“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)

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.

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.

Harmony based on the Western European tradition

Chords built by stacking thirds Chords extended by adding more pitches Pitches in a chord might be chromatically

altered.

Studies of bebop that emphasize musical analysis characterize its emergence as ''evolutionary'‘› continuity of development› “gradual, linear evolution, conserving essential

qualities even as it introduces innovations" (DeVeaux)

Writers who emphasize the social aspects of the movement see bebop as "revolution“› “a rejection of the status quo, a sharp break with

the past”› discontinuity

The jazz musician as a marker for “hipness.”

Minton’s Playhouse› Opened in 1938 by saxophonist Henry Minton in

1938 Minton was the 1st Black delegate to Local 802 of

the Musician’s Union. Hired bandleader Teddy Hill to manage the club in

late 1940. Minton and Hill encouraged jam sessions,

which were not allowed by the union.› The Union hired “walking delegates” that would

fine musicians who participated.› Minton’s was relatively safe due to connections.

The “house band:› Kenny Clarke – drummer and bandleader› Joe Guy, trumpet› Nick Fenton, bass› Thelonious Monk, piano

Other frequent guests included Charlie Christian (guitar), John “Dizzy” Gillespie (trumpet), and later Charlie Parker (alto saxophone).

Monroe’s Uptown House› Many of the regulars

included Big Band players.› Most of the jam session

participants checked out several clubs.

West 52nd Street› In the middle 1940s, the

primary venue for bebop.› Musicians were getting paid.› Instrumental music exempt

from wartime 30% cabaret tax.

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.

Charlie Parker Dizzy Gillespie Thelonious Monk Kenny Clarke Bud Powell