You made a bold and entirely correct description of Bebop Jazz. Fletcher Henderson's original arrangements left plenty of room for jazz improvisation, although solos had to be considerably curtailed for the 3-minute limit when recording. Benny Goodman bought the arrangements for his band and left little room for improvisation even when performing live because of fear of losing his white audience. By the time Glen Miller came along everything was read off the page with little or no solo space. Arrangers like Bill Finegan left Miller with some very nice notes for sure, but there was little or no jazz allowed. Jimmy and Tommy Dorsey had a small Dixieland feature each evening but it was a poor excuse for the original ideas for a big band that Fletcher Henderson created. Bebop was a reaction to 1. the death of jazz solos in popular music and 2. Rhythm and Blues in general. The MUSICIANS needed an outlet for playing and listening to more sophisticated sounds. Dizzy Gillespie made Bebop more popular for the wrong reasons although he never compromised his actual playing.
Never gets old, or better. I was “fired” by my piano teacher decades ago because I was deviating from the assigned sheets by adding variations to the music. She was strict and uptight and didn’t want me playing anything but the written notes. When I asked about Bud, Bird and Monk, I was sent home. Never was happier! Bebop Lives!!!
I write about my piano teacher in my memoirs, and you are not alone in your experience. I could have learned a lot when I was 12 from my piano teacher, but all she knew was classical music. and I wasn't interested. One day I found a copy of Dizzy Fingers and learned the whole thing by heart in a few days. I showed up at the next lesson and a played it for her. She kept saying, "Oh Anthony, oh Anthony, oh Anthony!" She got very excited and immediately gave me a new book of classical music to learn from. Of course, I never practiced any of it.
An anecdote about Monk: I was taking classical piano lessons, from a teacher who went to Oberlin and Julilard. She was willing to teach me any music, as long as it was written out. No improvising on chords.
I found a book of Monk songs, fully written out, and I learned Round Midnight. She loved it, as did the other adult students. She said it was as good a song as anything Schubert wrote.
Fantastic Charlie Christian! He inspired Jim to play. After hearing one solo he was hooked. I don’t think he heard Savoy but he (Jim) played it on a record with Art Farmer and it was one of my favorite solos.
You made a bold and entirely correct description of Bebop Jazz. Fletcher Henderson's original arrangements left plenty of room for jazz improvisation, although solos had to be considerably curtailed for the 3-minute limit when recording. Benny Goodman bought the arrangements for his band and left little room for improvisation even when performing live because of fear of losing his white audience. By the time Glen Miller came along everything was read off the page with little or no solo space. Arrangers like Bill Finegan left Miller with some very nice notes for sure, but there was little or no jazz allowed. Jimmy and Tommy Dorsey had a small Dixieland feature each evening but it was a poor excuse for the original ideas for a big band that Fletcher Henderson created. Bebop was a reaction to 1. the death of jazz solos in popular music and 2. Rhythm and Blues in general. The MUSICIANS needed an outlet for playing and listening to more sophisticated sounds. Dizzy Gillespie made Bebop more popular for the wrong reasons although he never compromised his actual playing.
Never gets old, or better. I was “fired” by my piano teacher decades ago because I was deviating from the assigned sheets by adding variations to the music. She was strict and uptight and didn’t want me playing anything but the written notes. When I asked about Bud, Bird and Monk, I was sent home. Never was happier! Bebop Lives!!!
I write about my piano teacher in my memoirs, and you are not alone in your experience. I could have learned a lot when I was 12 from my piano teacher, but all she knew was classical music. and I wasn't interested. One day I found a copy of Dizzy Fingers and learned the whole thing by heart in a few days. I showed up at the next lesson and a played it for her. She kept saying, "Oh Anthony, oh Anthony, oh Anthony!" She got very excited and immediately gave me a new book of classical music to learn from. Of course, I never practiced any of it.
Bop rules.
An anecdote about Monk: I was taking classical piano lessons, from a teacher who went to Oberlin and Julilard. She was willing to teach me any music, as long as it was written out. No improvising on chords.
I found a book of Monk songs, fully written out, and I learned Round Midnight. She loved it, as did the other adult students. She said it was as good a song as anything Schubert wrote.
Wonderful story! Thanx for sharing!
Gracias....saludos¡¡
🤘🏼🎧💀 FANTÁSTICO """"""BeBop"""""""🥁🙇🏿🏏👮🏻🚓🗽
Fantastic Charlie Christian! He inspired Jim to play. After hearing one solo he was hooked. I don’t think he heard Savoy but he (Jim) played it on a record with Art Farmer and it was one of my favorite solos.
Thanks Marc, Best to you from Jane Hall.
Thanks, Jane. Great insights. We miss Jim and his music very much.
Marc
Jim Hall could adjust his style to Paul Desmond and then to Sonny Rollins, two completely opposite types. He was a genius for sure.