Lecture 11 Bebop, Part II - Cccd

Lecture 11 Bebop, Part II John Birks “Dizzy” Gillespie (1917 – 1993) • • • •

Born October 21, 1917 in Cheraw, South Carolina Together with Charlie Parker, he was a major figure in the development of bebop and modern jazz He was instrumental in founding Afro-Cuban jazz, the modern jazz version of the “Spanish Tinge” Dubbed “Dizzy” by his peers for his madcap antics on and off stage

Influential Icon • Gillespie was a trumpet virtuoso and gifted improviser, adding layers of harmonic complexity previously unknown in jazz • In addition to his instrumental skills, Dizzy’s beret and horn-rimmed spectacles, his scat singing, his bent horn, pouched cheeks and his lighthearted personality were essential in popularizing bebop, which was originally regarded as threatening and frightening music by many listeners raised on older styles of jazz • He had an enormous impact on virtually every subsequent trumpeter, both by the example of his playing and as a mentor to younger musicians What happened to your horn?! • Gillespie used a trumpet whose bell was bent at a 45 degree angle rather than a traditional straight trumpet • This was originally the result of accidental damage caused during a job on January 6, 1953 where Gillespie’s horn was inadvertently knocked over by a couple of dancers • The constriction caused by the bending altered the tone of the instrument, and Gillespie liked the effect A Night in Tunisia • Recorded live in Toronto on May 15, 1953 • Written by Dizzy Gillespie with Frank Paparelli in 1942 on the bottom of a garbage can • Personnel – Charlie Parker (alto saxophone) – Dizzy Gillespie (trumpet) – Bud Powell (piano) – Charles Mingus (bass) – Max Roach (drums) Afro-Cuban Music

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In the late 1940s, Gillespie was also involved in the movement called AfroCuban music, bringing Latin and African elements to greater prominence in jazz and even pop music, particularly salsa Gillespie’s most famous contributions to Afro-Cuban music are the compositions Manteca and Tin Tin Deo In 1977, Gillespie discovered trumpeter Arturo Sandoval while researching music during a tour of Cuba

Dizzy for President • In 1964 the Gillespie put himself forward as a presidential candidate • He promised that if he were elected, the White House would be renamed “The Blues House,” Ray Charles would be appointed Librarian of Congress, Miles Davis would become the head of the CIA, and Malcolm X the Attorney General • He also said his running mate would be Phyllis Diller Later Years • In the 1980s, Gillespie led the United Nations Orchestra • Gillespie’s tone gradually faded in the last years in life, and his performances often focused more on his proteges such as Arturo Sandoval and Jon Faddis • His good-humored comedic routines became more and more a part of his live act • In 1989 Gillespie gave 300 performances in 27 countries, appeared in 100 U.S. cities in 31 states and the District of Columbia, headlined three television specials, performed with two symphonies, and recorded four albums • He died of pancreatic cancer in 1993, aged 75

Clifford Brown (1930 – 1956) • • • • •

Born October 30, 1930 in Wilmington, Delaware An influential and highly rated jazz trumpeter Had a highly developed sense of harmony and an up-tempo prowess His sound was warm and round, and notably consistent across the full range of the instrument It is said that he played each set as though it would be his last

A Clean Life • The clean-living Brown has been cited as perhaps breaking the influence of heroin on the jazz world, a model established by Charlie Parker • Clifford stayed away from drugs and was not fond of alcohol • His only vices were chess and doughnuts • Sonny Rollins said of him: “Clifford was a profound influence on my personal life; he showed me that it was possible to live a good, clean life and still be a good jazz musician”

Cherokee • The Clifford Brown-Max Roach Quintet • Released in 1955 • Personnel – Clifford Brown (trumpet) – Harold Land (tenor saxophone) – Richie Powell (piano) – George Morrow (bass) – Max Roach (drums) Untimely Death • In June 1956, Brown and pianist Richie Powell were being driven from Philadelphia to Chicago by Powell’s wife Nancy for the band’s next appearance • While driving on a rainy night on the Pennsylvania Turnpike west of Bedford, she lost control of the car and it went off the road • All three were killed in the resulting crash Joy Spring • Recorded in July-August 1954 in Los Angeles • Personnel – Clifford Brown (trumpet) – Zoot Sims (tenor saxophone) – Bob Gordon (baritone saxophone) – Stu Williamson (valve trombone) – Russ Freeman (piano) – Joe Mondragon (bass) – Shelly Manne (drums)

Thelonious Sphere Monk (1917 – 1982) • • •

Born October 10, 1917 in Rocky Mount, North Carolina The publicity department at Blue Note Records labeled him the “High Priest of Bop” He is often regarded as a founder of bebop, although his playing style evolved away from the form

Early Life • Monk started playing the piano at the age of nine • Although he had some formal training and eavesdropped on his sister’s piano lessons, he was essentially self-taught • He briefly toured with an evangelist in his teens, playing the church organ • In his late teens he began to find work playing jazz

An Original • Monk was renowned for his distinctively “hip” sartorial style in suits, hats and sunglasses • He was also noted for the fact that at times he would stop playing, stand up from the keyboard and dance in a counterclockwise fashion, while the other musicians in the combo played • It is said that he would rarely speak to anyone other than his wife Nellie, and in later years it was reported that he would go through an entire tour without speaking to the other members of his group Piano Style • Monk’s unique piano style was largely perfected during his stint as the house pianist at Minton’s • His improvisations are full of dissonant harmonies • He experimented with chord substitutions and reharmonization • His unorthodox approach to the piano combined a highly percussive attack with abrupt, dramatic use of silences and hesitations • Many who heard him play thought him to be a hack, but a few recognized his genius early • Due to his playing style, it was difficult for Monk to get any kind of work, let alone make any recordings, but he stubbornly did not change I Mean You • Recorded July 2, 1948 • Personnel – Thelonious Monk (piano) – Milt Jackson (vibraphone) – John Simmons (bass) – Shadow Wilson (drums) Early 1950s • In August 1951, New York City police searched a parked car occupied by Monk and friend Bud Powell • The police found narcotics in the car, presumed to have belonged to Powell • Monk refused to testify against his friend, so the police confiscated his New York City Cabaret Card • Without the all-important cabaret card he was unable to play in any New York venue where liquor was served, and this severely restricted his ability to perform for several crucial years • Although he continued to write and record, Monk became reclusive, staying at home and not performing in New York City clubs for six years Return to Performing • By 1957, the jazz community was finally starting to realize Monk’s creative genius • When he returned to performing later that year, it was with great fanfare

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His celebrated return gig at the Five Spot in Greenwich Village, which included a young John Coltrane on tenor saxophone, was sold out for four months As his popularity diminished in the late 1960s, he returned to his reclusive lifestyle He died of a stroke on February 17, 1982

Ruby, My Dear • Recorded July 1957 in New York City • Personnel – John Coltrane (tenor saxophone) – Thelonious Monk (piano) – Wilbur Ware (bass) – Shadow Wilson (drums) Rhythm-a-Ning • Recorded November 6, 1962 in New York City • Based on the chord changes to Gershwin’s I Got Rhythm • Personnel – Charlie Rouse (tenor saxophone) – Thelonious Monk (piano) – John Ore (bass) – Frankie Dunlop (drums) The Composer • Monk’s tunes were distinctly original in their rhythmic phrasing, offbeat sparseness, and dissonance • They were, in effect, a natural outgrowth of his piano playing • Many of his compositions eventually became jazz standards ’Round Midnight • Recorded November 1968 in Hollywood • Thelonious Monk (solo piano)

Other Important Bebop Figures • • • • •

Bud Powell (1924 – 1966) Piano/Composer Kenny Clarke (1914 – 1985) Drums Max Roach (1924 – 2007) Drums Dexter Gordon (1923 – 1990) Tenor Saxophone J.J. Johnson (1924 – 2001) Trombone

Sources • • • •

History and Tradition of Jazz by Thomas E. Larson Jazz for Dummies by Dirk Sutro Jazz a film by Ken Burns http://en.wikipedia.org

Discography 1. “Daahoud” by the Clifford Brown-Max Roach Quintet from the album Clifford Brown and Max Roach EmArcy 814 645-2 2. “A Night in Tunisia” by The Quintet from the album The Quintet: Jazz at Massey Hall Debut Records 3. “Manteca” by Dizzy Gillespie from the album Dizzy Gillespie: The Complete RCA Victor Recordings BMG Entertainment 4. “Cherokee” by the Clifford Brown-Max Roach Quintet from the album Study in Brown EmArcy Records 814 646-2 5. “Joy Spring” by Clifford Brown from the album Clifford Brown Jazz Immortal EMI-Manhattan Records CDP 7 46850 2 6. “I Mean You” by Thelonious Monk from the album The Best of Thelonious Monk: The Blue Note Years Blue Note Records D 101187 7. “Ruby, My Dear” by Thelonious Monk from the album Thelonious Monk with John Coltrane Riverside OJCCD-039-2 (JLP-46) 8. “Rhythm-a-Ning” by Thelonious Monk from the album Thelonious Monk: Criss-Cross Columbia CK 48823 9. “’Round Midnight” by Thelonious Monk from the album Thelonious Monk: Monk’s Blues CBS Records CBS 467178 2 10. “Parisian Thoroughfare” by the Clifford Brown-Max Roach Quintet from the album Clifford Brown and Max Roach EmArcy 814 645-2