“The Bebop Era” MUH 271. Bebop “a most inadequate word” that “throws up its hands in clownish self- deprecation before all the complexity of sound and.

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Presentation transcript:

“The Bebop Era” MUH 271

Bebop “a most inadequate word” that “throws up its hands in clownish self- deprecation before all the complexity of sound and rhythm and self- assertive passion which it pretends to name.” (Ralph Ellison)

Bebop The beginning of “Modern Jazz Era:” Part of the “training” of jazz musicians. The “Canon” of Bebop continues to be relevant. Significant performers continue to use Bebop’s musical language. The move from a popular music to an art music.

The Architects of Bebop Charlie Parker Dizzy Gillespie Thelonious Monk Kenny Clarke Bud Powell

General Style Characteristics Focus on individual musicians’ technique and ability to improvise. Smaller combos (4-5 pieces) more typical (possibly patterned after jam sessions in Kansas City and elsewhere). Simpler arrangements of songs (intro/melody/solos/melody/ending). The blues (AAB) and 32-bar standard song form (AABA) were popular. More complicated harmonies: Extensions and alterations to chords. Chord progression increases in complexity. Tempos faster and/or slower that Swing Era performances. Disjunct, not easily singable melodies; asymmetrical phrases.

AFM Recording Ban Musicians Union called for a ban on recording beginning Aug Musicians not paid for jukebox or radio play. “V Discs” were exempt. Capitol and Decca signed within a year, but Victor and Columbia held out for another year. Enabled the rise of several smaller labels. The beginnings of bebop not documented on recordings.