By Scott Yanow
At the heels of swing, bebop lifted jazz from the dance flooring into an artwork shape powered by means of virtuoso avid gamers. This enticing selection of essays, biographies and studies via veteran jazz journalist Scott Yanow probes the lives and innovative works of greater than 500 nice beboppers, together with the giants: Charlie Parker, Dizzie Gillespie, Bud Powell, Max Roach and Thelonious Monk. The advisor additionally explores key artists comparable to Sarah Vaughan, Charlie Christian and the younger Miles Davis, plus such later figures as Joe go and Barry Harris.
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Additional info for Bebop : Third Ear - The Essential Listening Companion
Even in 1944, there were trouble signs for swing. A recording strike by the Musicians Union (who wanted the labels to pay a royalty for every disc sold to make up for the loss of work caused by free radio) kept virtually every musician off records from mid-1942 until near the end of 1943. In the case of the larger labels, such as Victor and Columbia, no new records were made for over two years, not until late-1944. During this period, singers (who in most cases had previously been thought only of in terms of adding variety to a big band) began to take over.
30, 1945Jan. 5, 1950 / Capitol 96693 7 Straighten Up and Fly Right / Dec. 1942Jan. 28, 1948 / Vintage Jazz Classics 1044 7 The King Cole Trios: Live 194748 / Mar. 1, 1947Mar. 13, 1948 / Vintage Jazz Classics 1011 8 Complete After Midnight Sessions / Aug. 15, 1956Sept. " The huge 18-CD Mosaic box set contains every single recording made by the Nat King Cole Trio for Capitol during their very busy 194349 period, all of the radio transcriptions that are owned by Capitol, plus Cole's later recordings that feature his piano and at least the feel of the trio (including the complete After Midnight sessions).
Because his sense of time was impeccable, Basie did not need to state every beat with his left hand. His right played little percussive figures, easy to imitate but impossible to top. And, although Bud Powell did not sound like Count Basie, the freeing of the left hand was an important transitional step toward Bebop piano. Because Basie had pared down the role of the piano, it was necessary for the rest of the rhythm section to adjust. Freddie Green on acoustic rhythm guitar played chords four-to-the-bar, taking over the role of the left hand on the piano.