Americans dont have any original art except Western movies and jazz Clint Eastwood

1

• Americans dont have any original art except
  Western movies and jazz - Clint Eastwood

2

• Bebop is linked to Charlie Parker
• Bebop reached its highest level during Parkers
  lifetime
  
• Bebop was developed by and for virtuosos
• Improvisational freedom
• Black musicians reasserting their dominance
• Jazz was maturing
• Early Bebop drew small audiences
• Only a few musicians could do it well
• Sophisticated chord structures
• Irregular melodies
• Lightening speed
• Listeners became confused

3
Four Important Changes

• Bebop required a greater understanding of jazz
  theory and called for virtuoso technique
  
• Bebop introduced complex instrumental melodies
  and phrases
  
• Bebop introduced complex chords and rhythms to
  the rhythm section
  
• Bebop developed a serious cult of musicians

4
Technique

• Improvisation shifted from ornamenting the melody
  to organizing new patterns of fast and active
  melodic lines
  
• Patterns often ended with an abrupt two-note
  figure that suggested the word be-bop
  
• The musicians developed theoretical relationships
  between distented chords and esoteric scales to
  justify what had been dissonance. These notes
  are called melodic extensions

5
New Melodies

• The important notes (the top notes of the melodic
  line) were accented
  
• The accented notes outlined a new melody
• Bebop melodies are not very tuneful

6
I Cant Get Started - 1945

• The band
• Trumpet - Dizzy Gillespie
• Trombone - Trummy Young
• Tenor sax - Don Byas
• Piano - Clyde Hart
• Bass - Oscar Pettiford
• Drums - Shelly Manne

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I Cant Get StartedSCCJ 3 - 10

• 0.00 Intro using chords from the last phrase of
  the song, tenor sax and t-bone play long chord
  tones, bass stays around a 4-to-the-measure beat,
  drums use brushes in a slow swing pattern
• 0.30 1st 8 measure section begins, trp. Creates
  a melodic variation using the shape and most of
  the original Vernon Duke tune. Tenor sax and
  t-bone play a unison countermelody
• 0.58 melodic extensions end the phrases
• 1.05 countermelody returns with a repeat of the
  (A) section
  
• 1.39 bridge (B), new countermelody, the original
  melody becomes more obscure
  
• 2.12 last (A) section, countermelody by tenor
  sax and t-bone in unison
  
• 2.47 the chorus is extended into an ending
• 2.55 short solo break (trp.)
• 3.00 ending

8
The Rhythm Section

• Carried the weight of harmony and rhythm
• The pianist discovered new ways to play familiar
  chords
  
• The bass played walked more often and faster
• The drummer added complicated patterns
• Use of polyrhythms
• In Un Poco Loco Max Roach punctuates with bombs

9
AABA Form

• Most bebop performances are heavily weighted with
  solos and little arrangement
  
• Big band arrangements are completely rejected
• Emphasis on improvisation created new melodies
  for old songs and often eliminated the original
  melody completely
  
• Embraceable You from the Broadway Show Girl
  Crazysung by Kiri Te Kanawa
  
• Embraceable You Charlie Parker Quintet
• Embraceable You Charlie Parker Quintet
• Embraceable You from the Broadway Show, Crazy
  For You
  
• Newly written tunes minimize the melody and
  expand time for the solos
  
• Used standard 32-bar AABA form with the 8 bar (A)
  section having the only written melody
  
• AABA is not a new form

10
32 - bar song form

• Melody Same Melody Improvised solo
  Original Melody
  
• Chords and chords and new chords
  and chords
  
• A A
  B A

11
KoKo - 1945

• Not the same KoKo as recorded by Ellington
  (SCCJ 3 - 4)
  
• Fast tempo with a bass note on each beat
• Parker composed a new melody to the popular
  standard Cherokee
  
• Requires great technical skill
• Parker and Gillespie play in unison
• Max Roach creates a steady roar and dominates the
  rest of the rhythm section

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KoKoIntro. To Jazz 1 - 9

• 0.00 Intro with double time unison melody by
  alto sax and trp.
  
• 0.06 trp solo with drum accmpt (brushes) -
  bombs
  
• 0.12 sax solo with drums
• 0.18 duet (harmonized melody), drums continue,
  uniform inflections
  
• 0.25 1st chorus (AA) alto sax solo bass walks
  drums play ride pattern piano comps
  
• 0.50 Bridge (B) - last notes of phrase are
  extensions
  
• 1.03 last (A) of 1st chorus
• 1.15 2nd chorus (AA)
• 1.40 bridge (B) very complicated
• 1.54 last (A) of 2nd chorus
• 2.06 drum solo bass drum and snare drum,
  accents on snare, the beat becomes difficult to
  find
  
• 2.29 unison melody line returns
• 2.35 muted trp solo with drum (cymbals) accomp.
• 2.41 sax solo with drums
• 2.47 duet ending
• 2.51 end

13
Parkers Mood - 1948

• An example of not fast bebop
• Combines the blues with the intensity of bebop
• Lyric piano solo complements Parker
• The band
• Alto sax - Charlie Parker
• Piano - John Lewis
• Bass - Curley Russell
• Drums - Max Roach

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Parkers MoodSCCJ 3 - 19

• 0.00 alto sax makes the opening statement
• 0.05 piano continues, bass walks, drums start
  playing steady time, a 12 - bar blues
  
• 0.16 1st chorus Alto solo, piano comps and
  fills, drums and bass continue
  
• 0.29 Repeated melodic pattern
• 0.37 Double-time melody
• 0.52 2nd chorus Relaxed lay-back style
• 1.22 Extended harmonic changes leading into next
  chorus
  
• 1.30 3rd chorus Piano solo, with Lewis humming
  a simple lyric melody
  
• 2.06 4th chorus many inflections
• 2.46 Coda (same as intro) Alto sax followed by
  piano, bass, and drums
  
• 3.00 end

15
Charlie Bird Parker1920 - 1955

• in the 1940s prisoners were called yardbirds -
  Parkers jail time
  
• partial to fried chicken
• Bird is the artist who brought bebop to
  maturity
  
• born Charles Christopher Parker, Jr. 8/29/20
• age 13 became absorbed in jazz and began to
  frequent the clubs at night
  
• his mother bought him a sax for 45.00 and he
  taught himself to play
  
• joined the Deans of Swing

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Charlie Bird Parker1920 - 1955

• at 15 quit school, married Rebecca Ruffing and
  let his wife and mother support him while he
  learned jazz
  
• bought a new sax in 1936 son Leon was born
• 1937 - got up and uninvited, sat in with the
  Basie drummer Jo Jones - became lost in the
  changes and Jones threw a cymbal at him
  
• practiced and memorized Lester Youngs solos by
  listening to the records
  
• returned to KC and began his career
• 1938 - hired by Tommy Douglas and learned theory

17
Charlie Bird Parker1920 - 1955

• 1938 - encouraged to move out by his wife and
  mother pawned horn, moved to NYC, washed dishes
  at Jimmies Chicken Shack in lower Harlem - heard
  Art Tatum
• NYC
• Parisien Ballroom (taxi dance hall)
• Clark Monroes Uptown House
• Jay McShann in KC
• 1943 - Earl Hines in NYC
• worked with Dizzy and developed Bop
• 1945 stayed in NY
• small groups

18
Charlie Bird Parker1920 - 1955

• recorded
• got Miles as a sideman
• went to Hollywood to play with Dizzy, Milt
  Jackson, Ray Brown, Stan Levey, Al Haig
  
• the band returned to NY in two months
• Bird stayed - traded ticket for drug money
• 1946 drug habit
• unablee to play at a recording session
• set fire to his hotel room
• committed to Camarillo State Hospital for the
  mentally disordered from 1946 - 1947
  
• released, improved

19
Charlie Bird Parker1920 - 1955

• 1947 - 1950 productive years
• 1948 - declining health - ulcers
• relationship with Chan Richardson (she became his
  last wife (of 4) and had his daughter and son
  
• 1949 - fulfilled a dream and played with strings
• 1951 - lost his NYC cabaret license
• Bird and Red Rodney (trumpet) joined Norman
  Granzs Jazz at the Philharmonic show in Hamburg,
  Germany, but were sent home because of drug
  problems

20
Charlie Bird Parker1920 - 1955

• 1954 - booked into Birdland - the NY nightclub
  named after him
  
• brought his string players
• fired the string players in the middle of a set
• walked out, went home, drank a bottle of iodine,
  swallowed a bottle of aspirin and ended up in
  Bellevue
  
• committed himself to the Psychiatric Pavilion
• died on March 12, 1955 at the home of a friend
• the cult developed BIRD LIVES!

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BIRD

• a film by Clint Eastwood
• 1988
• Forest Whitaker, Diane Venora

22
Dizzy Gillespie1917 - 1994

• John Birks Dizzy Gillespie
• b. 1917 in Cheraw, South Carolina
• first bop trumpet player and innovator of this
  style along with Charlie Parker
  
• played with
• Teddy Hill
• Cab Calloway
• Billy Eckstine
• established reputation with Parker in small
  groups
  
• formed his own big band in 1946 and became the
  best known jazz musician in America

23
Dizzy Gillespie1917 - 1994

• played throughout the world
• Shaw Nuff is one of the earliest bop
  recordings and typifies the new style
  
• many bop tunes are composed on the changes of
  popular songs - among the most popular of the
  changes are the chord changes based on
  Gershwins I Got Rhythm so they are called
  rhythm changes!
• these chords can be modified without disrupting
  the harmonic progress

24
Dizzy Gillespie1917 - 1994

• Gillespies style
• angular melodies of 8th notes
• irregular length phrases
• chromatic
• emotional virtuosic playing
• high-middle range
• listen to
• Dizzy Gillespie All-Star Quintette
• Shaw Nuff (SCCJ III-10)
• Bird Songs (Telarc CD-83421)
• To Diz With Love (Telarc CD-83307)