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(1924-1982), Dexter Gordon (1923-1990), and Gene Ammons

(1925-1974); and pianist-arranger-bandleader Tadd Dameron (1917-1965).

Bop, of course, was basically small-group music, meant for listening, not dancing. Still, there were big bands featuring bop--among them those led by Dizzy Gillespie, who had several good crews in the late `40s and early to mid-50's; and Woody Herman's so-called Second Herd, which included the cream of white bop--trumpeter Red Rodney (b. 1927), and saxophonists Stan Getz (1927-1993), Al Cohn (1925-1988) and Zoot Sims

(1925-1985), and Serge Chaloff (1923-1957).

BOP VS. NEW ORLEANS

Ironically, the coming of bop coincided with a revival of interest in
New

Orleans and other traditional Jazz. This served to polarize audiences and musicians and point up differences rather than common ground. The needless harm done by partisan journalists and critics on both sides lingered on for years.

Parker's greatest disciples were not alto saxophonists, except for
Sonny

Stitt. Parker dominated on that instrument. Pianist Bud Powell

(1924-1966) translated Bird's mode to the keyboard; drummers Max

Roach and Art Blakey (1919-1990) adapted it to the percussion instruments. A unique figure was pianist-composer Thelonious Monk,

(1917-1982). With roots in the stride piano tradition, Monk was a forerunner of bop--in it but not of it.

JAZZ-ROCK FUSION

In the wake of Miles Davis' successful experiments, rock had an increasing impact on Jazz. The notable Davis alumni Herbie

Hancock (b. 1940) and Chick Corea (b.1941) explored what soon became known as fusion style in various ways, though neither cut himself off from the jazz tradition. Thus Hancock's V.S.O.P., made up of `60s Davis alumni plus trumpeter Freddie Hubbard, pursued
Miles’ pre-electronic style, while Corea continued to play acoustic jazz in various settings. Keith Jarrett(b. 1945), who also briefly played with Davis, never adopted the electronic keyboards but flirted with rock rhythms before embarking on lengthy, spontaneously conceived piano recitals. The most successful fusion band was
Weather Report, co-founded in 1970 by the Austrian-born pianist
Joe Zawinul (b. 1932) and Wayne Shorter; the partnership lasted until 1986. The commercial orientation of much fusion Jazz offers little incentive to creative players, but it has served to introduce new young listeners to Jazz, and electronic instruments have been absorbed into the Jazz mainstream.

New York - The Jazz Mecca

New York City is the Jazz capital of the world. Jazz musicians can be found playing at jam sessions, smoky bistros, stately concert halls, on street corners and crowded subway platforms. Although the music was born in New Orleans and nurtured in Kansas City, the Big Apple has long been a Mecca for great Jazz. From the big band romps of Duke Ellington and Count Basie at The Savoy Ballroom in Harlem to the Acid Jazz jam sessions downtown at Giant Step, New York continues to serve as the proving grounds for each major Jazz innovator.

52nd Street - The Street That Never Slept

Between 1934 and 1950, 52nd Street between Fifth and Sixth Avenues was the place for music. The block was jam-packed with monochromatic five- story brownstone buildings in whose drab and cramped street-level interiors there were more clubs, bars and bistros than crates in an overstocked warehouse. 52nd Street started as a showcase for the small- combo Dixieland Jazz of the speakeasy era then added the big-band swing of the New Deal 30s. Before its untimely demise, hastened by changing real estate values, The Street adopted the innovations of bop and cool.
So in just a few hours of club hopping, a listener could walk through the history of Jazz on 52nd Street. Favorites included pianist Art Tatum, singer Billie Holiday, tenor saxophonist Coleman Hawkins, Count Basie and his Big Band, trumpeter Roy Eldridge, pianist Errol Garner, trumpeter
Dizzy Gillespie and alto saxophonist Charlie Parker.

Minton's Playhouse - Birthplace of Bebop

In the early 1940s, a group of Jazz revolutionaries gathered at an uptown club called Minton's Playhouse. Through a series of small group jam sessions frequented by musicians in their teens and early twenties, a new music called Bebop was born, sired by alto saxophonist Charlie
"Bird" Parker, trumpeter Dizzy Gillespie and pianist Thelonious Monk.
Bird was generally regarded as the intuitive genius and improviser of the group, his magic sound and awesome technique changing the face of Jazz.
Diz was the conscious thinker and showman, a man who spent a lifetime charming audiences worldwide. Monk was the creative clearinghouse and refiner, a musical iconoclast whose compositions became legendary.

At first, Bebop's eccentric starts and stops, and torrents of notes played at machine-gun tempos jarred listeners and proved devilishly difficult to play. But by the late 1940s, when big-band swing had declined, bop matured and became the Jazz standard.

Birdland - Jazz Corner of the World

Miraculously, just as 52nd caved in, Birdland opened on Broadway. For more than a decade, from 1949-1962, the survival formula was memorable double and triple bills, commencing at 9pm and sometimes lasting untill dawn. Descending the stairs to the jammed basement nitery, a listener would encounter a racially mixed throng, primed for an evening of high octane musical invigoration. To add to the excitement, Birdland's colorful host was Pee Wee Marquette, a uniformed midget. Riding the final crest of the Bebop wave, Birdland was a musical oasis for accomplished improvisors where the finest jazz on planet earth was presented with a minimum of pretense. The club has let it all hang out ambiance encouraged musicians to stretch the boundaries with spirited audience encouragement. Live radio broadcasts from the club, hosted by Symphony
Sid, compounded the excitement.

JAZZ TODAY

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