Related Research Articles
Bebop or bop is a style of jazz developed in the early to mid-1940s in the United States. The style features compositions characterized by a fast tempo, complex chord progressions with rapid chord changes and numerous changes of key, instrumental virtuosity, and improvisation based on a combination of harmonic structure, the use of scales and occasional references to the melody.
John Birks "Dizzy" Gillespie was an American jazz trumpeter, bandleader, composer, educator and singer. He was a trumpet virtuoso and improviser, building on the virtuosic style of Roy Eldridge but adding layers of harmonic and rhythmic complexity previously unheard in jazz. His combination of musicianship, showmanship, and wit made him a leading popularizer of the new music called bebop. His beret and horn-rimmed spectacles, scat singing, bent horn, pouched cheeks, and light-hearted personality have made him an enduring icon.
Milton Jackson, nicknamed "Bags", was an American jazz vibraphonist. He is especially remembered for his cool swinging solos as a member of the Modern Jazz Quartet and his penchant for collaborating with hard bop and post-bop players.
Oscar Pettiford was an American jazz double bassist and composer. He was one of the earliest musicians to work in the bebop idiom.
John Aaron Lewis was an American jazz pianist, composer and arranger, best known as the founder and musical director of the Modern Jazz Quartet.
Percy Heath was an American jazz bassist, brother of saxophonist Jimmy Heath and drummer Albert Heath, with whom he formed the Heath Brothers in 1975. Heath played with the Modern Jazz Quartet throughout their long history and also worked with Miles Davis, Dizzy Gillespie, Charlie Parker, Wes Montgomery, Thelonious Monk and Lee Konitz.
Walter Davis Jr. was an American bebop and hard bop pianist.
Sonny Stitt was an American jazz saxophonist of the bebop/hard bop idiom. Known for his warm tone, he was one of the best-documented saxophonists of his generation, recording more than 100 albums. He was nicknamed the "Lone Wolf" by jazz critic Dan Morgenstern because of his tendency to rarely work with the same musicians for long despite his relentless touring and devotion to the craft. Stitt was sometimes viewed as a Charlie Parker mimic, especially earlier in his career, but gradually came to develop his own sound and style, particularly when performing on tenor saxophone and even occasionally baritone saxophone.
Wynton Charles Kelly was an American jazz pianist and composer. He is known for his lively, blues-based playing and as one of the finest accompanists in jazz. He began playing professionally at the age of 12 and was pianist on a No. 1 R&B hit at the age of 16. His recording debut as a leader occurred three years later, around the time he started to become better known as an accompanist to singer Dinah Washington, and as a member of trumpeter Dizzy Gillespie's band. This progress was interrupted by two years in the United States Army, after which Kelly worked again with Washington and Gillespie, and played with other leaders. Over the next few years, these included instrumentalists Cannonball Adderley, John Coltrane, Hank Mobley, Wes Montgomery, and Sonny Rollins, and vocalists Betty Carter, Billie Holiday, and Abbey Lincoln.
Albert J. "Budd" Johnson III was an American jazz saxophonist and clarinetist who worked extensively with, among others, Ben Webster, Benny Goodman, Big Joe Turner, Coleman Hawkins, Dizzy Gillespie, Duke Ellington, Quincy Jones, Count Basie, Billie Holiday and, especially, Earl Hines.
Hilton Jefferson was an American jazz alto saxophonist born in Danbury, Connecticut, United States, perhaps best known for leading the saxophone section from 1940 to 1949 in the Cab Calloway band. Jefferson is said to have been "a soft, delicate saxophone player, with an exquisite sensibility."
Frederic Homer Johnson, known professionally as Keg Johnson, was an American jazz trombonist.
Leonard Gaskin was an American jazz bassist born in New York City.
Groovin' High is a 1955 compilation album of studio sessions by jazz composer and trumpeter Dizzy Gillespie. The Rough Guide to Jazz describes the album as "some of the key bebop small-group and big band recordings."
"Manteca" is one of the earliest foundational tunes of Afro-Cuban jazz. Co-written by Dizzy Gillespie, Chano Pozo and Gil Fuller in 1947, it is among the most famous of Gillespie's recordings and is "one of the most important records ever made in the United States", according to Gary Giddins of The Village Voice. "Manteca" is the first tune rhythmically based on the clave to become a jazz standard.
Kermit "Scotty" Scott was a jazz tenor saxophonist. Dizzy Gillespie considered Scott “one of the founders of our music” [bop].
James Theodore Powell was an American jazz saxophonist who played alto sax.
Kelly’s Stables, also referred to as Kelly’s Stable, was a jazz club on Manhattan's 52nd Street in New York City, opened by jazz band leader Bert Kelly.
Bop City was a jazz club operated by John "Jimbo" Edwards in San Francisco from 1949 to 1965. It was situated in the back room of a Victorian house at 1690 Post Street, in the Western Addition district. During its heyday, the venue was known for late-night live performances of many popular jazz artists, including Billie Holiday, Louis Armstrong, Chet Baker, and Charlie Parker, and was one of the most famous jazz clubs of its time, being instrumental in popularizing the modern jazz style in San Francisco.
References
- ↑ To Be, Or Not... to Bop, Gillespie, Dizzy (2009) p. 88. U of Minnesota Press At Google Books. Retrieved 16 July 2013.
- ↑ Greene, Meg (2007) Billie Holiday: A Biography, p. 68. Greenwood Publishing Group At Google Books. Retrieved 16 July 2013.
- ↑ Bratcher, Melanie E. (2007) Words and Songs of Bessie Smith, Billie Holiday, and Nina Simone: Sound Motion, Blues Spirit, and African Memory, p. 150. Routledge At Google Books. Retrieved 16 July 2013.
- ↑ Clarke, Donald (2009) Billie Holiday: Wishing on the Moon, p. 172. Da Capo Press At Google Books. Retrieved 16 July 2013.
- ↑ "Billie Holiday Catalog" jazzdisco.org. Retrieved 5 July 2013.
- ↑ Davis, Angela Y. (2011) Blues Legacies and Black Feminism: Gertrude Ma Rainey, Bessie Smith, and Billie Holiday. Random House At Google Books. Retrieved 16 July 2013.
- ↑ Gottlieb, Jack (2004) Funny, It Doesn't Sound Jewish: How Yiddish Songs and Synagogue Melodies Influenced Tin Pan Alley, Broadway, and Hollywood, p. 213. SUNY Press At Google Books. Retrieved 16 July 2013.
- ↑ Scharen, Christian (2011) Broken Hallelujahs: Why Popular Music Matters to Those Seeking God, p. 51. Brazos Press At Google Books. Retrieved 16 July 2013.
- ↑ To Be, Or Not... to Bop, Gillespie, Dizzy (2009) p. 153. U of Minnesota Press At Google Books. Retrieved 16 July 2013.
