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- 1940s_in_jazz abstract "In the early 1940s in jazz, bebop emerged, led by Charlie Parker, Dizzy Gillespie, Thelonious Monk and others. It helped to shift jazz from danceable popular music towards a more challenging "musician's music." Differing greatly from swing, early bebop divorced itself from dance music, establishing itself more as an art form but lessening its potential popular and commercial value. Since bebop was meant to be listened to, not danced to, it used faster tempos. Beboppers introduced new forms of chromaticism and dissonance into jazz; the dissonant tritone (or "flatted fifth") interval became the "most important interval of bebop" and players engaged in a more abstracted form of chord-based improvisation which used "passing" chords, substitute chords, and altered chords. The style of drumming shifted as well to a more elusive and explosive style, in which the ride cymbal was used to keep time, while the snare and bass drum were used for accents. This appealed to a more specialized audiences than earlier forms of jazz, with sophisticated harmonies, fast tempos and often virtuoso musicianship. Bebop musicians often used 1930s standards, especially those from Broadway musicals, as part of their repertoire. Among standards written by bebop musicians are Gillespie's "Salt Peanuts" (1941) and "A Night in Tunisia" (1942), Parker's "Anthropology" (1946), "Yardbird Suite" (1946) and "Scrapple from the Apple" (1947), and Monk's "'Round Midnight" (1944), which is currently the most recorded jazz standard composed by a jazz musician.An early 1940s style known as "jumping the blues" or jump blues used small combos, uptempo music, and blues chord progressions. Jump blues drew on boogie-woogie from the 1930s. Kansas City Jazz in the 1930s as exemplified by tenor saxophonist Lester Young marked the transition from big bands to the bebop influence of the 1940s.These divergences from the jazz mainstream of the time initially met with a divided, sometimes hostile response among fans and fellow musicians, especially established swing players, who bristled at the new harmonic sounds. To hostile critics, bebop seemed to be filled with "racing, nervous phrases". Despite the initial friction, by the 1950s bebop had become an accepted part of the jazz vocabulary. The most influential bebop musicians included saxophonist Charlie Parker, pianists Bud Powell and Thelonious Monk, trumpeters Dizzy Gillespie and Clifford Brown, and drummer Max Roach. The swing era lasted until the mid-1940s, and produced popular tunes such as Duke Ellington's "Cotton Tail" (1940) and Billy Strayhorn's "Take the 'A' Train" (1941). When the big bands struggled to keep going during World War II, a shift was happening in jazz in favor of smaller groups. Some swing era musicians, like Louis Jordan, later found popularity in a new kind of music, called "rhythm and blues", that would evolve into rock and roll in the 1950s.In the late 1940s there was a revival of "Dixieland" music, harkening back to the original contrapuntal New Orleans style. This was driven in large part by record company reissues of early jazz classics by the Oliver, Morton, and Armstrong bands of the 1930s. There were two populations of musicians involved in the revival. One group consisted of players who had begun their careers playing in the traditional style, and were either returning to it, or continuing what they had been playing all along, such as Bob Crosby's Bobcats, Max Kaminsky, Eddie Condon, and Wild Bill Davison. Most of this group were originally Midwesterners, although there were a small number of New Orleans musicians involved. The second population of revivalists consisted of young musicians such as the Lu Watters band. By the late 1940s, Louis Armstrong's Allstars band became a leading ensemble. Through the 1950s and 1960s, Dixieland was one of the most commercially popular jazz styles in the US, Europe, and Japan, although critics paid little attention to it.By the end of the 1940s, the nervous energy and tension of bebop was replaced with a tendency towards calm and smoothness, with the sounds of cool jazz, which favoured long, linear melodic lines. It emerged in New York City, as a result of the mixture of the styles of predominantly white jazz musicians and black bebop musicians, and it dominated jazz in the first half of the 1950s. The starting point were a series of singles on Capitol Records in 1949 and 1950 of a nonet led by trumpeter Miles Davis, collected and released first on a ten-inch and later a twelve-inch as the Birth of the Cool. Cool jazz recordings by Chet Baker, Dave Brubeck, Bill Evans, Gil Evans, Stan Getz and the Modern Jazz Quartet usually have a "lighter" sound which avoided the aggressive tempos and harmonic abstraction of bebop. Cool jazz later became strongly identified with the West Coast jazz scene, but also had a particular resonance in Europe, especially Scandinavia, with emergence of such major figures as baritone saxophonist Lars Gullin and pianist Bengt Hallberg. The theoretical underpinnings of cool jazz were set out by the blind Chicago pianist Lennie Tristano, and its influence stretches into such later developments as Bossa nova, modal jazz, and even free jazz. See also the list of cool jazz and West Coast musicians for further detail.".
- 1940s_in_jazz thumbnail Charlie_Christian.jpg?width=300.
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- 1940s_in_jazz wikiPageWikiLink A_Night_in_Tunisia.
- 1940s_in_jazz wikiPageWikiLink Airto_Moreira.
- 1940s_in_jazz wikiPageWikiLink Albert_Ammons.
- 1940s_in_jazz wikiPageWikiLink Altered_chord.
- 1940s_in_jazz wikiPageWikiLink American_Federation_of_Musicians.
- 1940s_in_jazz wikiPageWikiLink Anthropology_(composition).
- 1940s_in_jazz wikiPageWikiLink Bebop.
- 1940s_in_jazz wikiPageWikiLink Bengt_Hallberg.
- 1940s_in_jazz wikiPageWikiLink Big_band.
- 1940s_in_jazz wikiPageWikiLink Bill_Davison.
- 1940s_in_jazz wikiPageWikiLink Bill_Evans.
- 1940s_in_jazz wikiPageWikiLink Billy_Strayhorn.
- 1940s_in_jazz wikiPageWikiLink Birth_of_the_Cool.
- 1940s_in_jazz wikiPageWikiLink Black,_Brown_and_Beige.
- 1940s_in_jazz wikiPageWikiLink Bob_Crosby.
- 1940s_in_jazz wikiPageWikiLink Bob_Wilber.
- 1940s_in_jazz wikiPageWikiLink Bobby_Hutcherson.
- 1940s_in_jazz wikiPageWikiLink Boogie-woogie.
- 1940s_in_jazz wikiPageWikiLink Boogie_woogie_(music).
- 1940s_in_jazz wikiPageWikiLink Bossa_nova.
- 1940s_in_jazz wikiPageWikiLink Broadway_theatre.
- 1940s_in_jazz wikiPageWikiLink Bud_Powell.
- 1940s_in_jazz wikiPageWikiLink Bunny_Berigan.
- 1940s_in_jazz wikiPageWikiLink Capitol_Records.
- 1940s_in_jazz wikiPageWikiLink Category:1940s_in_music.
- 1940s_in_jazz wikiPageWikiLink Category:20th_century_in_jazz.
- 1940s_in_jazz wikiPageWikiLink Charlie_Christian.
- 1940s_in_jazz wikiPageWikiLink Charlie_Parker.
- 1940s_in_jazz wikiPageWikiLink Chet_Baker.
- 1940s_in_jazz wikiPageWikiLink Chord_substitution.
- 1940s_in_jazz wikiPageWikiLink Chromaticism.
- 1940s_in_jazz wikiPageWikiLink Clifford_Brown.
- 1940s_in_jazz wikiPageWikiLink Coleman_Hawkins.
- 1940s_in_jazz wikiPageWikiLink Consonance_and_dissonance.
- 1940s_in_jazz wikiPageWikiLink Cool_jazz.
- 1940s_in_jazz wikiPageWikiLink Cotton_Tail.
- 1940s_in_jazz wikiPageWikiLink Counterpoint.
- 1940s_in_jazz wikiPageWikiLink Crosscurrents_(Lennie_Tristano_album).
- 1940s_in_jazz wikiPageWikiLink Dave_Brubeck.
- 1940s_in_jazz wikiPageWikiLink Dave_Burrell.
- 1940s_in_jazz wikiPageWikiLink Dexter_Gordon.
- 1940s_in_jazz wikiPageWikiLink Digby_Fairweather.
- 1940s_in_jazz wikiPageWikiLink Dixieland.
- 1940s_in_jazz wikiPageWikiLink Dizzy_Gillespie.
- 1940s_in_jazz wikiPageWikiLink Don_Sickler.
- 1940s_in_jazz wikiPageWikiLink Duke_Ellington.
- 1940s_in_jazz wikiPageWikiLink Eddie_Condon.
- 1940s_in_jazz wikiPageWikiLink Eddie_Gómez.
- 1940s_in_jazz wikiPageWikiLink Eddie_Gómez_(musician).
- 1940s_in_jazz wikiPageWikiLink Eddie_Henderson_(musician).
- 1940s_in_jazz wikiPageWikiLink Fats_Waller.
- 1940s_in_jazz wikiPageWikiLink File:Louis_Armstrong2.jpg.
- 1940s_in_jazz wikiPageWikiLink Gil_Evans.
- 1940s_in_jazz wikiPageWikiLink Glenn_Miller.
- 1940s_in_jazz wikiPageWikiLink Glossary_of_musical_terminology.
- 1940s_in_jazz wikiPageWikiLink Harmony.
- 1940s_in_jazz wikiPageWikiLink Henri_Texier.
- 1940s_in_jazz wikiPageWikiLink In_A_Mellotone.
- 1940s_in_jazz wikiPageWikiLink In_a_Mellow_Tone.
- 1940s_in_jazz wikiPageWikiLink Jack_DeJohnette.
- 1940s_in_jazz wikiPageWikiLink James_Petrillo.
- 1940s_in_jazz wikiPageWikiLink Jazz_Band_(album).
- 1940s_in_jazz wikiPageWikiLink Jessica_Williams_(musician).
- 1940s_in_jazz wikiPageWikiLink Jimmie_Noone.
- 1940s_in_jazz wikiPageWikiLink John_McLaughlin_(musician).
- 1940s_in_jazz wikiPageWikiLink Johnny_Dodds.
- 1940s_in_jazz wikiPageWikiLink Jump_blues.
- 1940s_in_jazz wikiPageWikiLink Kansas_City_Jazz.
- 1940s_in_jazz wikiPageWikiLink Kansas_City_jazz.
- 1940s_in_jazz wikiPageWikiLink Keith_Jarrett.
- 1940s_in_jazz wikiPageWikiLink Kenny_Barron.
- 1940s_in_jazz wikiPageWikiLink Larry_Carlton.
- 1940s_in_jazz wikiPageWikiLink Larry_Coryell.
- 1940s_in_jazz wikiPageWikiLink Lars_Gullin.
- 1940s_in_jazz wikiPageWikiLink Lee_Konitz.
- 1940s_in_jazz wikiPageWikiLink Lennie_Tristano.
- 1940s_in_jazz wikiPageWikiLink Lester_Young.
- 1940s_in_jazz wikiPageWikiLink Liberian_Suite.
- 1940s_in_jazz wikiPageWikiLink List_of_1940s_jazz_standards.
- 1940s_in_jazz wikiPageWikiLink List_of_Cool_jazz_and_West_Coast_jazz_musicians.
- 1940s_in_jazz wikiPageWikiLink List_of_cool_jazz_and_West_Coast_jazz_musicians.
- 1940s_in_jazz wikiPageWikiLink Louis_Armstrong.
- 1940s_in_jazz wikiPageWikiLink Louis_Jordan.
- 1940s_in_jazz wikiPageWikiLink Lu_Watters.
- 1940s_in_jazz wikiPageWikiLink Marlena_Shaw.
- 1940s_in_jazz wikiPageWikiLink Mary_Lou_Williams.
- 1940s_in_jazz wikiPageWikiLink Max_Kaminsky_(musician).
- 1940s_in_jazz wikiPageWikiLink Max_Roach.
- 1940s_in_jazz wikiPageWikiLink Michał_Urbaniak.
- 1940s_in_jazz wikiPageWikiLink Miles_Davis.
- 1940s_in_jazz wikiPageWikiLink Modern_Jazz_Quartet.
- 1940s_in_jazz wikiPageWikiLink New_York_City.
- 1940s_in_jazz wikiPageWikiLink Nonet_(music).
- 1940s_in_jazz wikiPageWikiLink Palle_Mikkelborg.