Bebop Jazz

Bebop Jazz

After the age of the swing, the jazz was known and appreciated in the whole world, it admitted enclosed by classic composers of the size of Stravinsky. Nevertheless, the term swing was enjoying bad reputation between the musicians: it was considered that only the professionals of less talent were devoting themselves to this type of commercial music, so that the most “serious” musicians – like Duke Ellington – were moving away from the style. The slope of the big bands of swing gave place to a new type of radically different music, whose only features together were consisting of a similar instrumentation and of the interest in improvisation.

The musicians bebop were putting the accent in the role of the soloist, whose role was already not of entertainer of last epochs, but a creative artist to the service only of its own music. The syncope typical of the swing was remaining destined to favor the interpretation of the melodies; the rhythmic section was simplifying, relegating it only to the double bass – that was becoming more important – and to the battery, note – that was leaving aside its ancient role of mere metronome – increasing with it the bassists freedom and bateristas; disharmony interfered, polirritmos, new tonal palettes and more irregular phrasings; the melody gave in in favor of the improvisation, and the big band format for of bent, formed for very few musicians; and it was adopted, even a typical look in which there could not be missing hat, sunglasses and goatee
Dizzy Gillespie painted the portrait in Buffalo, New York,.
The birth of the style took place in when Dizzy Gillespie, Milt Hinton, Charlie Parker, Thelonious Monk and Kenny Clarke met in Minton’s Playhouse of New York for a series of informal concerts. Dizzy Gillespie was one of the leaders of the movement, with a style trompetistico that was summing up perfectly the characteristics of the new music and a series of topics that began to be part at once of the basic repertoire of the musicians bop, like “To Night In Tunisia” or “Salt Peanuts”. Charlie Parker was another big father of the bebop introducing a new improvisation language, extending the melodic aspect and the rhythmic status of the jazz up to this moment, and with an emotional and surprising style that remained immortalized in outstanding figures like “Yardbird Suite”, “Ornithology”, “Donna Lee”, “Billie’s Bounce” or “Anthropology”, between others great

Other importance musicians inside the style were the saxophonists Dexter Gordon, who adapted the Parker style with the high place to the saxo tenor, and Sonny Stitt; the trumpeter Fats Navarro; the trombonistas J. J. Johnson – the one who adapted the language bop to the trombonist – Benny Green or Kai Winding; the pianists Bud Powell, Thelonious Monk, Lennie Tristano, Oscar Peterson, Ahmad Jamal, George Shearing, Erroll Garner, Herbie Nichols or Tommy Flanagan; the bassists Oscar Pettiford or Paul Chambers; the bateristas Kenny Clarke or Max Roach; or singer Sarah Vaughan. En el campo de the big bands, some of them, as those of Charlie Barnett, Woody Herman, Lionel Hampton or Stan Kenton, could adapt its tone to the new requirements, and others, as that of Earl Hines there established bridges between the old man and the new sound. Only someone managed to turn into real be-bop big bands, as it is the case of the bands of Boyd Raeburn, Billy Eckstine and Dizzy Gillespie.

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