“The Bebop Era” MUH 271 Bebop • “a most inadequate word” that “throws up its hands in clownish selfdeprecation before all the complexity of sound and rhythm and selfassertive 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. 1942. 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.