charlie Parker began by playing the low horn, then later on switched to the alto saxophone in 1933, which he stuck with. At the age of 15, the determined in yet not very gifted yet, Parker left school to pursue his music career. The young valet de chambre had a hard time at scratch getting utter at by fellow band members, and then practicing for fifteen 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 attended jam session s during the nights.19 While he was in New York City, he ended up concussion 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 played in Jay McShanns that toured in the southwest and Chicago, and then recorded with them in Dallas.21 At this time, the recordings were more swing-based and were withal 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 success was thin short because of addiction. When he was a child, he had an accident that he got accustomed to morphine from. In 1951, he had his cabaret license revoked.23 Parker was b anned from performing at nightclubs and later attempted suicide twice, and died in 1955. As one of the founders of Bebop, Charlie Parker contributed quality work in Jazz for the future generations. When he was playing, the senior(a) generations did not take to his new form of Jazz, now people look back and call him and innovator. slime Roach is another great innovator, and is one of the high hat steer percussionists to ever play. Roach grew up in Brooklyn in a house that was already full of music.His mother was a gospel truth 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 Ellingtons band. 25 When he was 18, he began going fine-tune to 52nd street and 78th street to begin jamming with other Jazz musicians. He was influenced by Kenny Clarke and was one of the few bebop drummers of the ti me. 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 rhythmic accompaniment.Throughout his career, gunk Roach played with all the greats of the Bebop jazz style. He was able to play with Dizzy Gillespie, Charlie Parker, Miles Davis, Thelonius Monk, Coleman Hawkins, and Bud Powell.27 Roach actually played on most of the recordings of Charlie Parker, including savoy 1945, an important turning point in recorded Jazz.28 He besides played on Miles Daviss recording save 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 from middle class beginnings and was raised outside of St Louis.30 His mother raised him in an incorporated in an integrated suburb and began music through playing trumpet after his father bought him one. Davis fi rst teacher encouraged 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 include 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 idol Charlie Parker.32 The ceremonious teaching at Julliard was not enough for Davis and he ended up 27 All nigh 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 marred by a heroine addiction. He was unable to perform much and when he did, it was with inferior 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 20th century. Thelonius Monk was a Jazz pianist who helped acantha bebop during the height of this new revolutionary sound. Monk was born in 1917 in Rocky Mount, North Carolina.35 He grew up with a softly 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 five or six by looking over his sisters shoulder as she was receiving music lessons.36 Before Monk was ten years old, his family moved to New York City, dear 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 scene 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 Don 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 his 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 therefore inhibiting him from playing in the Jazz clubs in New York Cit y. 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 Paris Jazz Festival. While there he recorded his first solo 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 still 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 abruptly and changed the way one can play jazz. This evolution in Jazz evoked fast tempos, asymmetrical phrasing, and rhythm sections expanding their roles in the band. The Bebop era gave listeners great Jazz in an evolutionary style, that people still enjoy today.