How John Coltrane Influenced Jazz

How John Coltrane Influenced Jazz
The alto saxophonist, John Coltrane, was one of the most cultural–ethical leaders of avant–garde
jazz, in the 1960's. He was an innovative composer and artist who pushed the boundaries of
contemporary jazz. Avant–gardism liberated artists from the traditional form of jazz and pushed
them to question and change the whole idea of jazz itself. Coltrane was the type of musician who
believed that he could always be better than he already was. It was not unusual for someone to see
him always practicing his music, he would practice for hours and hours a day. Coltrane mastered a
lot of the different styles of jazz, because of this he went on to learn different types of music from
different backgrounds so that he could use it to improvise his music. From all the jazz artist we have
learned this semester, so far, Coltrane seems to be the one who had the greatest passion for jazz. For
this, I admire his hard work and passion he had for jazz. Even though he had already learned just
about everything he could about jazz, he still kept trying to learn new ... Show more content on
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Charlie Parker was a big inspiration to him, so much that Coltrane's sound of jazz was quite similar
to Parker's even though he did not play the same exact thing like other musician's would do with
Parker's music. Coltrane's music involved the use of scales, pedal points, multiphonics, free
improvisation, and shifting rhythms. He was obsessed with scales, he would practice them whenever
he could. He would also try to practice playing every note in every chord he could. In fact, "Kind of
Blue," is one of his most influential pieces, it is considered a test pattern for music students
attempting to master fast moving harmonies. He was an inspiration to many upcoming jazz
musicians, instead of sticking to the classics, he tried to teach upcoming musicians to think outside
the box and think of fresh ideas that had not been done
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Essay On Oliver Lake Concert
Facing the bitter cold, we manage to stay a good half–hour outdoors, in the line, to get the free–pass
wristband for the awaited marathon.
We started at the Bitter End with the Oliver Lake Organ Quartet.
Mr. Lake, sounding more discreet in terms of improvisation than in other times, seemed more
cerebral and less impulsive to me. Still, it was great to hear and see one of the musicians who spiked
my curiosity toward the free/avant–garde current many years ago, through his highlighted albums
'Heavy Spirits', 'Expandable Language' and 'Virtual Reality: Total Escapism'.
The organist Jared Gold and the drummer Gene Lake (son of the bandleader), were responsible for
setting the mood, which kept oscillating between raucous, swinging, and soulful, ... Show more
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In turn, Wooley counterpoints in a higher register, expressing a multitude of colors with the
sometimes–sweet, sometimes–aggressive phrasings.
Whether in unison or using disparate melodic lines, they sounded great and intriguing, providing us
with a cutting–edge experience.
This concert was performed inbetween the release of their albums 'East by Northwest' and 'All
Directions Home'.
Eivind Opsvick's Overseas, usually a quintet, was reduced to a quartet in their appearance at the
Players Theater. The absent was the super–interactive pianist Jacob Sacks who also plays
harpsichord in this project, giving it a very personal sound.
Playing a type of jazz that moves away from expected boundaries, the adventurous band frequently
explores a sort of cinematic pieces with hints of pop/rock.
The musicians convey how comfortable they feel with the music and playing it together.
Tony Malaby was always stainless on the tenor saxophone, Brandon Seabrook shows how frantic
and daring his guitar can sound, the Norwegian bandleader Eivind Opsvick insists in ostinatos and
chamberlike atmospheres, and Kenny Wollesen's fluttery percussion propels this boat toward
pleasant

Kenny Clarke: Edgar Hayes's Big Band
Kenny Clarke was a very persuasive if unpretentious drummer who served to characterize bebop
drumming. He was the first to move the time–keeping mood from the bass drum to the ride cymbal,
a development that has been replicated and used by an endless number of drummers since the mid
'40s.
Clarke played vibes, piano and trombone notwithstanding drums while in school. After spells with
Roy Eldridge (1935) and the Jeter–Pillars band, Clarke joined Edgar Hayes' Big Band (1937–38).
He made his recording presentation with Hayes (which is accessible on a Classics CD) and
demonstrated that he was a standout amongst the most swinging drummers of the time.
An European visit with Hayes gave Clarke a chance to lead his own particular session, yet
multiplying ... Show more content on Helpwriting.net ...
An adaptable drummer, Clarke was still ready to inspire the more customary ensembles of Louis
Armstrong and Ella Fitzgerald (1941) and the combos of Benny Carter (1941–42), Red Allen and
Coleman Hawkins; he additionally recorded with Sidney Bechet. However subsequent to investing
energy in the military, Clarke stayed in the bop field, working with Dizzy Gillespie's enormous band
and driving his own current sessions; he co–composed "Epistrophy" with Monk and "Salt Peanuts"
with Gillespie. Clarke spent the late '40s in Europe, was with Billy Eckstine in the U.S. in 1951 and
turned into a unique individual from the Modern Jazz Quartet (1951–55).
On the other hand he felt bound by the music and quit the MJQ to independent, performing on a
huge measure of records amid 1955–56.
In 1956 Clarke moved to France where he did studio work, was employed by visiting American all–
stars and played with Bud Powell and Oscar Pettiford in a trio called the Three Bosses (1959–60).
Clarke was co–pioneer with Francy Boland of a fanciful elite player huge band (1961–72), one that
had Kenny Clarke playing second drums! Other than a couple short visits home, Kenny Clarke
worked in France for the rest of his life and was a noteworthy figure on the European jazz scene. –
Scott

Max Roach's Influence On Drumming
Max Roach: His Influence On Drumming
Zach Mondlick
10/5–11/16/2014
Max Roach, a percussion virtuoso capable of playing at the most brutal tempos with subtlety as well
as power, is usually considered one of the most important drummers in history. He worked with a
great deal of the greatest jazz musicians, including Charlie Parker, Miles Davis, Duke Ellington,
Coleman Hawkins, Dizzy Gillespie, Charles Mingus, Sonny Rollins and Clifford Brown. His death
at 83 was a step toward the end of the bebop jazz world's most influential generation. Few remain
amongst the giants who were jamming alongside Charlie Parker and Dizzy Gillespie while they built
the harmonically dense, rhythmically powerful post–WWII music, dubbed bebop. A leader of this
bebop ... Show more content on Helpwriting.net ...
Eight years later, the two organized a so–called rebel festival in Newport, R.I., to protest the
Newport Jazz Festival's treatment of performers. That same year, Roach collaborated with the
lyricist Oscar Brown Jr. on "We Insist! Freedom Now Suite," which played variations on the theme
of black people's struggle for equality in the United States and Africa. The album, which featured
vocals by Abbey Lincoln ( Roach's frequent collaborator and, from 1962 to 1970, his wife), received
mixed reviews: many critics praised its ambition, but some attacked it as overly polemical. Roach
was undeterred. "I will never again play anything that does not have social significance," he told
Down Beat magazine after the album's release. "We American jazz musicians of African descent
have proved beyond all doubt that we're master musicians of our instruments. Now what we have to
do is employ our skill to tell the dramatic story of our people and what we've been

Two Types Of Altered Scales
In Mobley's principle tension and release, he frequently uses altered scales. As mentioned by Bauer,
"the use of a diminished approach is the most dramatic confirmation of the targeting process. It
allows the improviser to achieve a direct chromatic resolution".(Bauer 1994, p.120) In other words,
it allowed the improviser to create a short but highly volatile tension within a short period of time,
leading to a logical resolution. There are two types of altered scales frequently used in jazz. The first
type usually refers to the altered scale. Altered scales are the seventh mode of a melodic minor. The
second type refers to the octatonic scale played with the root starting a minor second below the
normal root of the octatonic scale, also known as the diminished scale in jazz. In the Voice–leading
Parsimony in the Music of ... Show more content on Helpwriting.net ...
Mobley would use two distinct yet related theme and place them in two parts, this created a concept
for motif development. To understand this framework, it seems useful to trace back the origin to the
blues. The blues tradition exhibited early characteristics of the concept of motifs in jazz. From rural
blues to hard bop, the blues form exhibited notable flexibility while still retaining its basic AAB1
structure. (Alper 2005, p.2). The most common form of blues, namely the twelve bar blues,
exhibited the basic idea of tension and release through the use of motif building. In particular, the
form of AAB allows the singer or the instrumentalist to use their A melodic line in both the tonic
and subdominant chords. This allows the building of tension through motif repetition, with the B
line as a point of resolution with the accompaniment of V–I cadence. This practice remains the
foundation of blues playing today (p.4). Hard bop, despite being the successor of earlier bebop,
displayed the idea of bringing the rhythmic attributes of blues back to the front.(

The Music Of Jazz Music Essay
Ever since Jelly Roll Morton revolutionised jazz music in the early 1920's, Piano has played a vital
role in the development of Jazz music with greats such as Duke Ellington influencing jazz from the
start of the swing era (Gioia, 2011). Jazz Pianists were often on the forefront of the ongoing
development of jazz music. However, when the bebop era dawned, piano seemed to move into the
background, with people like John Coltrane and Miles Davis leading the charge. However, this did
not mean the piano disappeared, far from it; Jazz music is a genre that is in constant flux, driven by
the players in the music. Often, the most famous jazz musicians were the most innovative and
forward thinking players of their respective eras. Musicians hold jazz pedigree and genealogy in
high regard, where playing with and learning from the masters that came before was almost a
necessity. Some musicians learn from meticulously studying and transcribing solos and
compositions performed by previous masters. Pianos ability to play melody and harmony together
made it one of the most complex and diverse instruments in the world, especially in jazz music,
being able to perform solo with rich musical timbres and complexity. Players such as Bill Evans and
Thelonious Monk, whom are discussed in this paper, helped revolutionise jazz and bebop music in
their own way, and are some of the best jazz pianists of all time, driving the genre of jazz forever
forward (Solomon, 2013).
Thelonious Monk was known to

Celebrating the Triumph of Charlie Parker Essay
Charles Christopher Parker Jr. was born on August 29, 1920 in Kansas City, Kansas to Charles and
Addie Parker. Charlie led a lonely childhood which resulted from his parents separation in 1927
when Charlie was just 7 years old. His father was never around much following the separation.
Their house however was just a short walk from Kansas City's entertainment district which attracted
Charlie while growing up. This was to be where Charlie would find his place in the world.
While Charlie's mother was working, he would walk around Kansas City listening to jazz behind the
clubs. Parker would sit around all night listening to his idol Lester Young perform along with the
Count Bassie band. It was here that Charlie was developing his ... Show more content on
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To support himself Charlie washed dishes at a local food joint, where he met Buddy Fleet, who was
the one who tutored Charlie in playing the saxophone. Charlie would then return to Kansas City due
to the death of his father and stayed home for about a half a year while playing in a small band there.
Then in late 1939 Charlie joined back up with McShann and moved back to Harlem, where Charlie
would meet Dizzie Gillespie. Gillespie would join Charlie and would start to work together and
develop a new form of jazz. While Charlie was experimenting with a number of different chords in a
jam session he discovered a new approach to improvisation. These new chord progressions and the
ever emerging sounds of Harlem, bebop was born.
Parker would eventually need a break from New York City and decided to travel to California where
he would travel for a couple years. It was during this trip to the west coast that he would get heavier
in to drugs and alcohol, specifically heroin which he used as his inspiration. It was while in Los
Angeles performing that Charlie would suffer a nervous breakdown, for which he was confined to a
hospital bed. He was released in 1947 and returned to New York, where he formed a quintet with
Miles Davis and others. Parker would once again tire of New York City and head to Europe for a
couple of years, where he would encounter a lot of devoted fans and he also did numerous
recordings.
In Charlie's

How Did Miles Davis Develop
Miles Davis was the primary developer of the cool jazz style.
Miles Davis a cool jazz icon who will forever be known for the innovation he brought us today
known as the cool jazz style. Miles Davis wasn't just known for his unique style he had created he
was known for his uniqueness in that he brought a new era of using the trumpet.
Miles Davis or officially known as Miles Dewy Davis III was born on May, 26, 1926 in Alton,
Illinois. Unlike many African Americans of the time miles grew up in a middle class household
environment with A Dental surgeon as a father and a school teacher for a mother. So he grew up
with highly educated parents and this showed throughout his school life and musical career. Now
unlike many he hadn't been introduced into music off the start essentially, but at the age of 13 his
father introduced him to an instrument he would learn to love and cherish throughout his musical
career.
Upon being introduced to the trumpet his father asked for some help from a dear friend of his
Elwood Buchanan A well–known director of a musical arts school. But unlike every other musical
director Elwood had encouraged Miles Davis to not use vibrato when playing the trumpet unlike
other artists of the time. This gave Miles a whole new and "unique" sound. By the age of 17 Miles
was ... Show more content on Helpwriting.net ...
He was playing small gigs at the time at local nightclubs with a friend he had met at Juilliard Charlie
Parker. He would in turn meet many different musicians within this year due to the style he was
performing at the time known as bebop. Bebop was a fast paced style of jazz normally based off of
improve that a musician would think of. But Miles felt like something was missing in this style and
he knew it wasn't right for

The Blue Whale: Concert Analysis
The Blue Whale is a live jazz venue and art space in Downtown Los Angeles within the Little Tokyo
neighborhood. It is now hosting Steve Coleman & Five Elements. Every night in December, Steve
and his band is performing and running intensive workshops for musicians. The performance on
Saturday, December 5, 2015, was memorable. It featured Steve Coleman on the alto sax, Jonathan
Finlayson playing the trumpet, Maria Grand on the tenor sax, Miles Okazaki on the guitar, Anthony
Tidd on the bass, and Sean Rickman on the drums. The concert was an exemplary example of
postmodern progressive jazz. The performance featured characteristics from the bebop, hard bop,
and cool jazz movements while maintaining its individuality and West African roots. Charlie Parker,
known for his musical genius and contributions to the bebop movement in post WWII America is a
huge influence on Coleman's music. The performance included the use of many characteristics
developed within the bebop movement. The use of combo instrumentation between Coleman,
Grand, and Finlayson; the utilization of the jam–session format which included the ... Show more
He has traveled around the globe seeking inspiration, knowledge, and the truth behind the linguistic
value of African sounds. The fruits of his labor and the progression that he has made as an artist is
manifested throughout his work with the M–Base Collective. During the concert, it was amazing
how in sync these musicians were with each other. The music was speaking. It had meaning. It was
not linguistic sounds, but it carried meaning and emotion. Each of the musicians went back and forth
over and over again which is a key element of jazz music. The call and response between
instruments is a culturally identifiable characteristic of west African culture. This musical technique
was brought to America through the African

Bebop Jazz Influences
Bebop Jazz known as Jazz music today have shared its roots with the various tradition of music such
as the American, European and the African. The unique mesh of Bebop jazz cultural influences has
made it a true American style in music. The music influence by the Bebop jazz has flowed through
many aspects of the modern cultures of people, and this is the cornerstone of the 20th–century
music. The first and the most prominent jazz music was on the African heritage that was kept alive
by the slaves in South America. The music was mainly composed with an intention of comforting
and helping the Africans cope with the harsh labor conditions and separation from their families.
The paper will discuss the Bebop jazz music, their elements, and composition. ... Show more
In addition to this, some people would use saxophone and the trumpet.
The complex rhythms
The composers and the musicians of the bebop jazz improvised some rhythmic patterns in the basic
beat and around each section of the music.
Having some rapid series of the chords
The music has not been built around few chords; it used a rapid series of chords. For instance, this is
seen in New Orleans jazz and other big band swings of jazz (Caines & Heble, 2014). The series of
the chords that were used altered from their standard form to and some texture and complexity in the
music.
Drastic change in instrument roles
The drummers in the Bebop jazz shifted their main timekeeping roles from the bass to the snare and
then cymbals. This made the music feel lighter and created and effervescent aura. Most of them
begun by playing some multiple and overlapping music.
The white critic of Bebop

Dizzy Gillespie Essay
Dizzy Gillespie deservedly ranks amongst the most influential and innovative jazz musicians of all
times. Every note played with his trumpet captivated a legion of devout followers from all different
age demographics and cultural backgrounds. Only Miles Davis and Louis Armstrong can tread the
waters of his talent and his ever–growing legend, which was propelled by his revolutionary style.
The Bebop revolution would have been a real yawner without notable Dizzy Gillespie tracks and
stunning collaborations with top artists from the time period. He played alongside great musicians
like Cab Calloway, Ella Fitzgerald, Earl Hines, Duke Ellington, Billy Eckstine, Charlie Parker,
Charlie Christian, Thelonious Monk, Max Roach and Coleman ... Show more content on
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The birth of Bebop music was built on a similar evolutionary process that has taken over many
different art forms since the beginning of human history. There was a yearning for change and a
desire to break the binding chains of the standard New Orleans jazz, Dixieland, and Swing music
(Aycock, 1997). In the 1940's Dizzy Gillespie and a legion of young and talented musicians went to
war against traditional jazz music and forged a new modern landscape of immense record sales,
popularity and fame. The creation of Bebop catered to the would–be gods of jazz, because their
talent rose to the top. Musical characteristics of Bebop shifted away from simple melody variations
and moved towards intense improvisation and difficult harmonic progressions (Horricks, 1984).
There was an air of confidence brewing amongst the young innovators and a sense of pride in
maintaining their dominance. Dizzy Gillespie said this about the subject, "There were some who
couldn't blow at all but would take six or seven choruses to prove it. So on afternoons before a
session Thelonious Monk and I began to work out some complex variations on chords and the like,
and we used them at night to scare away the no–talent guys (Horricks, 1984, p. 30)." The crucible
that bred the Bebop style was New York City and the famous Minton's Playhouse (Aycock, 1997).
This venue can be viewed as a more of a laboratory of modern jazz experiments than a simple small
club.

Influence Of Bebop
The origins and Influence of Bebop There were remarkable changes from 1939 to 1945 due to
World War ll. Historical event World War ll changed everything they had been known. More than
100 million people were involved from over 30 different countries. Estimated results were 50
million to 85 million fatalities at least 11 million people were killed. Not only the people but also
other things were missing with people died. However, people survived and became stronger. People
who survived from the tragic World War ll created new trend music named Bebop. World War ll had
very negative effects on big bands in jazz as they had begun to become less popular with more and
more musicians sent over to fight in Europe. So, it began the rise of a new form ... Show more
The most distinctive feature of bebop is that played by very small group. The main instruments of
bebop are trumpet and saxophone with rhythm section such as piano, bass and drums. And there was
informal Jam sessions that many musicians are playing together without any practices or rehearsals
so they could challenge and learn each other. Bebop is still the most played song at jam sessions.
Most of all, African American invented bebop primarily. Later, Cool Jazz came up as a new
generation of Jazz after bebop from 1949 to 1955. The Cool Jazz means like more comfortable and
soft than bebop when bebop has a meaning of "hot" which means very loud and exciting. Numbers
of people in group raised up to nonets (nine–piece band). When bebop musicians were playing
trumpet and saxophone such as Charlie Parker and Dizzy Gillespie, Cool Jazz musicians had more
numbers of instruments to play even classical instruments were often found such as flute, French
horn and so on. Unlike bebop, importance of the arrangement and the improvised solos are same
when bebop cares improvised solo more than the arrangement. Bebop and Cool Jazz each has very
opposite meaning to each other even locations are different. Bebop was associated with the East
Coast when Cool Jazz happened in West Coast especially in California. Historically, World War ll
had occurred during Cool Jazz era which made the mood of country very sad and people had
worries about the uncertainty of the future. This reflects Americans attitudes to have subdued
emotion and emotional self–control in times of crisis "Keeping Cool". Finally, Hard Bop was found
in New York during 1951 to 1958 and influenced by traditional African American. Instruments were
similar to bebop but there are 2 different factions Funky Jazz and

Swing Music And The Popularity Of Swing Music
Swing band arrangements were in large part composed, often of simple, repeated material, or "riffs,"
that alternated between contrapuntal lines and intense unison rhythms. Improvisation also had a
featured role, and soloists would play while the rest of the band, aside from the rhythm section,
dropped out or played arranged background lines.
POPULARITY OF SWING MUSIC
One explanation for swing music's popularity is that its driving intensity and abandon represented
pleasure and freedom in a time when the country was steeped in hard times. The Great Depression
caused Americans to suffer, and dancing to swing music was a way for people to forget their
worries. Swing music featured a section of three or four trumpeters, three or four trombonist, five
saxophonists who often doubled on clarinets, a piano, a bassist instead of a tuba player, a guitarist,
and a drummer.
During the 1930s, swing came to symbolize joy and ease, the weight of which was reflected in Duke
Ellington's piece, "It Don't Mean a Thing (If It Ain't Got That Swing)."
Behop Jazz 1940s' Charlie Parker (1920–55) Dizzy Gillespie (1917–93)
Bebop or bop is a style of jazz developed in the early to mid–1940s in the United States, which
features songs characterized by a fast tempo, complex chord progressions

Miles Davis And Coltrane Essay
Miles Davis and John Coltrane
Miles Davis was named as one of the most important musicians (trumpeters) of the twentieth
century. John Coltrane – a groundbreaking acclaimed American saxophonist. It is impossible to go
into the genre of jazz or talk about American contemporary music without mentioning their names.
Hard bop, modal jazz were their main musical features that to this day are an influence of most jazz
today.
Both born in 1926, they each had their own path to success and fame. At just the age of seventeen,
Davis, a nine–time Grammy Award winner, became a professional trumpet player. After learning
from Dizzy Gillespie and Charlie Parker with which he later played bebop with, Davis became
famous for his indescribably amazing jazz music. In 1945, he dropped out of Julliard School (at that
time it was the art and music institute) with the permission of his father and started his full–time
career in music. At that time he was a member of the famous Charlie Parker Quintet and made his
first recording as a band leader the following year with his Miles Davis Sextet. He admired working
on improvising in ... Show more content on Helpwriting.net ...
"Bebop was a genre of music created as a reaction to big band and swing music" (Danvarley,
para.1). Davis was also very well known for his high profile bebop music – hard bop. It was a
distinctive and one of a kind combination of gospel music, R&B, blues with saxophone, and piano.
Together with Miles, John Coltrane helped alter the landscape of jazz and create hard bop. Both of
them are very well–known for bringing the genre of music to a whole other level. The style could be
characterized by a fast tempo, really high energy, and "featured polyrhythm and irregular
asymmetric phrasing" (Danvarley, para.1). Drums gave out more beat, instruments were used in
various different ways and the saxophone and trumpet became the leading instruments giving both
Coltrane and Davis freedom to

Analysis Of Singers Unlimited
As a prelude to the wondrous holiday season, I attended Singers Unlimited, a performance by the
Hofstra Jazz Ensemble. The performance was a shining example of American creativity, with over a
dozen historical masterpieces of Jazz on display. This paper will analyze every song played in
Singers Unlimited, and discuss the musical factors which truly made them the gems of history.
The first song, Strike up the Band, is the product of George Gershwin and arranger Sammy Nestico.
The piece is played in C Major and has a quick tempo, giving it an upbeat and energetic feel. When
the song begins, it is instantly recognizable as a part of the big band era, with its heavy use of the
trumpet, tenor saxophone and drums.
The second song, Sing, Sing, Sing by Louis Prima, is in my opinion one of the greatest songs of the
swing era. The whole piece has a 4/4 time, with a quick tempo that creates a lively feel. The intro
contains a three bar drum solo. Eventually, a 12 bar melody is played on the brass instruments.
Transitioning into the first solo, two bars are played on the drums. The solo is played on the trumpet
for 12 bars. In the upcoming 25 bars, Benny Goodman becomes the center of attention with his
clarinet solo.. The piece concludes with the final ten bars, as the entire band plays the melody. This
song's liveliness and tempo creates the perfect environment for dancing.
The third song, Quiet Nights of Quiet Stars (Corcovado), is the product of Antonio Carlos Jobim.
Originally

Bebop History
Bebop Overview
Bebop is the first stylistic shift the represented the movement away from the current jazz, the Swing.
In this style of music, the chord usage becomes lot more complex using extensions such as 9th, 11th,
and 13ths but also the flatted 5ths. Improvisation has also been greatly developed. The improvers
now used the underlying chords as their basis of improvisation with combination to virtuosic quick
notes in a successful complex rhythm. Jam session is another important aspect in Bebop as this is
where the young and old musicians informally gather together to play their own ideas of Jazz, not
the standard way of the Swings.
Bebop as Identity Politics
Before 1940's, before Bebop came into the scene, the Swing was the definition

Minton Case Study
Charlie Parker and other Bebop musicians played regularly at Minton's Playhouse on 118th Street in
Manhattan. They loved challenges. Kenny Clarke would drum with them. It is known that he
changed the way he drummed in the 1930s because of how fast the tunes he played with the Teddy
Hill band were. He couldn't play quarter notes on the bass drum so he would keep the beat on the
cymbal instead, which produced a lighter, more flexible way to play, and also allowed for the bass
drum to be used for other rhythmic ideas. Hill was not fond of this new way of drumming so in 1940
he let Clarke go. Minton offered Clarke the job of running the music at Minton's Playhouse. Clarke's
style was perfect for jam sessions and his combination of snare

Dizzy Gelespie (John Birks Gillespie) Essay
The people of today, raised by the sounds of The Beatles and Pearl Jam have forgotten all about the
musicians that paved the way for these artists, and the musical styles that evolved into rock and roll,
rhythm and blues and rap or hip hop. Unfortunately the music that once dominated the night clubs,
restaurants, and radio stations is now heard only in elevators or when we go to a grandparents house
to visit. What is left of jazz are small portions of the music that people take and sample with in a
new song. Jazz and its historical figures have mistreated and forgotten by today's society. One of the
figure most forgotten is John Birks Gillespie, known to the jazz world as "Dizzy"
Gillespie.
"Dizzy" Gillespie was a ... Show more content on Helpwriting.net ...
Gillespie admired the style and work of Roy Elridge so much that he started to sound like Elridge.
Some time later Gillespie was hired in a band because he played with Elridge=s style so well. In his
studies he would transcribe or learn the notes and phrases that Elridge would play during his solos
(Powis, 58). Although to become a Jazz musician, Gilllespie did not idolize only jazz musicians, he
also greatly enjoyed listening to and examining the styles of musicians like Stravinsky, a virtuoso
composer of the classic period, and Maurice Ravel another composer, famous for works like
"Bolero", a piece that consisted of a phrase that repeated over and over, each time
getting louder and thicker (Powis, 58).
Dizzy unfortunately was to be later recognized by many for his many distinguishable trademarks
instead of the musical proficiency he worked so hard for. He was famous for his sense of humor. At
a performance Dizzy asked the audience if he could introduce the band. The audience replied swiftly
"yes". He than began introducing the saxophone player to the drummer and the trumpet
player to the trombonist and so forth (Wastrous, January 17). He also expressed his incredible humor
within his music as well. In his own interpretation of the spiritual, "Swing Low Sweet
Chariot," Gillespie develops the song into "Swing low Sweet Cadillac." He had

Cool Style Jazz Analysis
When I thought of jazz before I took this course, the Cool style Jazz is what would come to mind. I
am a fan of the more relaxed way of playing personally, and I love the classical influence that is
found in Cool. This new style could have been a rebellion against the more complex and 'hot'
Bebop, or it could have simply been society swinging back like a pendulum the way it often does,
and favoring something different. "Boplicity" played by Miles Davis and the Gil Evans Orchestra, is
very obviously a Cool song. It has a very easy, moderate tempo and a relaxed melody. The song
tends to hover in the middle register, the wind instruments staying away from the extremely high
and extremely low notes. It has a pretty subtle sound, especially when

The Characteristics Of The Jazz Style Of Ella Fitzgerald
Learning a great deal about musicality, the business side of music and how to take care of herself,
the next few years brought a great deal of success to Chick Webb and herself.
With the raise of the new jazz style, bebop, jazz music moved from the diatonic conventions of the
swing era to more chromatic harmonies, complex rhythms and more notes and chord options. This
style caught Ella's attention and during her time with the Chick Webb band, she got her start
improvising in the bop style.
Ella is said to have described the early days of the bop revolution as something of a nightmare. "I
felt that I was being left behind, and I was," she says. A few years later Ella found herself as the
guest touring with Gillespie's band. She was thrilled to listen to this new music day in and day out
on the road and quickly found she had enough musicianship and "ears" or ability to hear the
intricacies of this hipper jazz. Ella Fitzgerald became an expert with the new modern rhythms and
harmonies and her improvisation and musicianship as a singer improved drastically. Her inspirations
during this era were Charlie Parker and Dizzy Gillespie and she was able to imitate their playing
style and the timbre of the saxophone and trumpet. Not only was she able to copy their playing style
but also could sound just like Parker and Gillespie. This is made apparent in her solo from the live
recording of "How High the Moon". This song is a great song for any beginning scat singer to

Essay on John Coltrane
John Coltrane: An Experimental Musician
Jazz, which evolved from African American folk music, has developed and changed over the last
century to become an art form in America. It places particular importance on inventive self
interpretation. Rather than relying on a written piece, the artist improvises. Jazz has taken many
forms over the past seventy years; there is almost always a single person who can be credited with
the evolution of that sound. From Thelonius Monk, and his bebop, to Dizzy Gillespie's big band, to
Miles Davis' cool jazz, or to John Coltrane's free jazz; America's music has been developed and
refined countless times through individual experimentation and innovation. In my opinion the most
noteworthy artist in the ... Show more content on Helpwriting.net ...
Upon his return from Hawaii a year later, Coltrane launched his music career. In the late nineteen
forties, Coltrane began playing with several different R&B groups in small bars and clubs
around Philadelphia. Many of the clubs had a tradition of "walking the bar" (to walk on top of the
bar while playing one's instrument). Coltrane was embarrassed having to go through this custom
every night. This give him a negative image about himself and is abilities His self–esteem was
crushed even further when critics said his music was too bizarre. Soon Coltrane became very
depressed, and searching for a way out, he turned to heroin. Heroin was a very popular drug among
black musicians in the forties. It was a form of escape that, at first, brought them together, but in the
end triggered lives and careers to collapse.
Coltrane was invited to play in Dizzy Gillespie's his big band in '49. Gillespie had been a very
significant figure in the bebop movement. Bebop was a style of jazz, popular during the late thirties
and forties. It was characterized by integrating faster tempos, and more complex phrases than the
jazz of earlier years. Gillespie's band offered

The Philosophical and Sociological Developments for Bebop...
The Philosophical and Sociological Developments for Bebop During the 1940's
When discussing the history of Jazz, an important type of music is developed that changed the
music industry. This music, bebop, helped to influence other types of music, and it also let us
appreciate jazz more As is so often the case in jazz, when a style or way of playing becomes too
commercialized, the evolution turned in the opposite direction. A group of musicians, who had
something new to say, something definitely new, found each other reacting against the general
Swing fashion. This new music developed, at first in spurts, originally in Kansas City and then most
of all in musician's hangouts in Harlem, particularly at Minton's Playhouse, and ... Show more
This was later to become the real genius of modern jazz, as Louis Armstrong is the genius of
traditional jazz. One of these musicians, Charlie Christian, is not only a founder of modern jazz but
also one of those who created from Swing the basis for the making of modern jazz. There is a whole
group of such "pioneers": together the last generation of Swing and pathbreakers for bop. Among
the trumpets, it is Roy Eldridge: among the pianists, Clyde Hart; among the tenors, Lester Young;
among the bassists, Jimmy Blanton; among the drummers, Jo Jones and Dave Tough; among the
guitarists, Charlie Christian. Bebop was an instrumental music. No singer could have made it.
Charlie Parker forever changed the fundamental relationship between voices and instruments as it
had existed up to that point. Horn players still had to breathe, and so they had to base their phrased
on the length of the human breath, but no longer did they need to limit what they played to the
boundaries of the voice. They played faster, way beyond what any human voice could make out with
clarity, and they played melodies that never were meant to be sung. Bop never came as naturally to
the voice as it did to Parker's alto saxophone and Dizzy Gillespie's trumpet and then to the other
instruments. The new music may

Coleman Hawkins Essay
Coleman Hawkins
"I think he was the most interesting jazz musician I've ever seen in my life. He just looked so
authoritative . . . I said, 'Well, that's what I want to do when I grow up.'"(DeVeaux, 35) Cannonball
Adderley said these words when he first saw Coleman Hawkins with the Fletcher Henderson band at
the City Auditorium in Tampa, Florida. Just as Hawkins influenced one of the greatest alto players
in history, he has influenced many people to become phenomenal saxophone players. Lester Young
and Sonny Rollins both give tribute to Coleman Hawkins as being the "'proliferator' of the tenor
saxophone as a jazz instrument."(Kernfeld, 506) Hawkins, unfortunately, is labeled as a swing
musician though; and while he did begin ... Show more content on Helpwriting.net ...
By the time he was twelve he was already being paid to perform at school dances. He then went to
high school in Chicago for, at most, one year before dropping out to attend Washburn College in
Topeka, Kansas. He studied for two years at Washburn at which time he learned about harmonies
and composition; which would prove to be of utmost importance to him and his career in later life.
At seventeen, Hawk got his first regular gig in the spring of 1921 playing in the orchestra for the
12th Street Theater in Kansas City. That very summer, Mamie Smith and the Jazz Hounds
performed at the theater Hawkins was working. After hearing Bean play, Mamie Smith offered him
a job touring with her group. By March of 1922, the Jazz Hounds, now with Hawkins, were playing
in New York at the Garden of Joy. Shortly afterwards, he appeared on his first recording with the
group. Although his contributions are hardly notable throughout most of the album, he did get a
reasonable solo with the tune, I'm Gonna' Get You. Hawkins and the Jazz Hounds toured across the
country reaching out to California, playing in the musical revue, Struttin' Along. The Jazz Hounds'
act was a mix of vaudeville and blues, as were most primarily African–American groups in the
twenties.(Sadie, 322) Hawkins role was a cross of the two styles in which he would slap–tongue his
saxophone while lying on his back with his feet in the air.(DeVeaux, 48) After the show

Thelonious Monk's Influence On Jazz
Thelonious Monk, a jazz pianist and composer, was best known for his improvisational and creative
piano playing abilities. He had an enormous impact on jazz with his very distinct style of playing
piano which utilized many nonconformist melodic innovations, such as his unstable or dissonant
chords and "jarring" of the piano. Some of his major hits included Round Midnight, Well You
Needn't, Misterioso, Bemsha Swing and Blue Monk. Monk was one of the most influential images
in the history of jazz, partly due to him being one of the major creators of bebop and partly due to
his improvisational style having a lasting impact on other artists for many generations to come.
Monk was born in Rocky Mount, North Carolina on October 10th, 1917. He started playing piano at
the age of six and attended the Julliard School of Music in New York City to further perfect his
already mostly self–taught craft. In his early late teens and early twenties, he was a pianist at the
midnight jazz club, Minton's Playhouse. It was here that he started to develop the style most people
know as "bebop", further his musical talents and abilities, as well as connect with some other very
famous jazz ... Show more content on Helpwriting.net ...
Hawkins largely helped to advocate Monk's talents to other jazz artists in the music industry at the
time, furthering his career to new heights yet again. In 1947, he released his first, very own
recordings under the record label Blue Note Records. In 1952, Monk signed with Prestige Records.
During this time he worked and recorded with artists such as Miles Davis and Sonny Rollins. He
also released his first solo album in June of 1954 which gave people some awareness of exactly
what style of music he was trying to purse which was a very unique one, indeed. Most people
wouldn't be comfortable with Monk's different take on jazz music at first which was one of wild
improvisation and unconventional

Bebop Research Papaer Essay
Bebop music was the next evolutionary change of Jazz music that succeeded swing music. This
paper's aim is look at musicians who impacted this era, exploring more in depth Dizzy Gillespie and
Charlie Parker. In the early 1940's, the swing bands began to all sound the same as well as work
along predictable chord changes.1 The music was now not used for dancing. Some people believed
that this would let the music go away from the elite social groups, and now be for everybody. Also
just because a musician could play swing music well, there was no guarantee that the same musician
would be able to perform Bebop. This new style of music was defined through adventurous soloists
such as Dizzy Gillespie. Although swing music did have some ... Show more content on
Helpwriting.net ...
He was known for the unpredictable nature in which he would play the trumpet and act outside of
performing. When he arrived in New York City, he was hired by the Teddy Hill Orchestra for a
European tour.11
Before being hired, Dizzy was playing around town and making a name for himself.
There he lived with his brother in an apartment in New York City. He went out all night so that his
brother could come home form working all day and go to sleep.12 Dizzy
6 Encyclopedia of World Biography
7 Shipton, 11
8 Shipton, 13
9 Shipton, 21
12 Shipton, 33
3
Gillespie's first recordings were with the Teddy Hill Orchestra Band. After being with
Hill for a few years, Gillespie joined Cab Calloway in the summer of 1939. 13 They played at the
Cotton Club but Calloway was touring a lot. This gave Dizzy the opportunity to develop his
musicianship through style and knowledge through playing at all night jam sessions. Then, in 1942,
Gillespie joined Earl "Fatha" Hines band.
Unfortunately, in 1943, lots of band members left, including Dizzy Gillespie. He began to form his
own bands that started by opening at Onyx Club on 52nd St in New York
City.14 Dizzy had begun to play "bebop" in 1940, and was now able to do it full time. The venue
became a hot spot for this new evolutional sound in Jazz. In 1956 Gillespie and

Bebop : The Influence Of Swing Music And Swing Music
1.)
Bebop is revolutionary because its skills and like swing, bebop was still a music that prized
virtuosity; if anything, its standards were higher. But were seeing by most people as an outsider's
music steeped in drug abuse and tainted with an atmosphere of racial hostility. It was evolutionary
because it firmly placed in the center of jazz tradition while acknowledging that its status was
altered to that of self–conscious art music.
Bebop doesn't serve the same social function as swing because jazz music became isolated music
appearing in tiny cramped nightclubs rather than brightly lit dance halls. Swing music was more
structural and proper. With bebop, the tiny cramped nightclubs would lead to a negative atmosphere
to where the people become oblivious. Bebop does not have the same meaning as swing and it is
evolutionary in terms of sounds. Bebop is a style of modern jazz pioneered in the mid–1940's. It has
become the basis for most contemporary jazz. Music associated particularly with Charlie Parker,
Thelonious Monk and Dizzy Gillespie.
Swing is the jazz from 1935 to 1945 usually known as the swing era. Swing is the feeling created by
rhythmic contrast within a rhythmic framework usually involving a walking bass and steady rhythm
on the drummer's ride cymbal. Swing music is the kind of jazz played by Big Bands and
characterized by lively rhythms for dancing. This is music associated with Count Basie, Duke
Ellington, Benny Goodman and Glenn Miller band played

Jazz Popularity
Jazz, like most other music genres, evolves as time passes, so it is informative to see how jazz and
the jazz audience has changed throughout the decades. Predictions made about jazz music's future in
a 1964 Playboy article are finally answered in a 2008 survey from the National Endowment for the
Arts.
One of the biggest changes seen in the jazz community is its popularity. African–American artists,
Cannonball Adderley, Dizzy Gillespie, Charles Mingus, George Russell, and two white critics,
Ralph Gleason and Nat Hentoff were questioned about their views on whether jazz popularity would
increase or not. In the Playboy interview, Gleason remained optimistic about jazz's popularity, while
Russell and Schuller believed that jazz would be on the decline in the next few decades ("A Jazz
Summit Meeting" 238). As it turns out, Russell and Schuller were correct in their prediction that
jazz popularity would decrease. In the 2008 survey, the number of adults who attended jazz concerts
dropped from eleven to eight percent from 2002 to 2008 ("Now Who Listens to Jazz?" 413).
Reasons behind jazz's decline in popularity have often been speculated with one such reason being
that new jazz styles like bebop, free jazz, and smooth jazz pushed ... Show more content on
Helpwriting.net ...
While African–Americans are still more likely to listen to jazz, overall, the survey found that jazz
was more popular among older audiences from ages 45 through 64 ("Now Who Listens to Jazz?"
413). Compared to the audiences in the 1920s through 1950s, the jazz audiences were usually teens
and young adults. Paired with the decrease in jazz popularity, it is possible that the same generation
that embraced jazz still enjoys listening to it, while the current generation of music listeners aren't as
passionate about jazz. Once again, these survey findings contrast against Gleason's more optimistic
predictions and align more with the views of Mingus, Mulligan and

Jazz Music Review Essay
Study Notes
Chapter 1:
Jazz: type of music of Black American origin characterized by improvisation and syncopation.
Improvisation: to compose or perform without preparation.
Swing feeling: If music makes you want to dance, clap your hand or tap your feet that called
"swinging". There are four ingredients that help music swing: steady beat, lifting feeling,
syncopation, rhythmic elements.
Every Jazz musician has a personal style of playing.
Ella Fitzgerald: vocal singer. Queen of scat.
Chapter 2:
Hearing the improvised lines of jazz soloist as melodies in themselves should help you enjoy much
jazz.
Rhythm section: the part of a jazz combo that provides the accompaniment for the soloist. Standard
instruments in rhythm section ... Show more content on Helpwriting.net ...
Ellington group was most the most stable and longest lived big band in jazz history.
Art Tatum contribution were adding and changing chords pop tunes and the most admired piano
virtuoso in jazz history.
Mary Lou William knows as the boogie woogie player.
Chapter 6
Birth of Bebop: name of the first modern jazz style.
Bebop was small combo, average the tempo was faster, and improvisation was composed of melody
lines.
Charlie Parker inventor of bebop.
Monk was the first bebop composer and pianist. Also, he was one of the most original jazz
improvisers.
Bebop style and their offshoots were less popular than swing style because they used fewer popular
tunes and singers. Chapter 7
Cool jazz is a term for modern style that sound more subdued than the bebop of Charlie Parker and
Dizzy Gillespie.
West coast jazz: applied to classify cool jazz by California– based white musicians.
Birth of the cool band was 1949–1950 Miles David record session of a nine piece band in NY.
Progressive jazz was a term coined by stand Kenton to describe his own music.
Dave Brubeck was the first group in jazz that were sufficiently popular to tour as concert

The Baked Potato
The Baked Potato is a jazz club in Studio City that was opened by Don Randi. Don Randi is a
keyboard player, bandleader, and a songwriter. In 1970, Randi opened The Baked Potato and formed
his own group, Don Randi and the Quest. In 2010, The Baked Potato was named the best jazz club
in Los Angeles magazine. According to the Los Angeles magazine, The Baked Potato has been the
"mainstay for session players since 1975." (1997, pg. 131.) The date of the performance was on
November 2, 2015. It was a jam night that anyone could go up and jam with others. However, the
show started with the group performance; Jamie Kime was on lead guitar, John Ziegler was on
guitar, Chris Roy was on Bass, Doug Webb was on tenor sax, and I did not get the name of the
keyboard player and the ... Show more content on Helpwriting.net ...
The instrumentations were two guitars, keyboard, tenor sax, electric bass, and drums. It is an
energetic piece. They started together then everyone was having a virtuoso play. Between each solo,
the drums would fill in four to eight beats. When they were doing solo, other instruments would
only played few chords with syncopated rhythm to support. The only instrument that did not have
solo was the bass; he was mainly playing the root and "walking bass" pattern to support the melody.
Before the last section, the sax was having solo and it started with steady slow rhythm and it sped up
with aggressive rhythm and the whole song ended with everyone playing together. The second song
was "the Windjammer" by Grant Green. It started with the drums, then lead guitar, bass, and then
keyboard with sax and the second guitar comes in. Sax was the main instrument in this piece; the
whole group supported it. I could hear bass more was because this song used more chords and bass
was changing the root much faster against the drums' polyrhythm. It was hard to define the form
because everyone was doing improvisation and it was hard to hear the main

Bebop: a Controversial Transition to Modern Jazz
Bebop: A Controversial
Transition to Modern Jazz
Nathan Marketich
Music 0711
Professor Leon Dorsey
Recitation TA: Alton Merrell 1:00
December 10, 2010
The decade of the 1940's was an important era in the history of jazz. The 1940's was a transition
from traditional jazz into modern jazz. Leading this transition was the introduction of the Bebop
period in Jazz. Bebop created controversy in the jazz world for being a contradiction to traditional
jazz and was widely disliked by many audiences across America. Despite its controversy, Bebop,
also referred to as "Bop," was one of the most important eras in the history of Jazz. The technical
creations by some of Bebop's greatest musicians influenced future generations of jazz musicians ...
Show more content on Helpwriting.net ...
With the leadership of three of the most famous jazz musicians, Charlie Parker, Dizzy Gillespie, and
Thelonious Monk, Bebop reached its height in the mid 1940's. Charlie Parker was one of the most
influential and important soloists in Jazz history and was important to the development of the Bebop
style. Parker was born in Kansas City, Kansas on August 29, 1920. In 1927 Charlie Parker's family
moved to Kansas City, Missouri, an influential center for African American jazz music in the 20th
century. The rich musical culture in Kansas City fostered the development of the young Charlie
Parker who began playing alto saxophone in 1933. After Parker left school in 1935 he pursued a
career as a professional musician in Kansas City and played among various blues and jazz groups.
In 1939 Parker visited New York, the national center for the music business at the time, for a year
and participated in jam sessions with other musicians. Parker's time spent in New York left him
bored with the clichés of the popular Swing style still very common in America. He envisioned a
new style of music, contrary to Swing jazz, that emphasized a new set of techniques. This new style
of music which became Bebop would finally reach maturity in the mid 1940's led by Charlie Parker
(Patrick). In December 1942 Parker joined Earl Hine's big band along with other young jazz
musicians such as Dizzy Gillespie.

Dizzy Gillespie Thesis
Dizzy Gillespie
In today's world, people get excited when they hear about artists like Kanye West, Muse, and
Beyoncé. Our generation has seemingly overlooked the musicians that laid down the pavement for
these artists to be famous. These legends watched music progress from jazz, to rock, and now hip–
hop. The music that once made hundreds of people rise to their feet and dance is now heard in
elevators and coffee shops, which is truly a shame. One of the most tactlessly forgotten musicians of
that time is a man that went by the name of Dizzy Gillespie.
John Birks Gillespie, known to most as Dizzy Gillespie, stood as one of the most imaginative artists
in the history of jazz. He rose to fame during the bebop period of the jazz culture, taking place in the
1940s and 50s. One can even say that this type of fast–tempoed music came into being because of
Dizzy Gillespie and his fellow musicians, Charlie Parker and Theolonius Monk. When Dizzy was
born in South Carolina, no one expected they were looking at someone who would form a new style
of jazz. As we go back through ... Show more content on Helpwriting.net ...
Dizzy was not one of these musicians. He even said, "I think the idea is now for blacks to write
about the history of our music. It's time for that, because whites have been doing it all the time. It's
time for us to do it ourselves and tell it like it is." (Brainy Quote, 2015) He continued to perform and
enhance his showmanship. Dizzy had many talents besides the trumpet, including the piano and a
great sense of humor. He was well known for infusing jokes into some of the songs he sang or even
making up parodies or popular songs. His ability to scat sing was held in the highest regard and was
comparable to the great Louis Armstrong. Although many of his fans looked at him as a joker and a
comedian of sorts, he was an incredibly serious and knowledgeable jazz

Charlie Parker Research Paper
In the world of Jazz there are known to be only two time periods in jazz: before Charlie Parker and
after Charlie Parker. Charlie Parker has become an American icon and extremely important to the
world of jazz. He had many successes throughout his life, but I want to find; how did Charlie
Parker's fast pace improvisation solo style effect the creation of bebop? Carlie Parker's complex
harmony and rhythms he integrated into his improvisation solo style laid the groundwork for the
creation of a new jazz style known today as bebop. Charlie Parker was born in Kansas City on
August 29, 1920; at this time Kansas City was a center of African–American music. Parker quickly
developed talents at the public school he attended, Lincoln High, on the baritone but by the time he
was 15, alto saxophone had become Parker's instrument of choice. From 1935 to 1939 Parker played
in the Kansas City music scene, mostly at a place known as the Reno Club. In the year 1954, taken
over by drugs and alcohol, Charlie Parker died in a New York apartment.
There is a story that goes:
One night in 1937, a teenage musician named Charlie Parker joined a jam session onstage at Kansas
City's Reno Club. It was a special because a big–time drummer, Jo Jones, was there. He was the
drummer for Count ... Show more content on Helpwriting.net ...
One big difference is that swing is a very broad area with many different sub–styles; bebop, on the
other hand, is very specific to tempo and style. Bebop is a much faster tempo than swing generally
was and the eight notes can, at times, lose the swing feel. Bebop features more complex harmonies
and more intricate melodies than swing did. In bebop, the element of surprise was highly valued as
well as the idea of incorporating melodies from familiar songs into improvisation. Swing was
generally used for dancing where Bebop would not really be able to be danced

Piano Legends: Chick Corea
I watched the film "Piano Legends: Chick Corea". In the film, famous jazz pianist, Chick Corea,
goes over the evolution of piano throughout jazz history. He emphasizes on how piano was really
important for the development of jazz as its roots trace back to the piano style known as "ragtime".
From there on, jazz started to evolve from solo music to syncopated dance orchestras.
Since this film was mainly about jazz piano styles, Chick Corea talked about Jazz's earliest form,
ragtime, and then went into the development of stride piano. He also mentioned key contributors to
the complex jazz style bebop.
I think the musical highlight of the film was when Chick Corea surprisingly performed Goldberg
Variations by baroque composer Johann Sebastian

Comparative Analysis : The Great Miles Davis
Comparative Analysis
Throughout Jazz history there has never been an artist that it has changed the sound of jazz several
times. He challenged himself and encouraged others to go on diverse paths to create sounds and
rhythmic patterns. This distinct musical innovator that influenced jazz beyond its limits is the great
Miles Davis. Davis was born on May 25, 1926, in Alton, Illinois. But, he grew up in East St. Louis,
Illinois. His father was dental surgeon, therefore they never had any financial need or any challenge
that could disturb Davis' life. During his childhood he received music lesson and by the age of
thirteen he got his first trumpet. One of the most significant teacher he had was a trumpeter Elwood
Buchanon*.
At the age of 16 ... Show more content on Helpwriting.net ...
One year later while he was touring in Paris, he fell into heroin addiction; which destroyed his
marriage. The beginning of his career start with third stream music follow by three periods of bebop:
cool, modal, and electric. On September, 1991 he died of a stroke and respiratory failure in Santa
Monica, California*.
Davis transformed jazz music into the third stream, cool, modal, electric, and beyond its parameters.
The bebop revolution was taking place towards the end of Davis' adolescence. The first years of his
career, he get involve in the bebop style. However, he wants to experience new paths and face
challenges to succeed. Therefore, he took jazz to new directions introducing different sounds and
tones.
Initially, Davis take jazz to the third stream; which is a blend of jazz and classical music. Third
stream not only use elements of the classical music; but also it try to imitate it. The reason for this
could be, that at this time many American classical composers were using many elements of jazz in
their arrangements*. As a result Davis introduces new musical instruments to his arrangements, such
bass clarinet, flutes, bass trombones, tuba, and muted trumpet; also one orchestral instrument, a
French horn. Third stream is alike with cool jazz, since Davis uses a French horn and a tuba in both
periods of jazz. The first three periods of Davis' career are very similar because he uses an
unaggressive sounds, and deliberate rhythmic

Bebop Research Paper
Bebop Jazz
Jazz is a genre of music in which improvisation is typically an important part. Jazz has had a major
influence on most popular music genres in the 20th century such as rock, hip–hop, Latin and the list
goes on. There's a genre of jazz for every single individual out there which makes it such an
interesting topic and from there branches another very popular subgenre of jazz called Bebop.
Bebop is a style of jazz which was developed in the 1940s. Bebop had the effect of removing jazz
from the mainstream of popular tunes which was mainly for dancing and focused on music that was
presented as a form of art other than entertainment. Just like many subgenres of jazz, bebop was
invented by African Americans around the time of the ending ... Show more content on
Helpwriting.net ...
So many of our songs rely on the invention of bebop. This isn't only art. This is a part of our history.
I think that all his pie ces are so wonderfully constructed and each piece has its own uniqueness but
at the same time are so easy to identify as Parkers compositions as they all at the end of the day,
have the same effort put into them and has Parkers signature alto sax. The history behind the pieces,
Parkers story of how his father left and his rough childhood send shivers down my spine and I think
that everyone can learn a lesson from this musical hero. You can be anything your pursuit to be but
should be wise as well. Parker followed his dreams and what he wanted to do but because he didn't
make smart choices with his life, it ended too soon. I think without Parkers story and music; the
world would be different. Without his tragic passing, the legend would have lived on and continued
to stun us with more music. I strongly believe he is up there looking down at his music and is proud
of what he has contributed to this generation. As the sayings go "Legends die but their music will
continue to live on

One O Clock Jump Poem Essay
While "One O'Clock Jump" has more similarities to swing it is still an example of modernism. In
Coleman Hawkins "One O'Clock Jump" one can notice the more similarities with swing, compared
to "Body and Soul," however, one can still hear a more detailed portrayal. The song has more flow
and more beats than swing usually has. Thus, use of more beats is part of the new technique that
Coleman Hawkins used. The use of the new techniques shows how one can see modernism in "One
O'Clock Jump." However, due to the similarities to swing one would not necessary have to see this
song of Hawkins as part of bebop or modernism.
Another song of Hawkins that not necessary has to be seen as modernism is "Every Man For
Himself." In "Every Man For Himself" there is again a faster pace. While one could still call it
swing one could say how the faster pacing made it part of modernism. Yet one can again argue how
the similarities to swing, still made it swing and a new term as bebop would not have been
necessary. Would "Body and Soul" not have been as different from swing as it was both "One
O'Clock Jump" and "Every Man For Himself" would not necessary be part of bebop. So, both these
songs are part of modernism ... Show more content on Helpwriting.net ...
As Hawkins went to Europe he did not experience the rapid urbanization that was happening in the
United States. Although, he did keep several records of American artists, so he could still listen to
the changes that were happening. As well as the techniques he learned in Europe, would eventually
lead to the new techniques that he used in the United States. Thus, while he did not experience the
changes in the thirties he did keep up to date to these changes, and was part of the changes that were
made in the late thirties and early forties. That he was part of the changes shows how he is still an
example of modernism. Even though he did not experience the rapid urbanization, he was the one
who made the

How Did Charlie Parker Contribute To Music
Music paper
Katharina Tophoven
"When the music changes, so does the dance" –African Prover. Many of the world's greatest
musicians have made tremendous impacts on the music today, Charlie Parker being one of them.
Charlie Parker was a phenomenal Jazz musician who made a huge impact on jazz music as it
advanced throughout the ages.
Just as any other musician, they had to start somewhere in order to become the prodigious artist.
Charlie Parker was born in Kansas City, Kansas on August 29, 1920. His father, was an African–
American stage performer (Charles Parker), and his mother (Addie Parker) was a maid–charwoman
with a Native–American heritage. At the age of 7 he hand his parents, being an only child, moved to
Kansas City, Missouri. He discovered his talent while taking music lessons at public schools. During
his teen years he played the baritone horn in the school band, although by the age of 15, the alto
saxophone was the instrument he preferred. He then began to play with bands at the local clubs,
while still in school. Parker loved playing so much that by 1935, he decided to drop school and
pursuit his dream as a full–time musician. Charlie Parker had a deep and heightened relationship
with music: "Music is your own experience, your thoughts, your wisdom. If you don't live it, it
won't come out of your horn." ( ... Show more content on Helpwriting.net ...
During the time between 1947 and 1951, Charlie Parker was performing solos at many different
venues, which included clubs and radio stations. He also signed many different record labels. Later
he made his European debut at the Paris International Jazz Festival in 1949. During this time, in
New York, the Birdland club was being named in his honor, although Parker made his last stage
performance at Birdland, almost a week before his death. He had battled through his adult life with
alcoholism and heroin

J.b. Johnson : His Instrument, The Trombone
J.J. Johnson transformed the way his instrument, the trombone, was played. He was born on January
22, 1924, in Indianapolis, IN and died in February 4, 2001, Indianapolis, IN. J.J. Johnson, with his
new execution and imagination, was the musician who brought bebop into the trombone. However,
after battling cancer and a muscular–skeletal disorder, J.J. Johnson passed away, leaving behind a
legacy of groundbreaking work that he had done accomplished with the trombone. When J.J.
Johnson was 11 years old, his mother, Nina, sent him to piano lessons, and he briefly played the
baritone saxophone at school. At the age of 14, J.J. Johnson's classmates wanted to be in a band and
needed a trombone player, so he took the opportunity and never looked back. Johnson and his
friends were really enjoying the concept melody solos from the tenor saxophonist, Lester Young,
and he was also drawn to the Trombone work of Dickie Wells. Therefore, around 1941 and 1942, J.J
Johnson joined two bands called Clarence Love's Regional Touring Band and Snookum Russell's
Band. Johnson then received a suggestion to join the band of Saxophonist Benny Carter for an
extended tour, so the spring of 1945, Johnson worked with Carter's band as a trombonist and a staff
manager. On July 2, 1944, J.J. Johnson engaged in producer Norman Granz's first JATP concerts in
Los Angeles and was able to be heard on Etaoin Shrdlu's Blues. His association with Granz and the
JAPT sustained through his career. However, not all

Analysis Of Mile Davis The Birth Of Cool Jazz
The development of "cool jazz" in the late 1950s defines the culmination of the style into popular
mainstream culture. Mile Davis' "The Birth of Cool" defines a masterpiece that projected an image
of an African–American "cool cat" that played a refined, mellow, and sophisticated style of jazz.
Davis would become a central figure in the "cool jazz" movement due to his rebellious attitudes
towards society, as well as the drug–related criminal culture that he exuded as a countercultural
figure in conservative white America. The Birth of the Cool" provided a major record release, which
was founded on minimalist instrumentation and selective note playing as a common theme of "cool
jazz" stylistics during the late 1950s. In contrast to Bebop, Davis ... Show more content on
Helpwriting.net ...
The etymology of "cool" typically defined a "hip" person in African–American that displayed a
relaxed or nonchalant countenance. The use of this word in Chisholm's "Cool Kind Daddy Blues"
and Huston's The Gilded Six–Bits illustrates a popularized way to express an individual with a cool
demeanor in the arts. This type of cultural label helped to establish "cool jazz' as an expression of
this African–American lifestyle in the jazz community. The deviant nature of the jazz lifestyle is
another major part of the "Cool jazz", which made it "cool" to be seen as a rebellious in terms of
criminal behavior and drug–usage. The "cool" trend in the early 1950s began with album releases,
such as "Classics in Jazz: Cool and Quiet" in 1953, which established a music industry standard for
mellow jazz in the "cool" school. Stan Kenton's Modern Music Orchestra was also a major influence
on "cool jazz", which revealed the racial diversity of jazz in white groups that expanded on African–
American influences. Jazz artists, such as Chet Baker and Gerry Mulligan, that complimented the
master works of Mile Davis and the Modern Jazz Quartet in this multi–racial and multicultural
development of "cool jazz" as a trend in American music. The and of the 1950s defined the end of
"cool jazz" as a dominant movement in jazz, but it defines the origins and development of a relaxed
and nonchalant style of playing that made a huge impact on jazz

How John Coltrane Influenced Jazz

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