“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
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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:
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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
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Musicians Union called for a ban on recording beginning Aug. 1942.
Musicians not paid for jukebox or radio play.
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“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.