3. Bebop

In 1939, a small handful of Swing musicians began to react against Swing music. Though these men were extremely different from each other musically, they were each seeking to experiment musically. These men were the originators of Bebop (1940’s-1950’s).

The second big influence on the development of Bebop was the recording ban which the musicians’ union had instituted with the recording industry. Audiences, by and large, were not able to hear the jazz being made anymore because there were no records available. On the one hand, this often made it difficult for Big Bands to continue to work since they could no longer support themselves by selling records. And so, musicians began to form smaller groups (one of the characteristics of Bebop). On the other hand, it freed many musicians from the need to please the general public. They began to make music which they and their fellow musicians found interesting, but which might not have sold well to the average person.

General Characteristics

  • evolved to satisfy the need for harmonic, rhythmic, and melodic growth
  • fast, frenzied pace
  • uses harsh tones (rather than the lush tones of Swing)
  • complex melodies
  • displays virtuoso musicianship
  • music for musicians
  • made for listening, not dancing
  • hub was New York City
  • contained unison lines, dissonance, and much improvisation
  • use of the combo – small group of musicians (rather than a Big Band)

Charlie Parker, Jr., also called “Yardbird” and then just “Bird,” was one of the greatest jazz saxophonists of all time. He is one of the major figures in Bebop, and it may be possible to credit him with the image of a jazz musician as intellectual and artistic genius.

Bird’s style is characterized by lightning fast fingering on his solos (lots of notes), use of the 9th, 11th and 13th notes (notes above the regular chord that make interesting harmonies) and what has been called a harsh, penetrating tone. Listen to Bird’s “Koko” below. Note the unison lines at the beginning which then move on to Bird’s solo.

[youtube]http://www.youtube.com/watch?v=okrNwE6GI70[/youtube]

 

John Birks Gillespie, called Dizzy by everyone because of the spins he did onstage after a solo, is probably best known outside the jazz community for having gigantic cheeks (see photo). Inside the jazz community, Dizzy was known for his double- runs, his ability to execute difficult series of notes, his pure tone, and of course, his cheeks as well.

[youtube]https://www.youtube.com/watch?v=PC5TauvLkcY[/youtube]

 Dizzy Gillespie Quintet 1963 ~ Bebop

Though these two men did not found the Bebop movement, Charlie “Yardbird” Parker and John Birks “Dizzy” Gillespie saw it through to maturity and are among the best known Bebop musicians.

Notable musicians identified with bebop: