As only a limited number of American jazz records were released in Europe, European jazz traces many of its roots to American artists such as James Reese Europe, Paul Whiteman, and Lonnie Johnson, who visited Europe during and after World War I. Bebop or bop (not The Velvet Underground) is a style of jazz developed in the early to mid-1940s in the United States, which 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. Kubik states: "Auditory inclinations were the African legacy in [Parker's] life, reconfirmed by the experience of the blues tonal system, a sound world at odds with the Western diatonic chord categories. Please help improve this list by adding citations to reliable sources.Unsourced material may be challenged and removed June 2015) (Learn how and when to remove this template message). [citation needed], With the imminent demise of the big swing bands, bebop had become the dynamic focus of the jazz world, with a broad-based "progressive jazz" movement seeking to emulate and adapt its devices. ", "The Musical That Ushered In The Jazz Age Gets Its Own Musical", "1999 Words of the Year, Word of the 1990s, Word of the 20th Century, Word of the Millennium", "Jazz Inc.: The bottom line threatens the creative line in corporate America's approach to music", "NPR's Jazz Profiles: Women In Jazz, Part 1", "Melba Liston; Jazz Trombonist, Composer", "The First Woman Trombonist in Big Bands – Melba Liston, 1926-1999", "The Evolution of Differing Blues Styles", "Tim Gracyk's Phonographs, Singers, and Old Records – Jass in 1916–1917 and Tin Pan Alley", "Chapter XXI: Negro Music That Stirred France", "Jim Europe's 369th Infantry "Hellfighters" Band", "Jazz Festival – A Study Of Folk-Jazz Fusion – Review", "The Evolution of Sacred Jazz as Reflected in the Music of Mary Lou Williams, Duke Ellington, John Coltrane and Recognized Contemporary Sacred Jazz Artists", "A jazz mass? [citation needed], The brilliant technique and harmonic sophistication of pianist Art Tatum inspired young musicians including Charlie Parker and Bud Powell. Beginning in 1914, Creole and African-American musicians played in vaudeville shows which carried jazz to cities in the northern and western parts of the U.S.[78], In New Orleans, a white bandleader named Papa Jack Laine integrated blacks and whites in his marching band. In the 1960s and 1970s, many jazz musicians had only a basic understanding of Cuban and Brazilian music, and jazz compositions which used Cuban or Brazilian elements were often referred to as "Latin tunes", with no distinction between a Cuban son montuno and a Brazilian bossa nova. [99], In the northeastern United States, a "hot" style of playing ragtime had developed, notably James Reese Europe's symphonic Clef Club orchestra in New York City, which played a benefit concert at Carnegie Hall in 1912. Classically trained pianist Scott Joplin produced his "Original Rags" in 1898 and, in 1899, had an international hit with "Maple Leaf Rag", a multi-strain ragtime march with four parts that feature recurring themes and a bass line with copious seventh chords. "[124] The end of the war marked "a revival of the spirit of experimentation and musical pluralism under which it had been conceived", along with "the beginning of a decline in the popularity of jazz music in America", according to American academic Michael H. New York: Oxford University Press. Its structure was the basis for many other rags, and the syncopations in the right hand, especially in the transition between the first and second strain, were novel at the time. "Manteca" (1947) is the first jazz standard to be rhythmically based on clave. Duke Ellington, one of jazz's most famous figures, said, "It's all music. It was developed in the early and mid-1940s. [7] At times, the terms "bebop" and "rebop" were used interchangeably. [85] Swing is the most important and enduring African-based rhythmic technique used in jazz. In 1926, Fred Elizalde and His Cambridge Undergraduates began broadcasting on the BBC. "[126], Since bebop was meant to be listened to, not danced to, it could use faster tempos. Instead of using jagged phrasing to create rhythmic interest, as the early boppers had, these musicians constructed their improvised lines out of long strings of eighth notes and simply accented certain notes in the line to create rhythmic variety. Publication date 2001 Topics Piano music (Jazz), Jazz -- 1941-1950, Jazz -- 1951-1960, Piano music, Arranged, Jazz Publisher Milwaukee, WI : H. Leonard Corp. Collection inlibrary; printdisabled; internetarchivebooks Digitizing sponsor Kahle/Austin Foundation Contributor Christian and the other early boppers would also begin stating a harmony in their improvised line before it appeared in the song form being outlined by the rhythm section. They would often be extended to an odd number of measures, overlapping the musical stanzas suggested by the harmonic structure. '", Borneman, Ernest (1969: 104). Anthony Braxton began recording standards over familiar chord changes. He often composed for the style and skills of these individuals, such as "Jeep's Blues" for Johnny Hodges, "Concerto for Cootie" for Cootie Williams (which later became "Do Nothing Till You Hear from Me" with Bob Russell's lyrics), and "The Mooche" for Tricky Sam Nanton and Bubber Miley. The pianist helped create the language of modern jazz and mapped out the genre’s trajectory as it moved into the 1950s and beyond. That opened up creative possibilities for harmonic improvisation such as tritone substitutions and use of diminished scale based improvised lines that could resolve to the key center in numerous and surprising ways. "[110] The following example shows a short excerpt of the straight melody of "Mandy, Make Up Your Mind" by George W. Meyer and Arthur Johnston (top), compared with Armstrong's solo improvisations (below) (recorded 1924). Tirro, Frank. ISBN 9780634033537. Chick Corea similarly began exploring jazz standards in the 1980s, having neglected them for the 1970s. The small band format lent itself to more impromptu experimentation and more extended solos than did the bigger, more highly arranged bands. The M-Base movement started in the 1980s, when a loose collective of young African-American musicians in New York which included Steve Coleman, Greg Osby, and Gary Thomas developed a complex but grooving[189] sound. This occurred in parallel with developments in Cuba[152] The first Cuban band of this new wave was Irakere. Records in 1960 and turning it into "the house that Trane built", while championing many younger free jazz musicians, notably Archie Shepp, who often played with trumpeter Bill Dixon, who organized the 4-day "October Revolution in Jazz" in Manhattan in 1964, the first free jazz festival.

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