This format was adopted a few years later by ktwv the

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Unformatted text preview: cShann, Parker had achieved some fame for the unique, rounded and precise tone he was able to produce on his alto saxophone. In 1939, Parker moved to New York and began to hang around the local nightclubs and bars listening to and playing music. He recalls how at one of these clubs he was inspired to combine his ability to produce a clear and precise tone with a new harmonic concept: 9Brooks, p. 114- 15. 13 “by using the higher intervals of a chord as a melody line and backing them with appropriately related changes I could play the thing I’d been hearing. I came alive.”10 This represented a fundamental shift away from improvising around a given tune to improvising a melody out of the notes of the harmony. There were other musicians who shared Parker’s innovative vision. One of these was a young trumpeter named John Birks “Dizzy” Gillespie and another was the drummer Kenny Clarke. Minton’s Playhouse and the New Style of “Bebop” In 1940, a former swing bandleader named Teddy Hill became the manager of a Harlem club called Minton’s Playhouse. Harry Minton, a former saxophonist and the first Black to be accepted into the local branch of the musicians union, the American Federation of Musicians, had opened Minton’s Playhouse in the Hotel Cecil. With his club, he wanted to provide a place where all musicians could expand their musical potential without fear of restrictions and without having to please an audience. Hence the club became an important place for musicians to experiment. Minton’s new manager, Teddy Hill, began his assignment by asking his former drummer, Kenny Clarke, to form a house band. Clarke hired the pianist Thelonius Monk, the bass player Nick Fenton, and the trumpeter Joe Guy to work with him and together they made Minton’s a popular site for jam sessions, particularly for musicians with the innovative style that would become known as bebop or bop. Soon other clubs were also playing the new style, including Monroe’s, the Onyx, the Three Deuces, the Spotlight, the Hickory House, and Birdland, all of which became popular “bop” clubs in the early 1940s. In 1944, a twelve- piece bop- influenced swing band led by Coleman Hawkins that featured “Dizzy” Gillespie made the first bop records. The new music was given a name apparently derived from a feature of the new solos which wa...
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This document was uploaded on 02/16/2014.

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