BEBOP (musical style)

Un autre exposé d'un de vos camarades. Je rappelle que les consignes se trouvent ici, et que la date limite est aujourd'hui 3 avril !

THE BEBOP REVOLUTION IN NEW YORK

Bebop was born at the beginning of the 1940s, from the desire of Blacks to save jazz from commercial recuperation by Whites, at the end of the Swing era.

In New York City, young Black musicians asked themselves questions and began to transpose through jazz the changing mentality of the Black community.

They felt the need to break out of the confines of the swing big-band tradition. If it allowed them to earn a living, they wanted to go further artistically and claim an avant-garde art.

Dizzy Gilepsy (1917-93)

This is how a music called be-bop or re-bop or bop2 was born. After food work, the musicians get together late at night for jam sessions that went on all night long in the clubs. It was at Minton's Playhouse, in 1941, that an audacious rhythm

section was hired to animate jam sessions with Thelonious Monk on piano and Kenny Clarke on drums.

Trumpet player Dizzy Gillespie came more and more often. As for Charlie Parker, who was performing Monroe's Uptown House, so Monk and Clarke were picking him up to join them. Swing musicians were gradually being excluded, discouraged by musical criteria that were too high (tempo, harmony).

Charlie Parker (1920-1955)

Jazz bop is becoming a complex, intellectual, militant music, often reserved for an audience of insiders and music lovers. Jazz critics have published a lot of articles disillusioned in trade journals about this post-war era.

- By Noé Delin