Information om | Engelska ordet BEBOP

Exempel på hur man kan använda BEBOP i en mening

• Mingus's work ranged from advanced bebop and avant-garde jazz with small and midsize ensembles to pioneering the post-bop style on seminal recordings like Pithecanthropus Erectus (1956) and Mingus Ah Um (1959) and progressive big band experiments such as The Black Saint and the Sinner Lady (1963).
• Working in the bebop and hard bop idioms early in his career, Coltrane helped pioneer the use of modes and was one of the players at the forefront of free jazz.
• In the 1940s, Gillespie, with Charlie Parker, became a major figure in the development of bebop and modern jazz.
• Parker was a highly influential soloist and leading figure in the development of bebop, a form of jazz characterized by fast tempos, virtuosic technique, and advanced harmonies.
• Musicians during this period believed that the bebop and modal jazz that had been played before them was too limiting, and became preoccupied with creating something new.
• While the trombone was featured prominently in dixieland and swing music, it fell out of favor among bebop musicians, largely because instruments with valves and keys (trumpet, saxophone) were believed to be more suited to bebop's often rapid tempos and demand for technical mastery.
• His sophisticated use of harmony, including the use of tritone substitutions, his virtuosic solos exhibiting a departure from the dominant style of jazz trumpet innovator Louis Armstrong, and his strong impact on Dizzy Gillespie mark him as one of the most influential musicians of the swing era and a precursor of bebop.
• By late 1944, Gordon was resident in New York, a regular at bebop jam sessions, and a featured soloist in the Billy Eckstine big band ("If That's The Way You Feel", "I Want To Talk About You", "Blowin' the Blues Away", "Opus X", "I'll Wait and Pray", "The Real Thing Happened To Me", "Lonesome Lover Blues", "I Love the Rhythm in a Riff").
• This was a break for the 21-year-old, as the Earl Hines Orchestra was not only nationally known but had nurtured the careers of emerging bebop musicians such as Dizzy Gillespie and Charlie Parker.
• Weldon Leo "Jack" Teagarden (August 20, 1905 – January 15, 1964) According to critic Scott Yanow of Allmusic, Teagarden was the preeminent American jazz trombone player before the bebop era of the 1940s and "one of the best jazz singers too".
• Some jazz scales, such as the eight-note bebop scales, add additional chromatic passing tones to the familiar seven-note diatonic scales.
• The most influential jazz double bassists from the 1940s and 1950s include bassist Jimmy Blanton (1918–1942) (a member of the Duke Ellington band); Oscar Pettiford (1922–1960), who is considered by bassists and musicologists to be the first bebop bassist and the transitional link from the swing era to bebop.
• Recording prolifically for Blue Note Records as both leader and sideman, Green performed in the hard bop, soul jazz, bebop, and Latin-tinged idioms throughout his career.
• Avant-garde jazz originated in the mid- to late 1950s among a group of improvisors who rejected the conventions of bebop and post bop in an effort to blur the division between the written and the spontaneous.
• Benny Golson (January 25, 1929 – September 21, 2024) was an American bebop and hard bop jazz tenor saxophonist, composer, and arranger.
• After he moved to New York, he was one of the musicians (together with Dizzy Gillespie, Thelonious Monk, Kenny Clarke) who in the early 1940s jammed at Minton's Playhouse, where the music style developed that was later called bebop.
• Marmarosa's recording debut was with Barnet in 1943; they recorded "The Moose", a track described by Gunther Schuller as "a veritable masterpiece" on which the 17-year-old pianist played an original blend of nascent bebop and Count Basie-style minimalism.
• "Soft variants of bebop," including the Miles Davis recordings that constitute Birth of the Cool; the complete works of the Modern Jazz Quartet; the output of Gerry Mulligan, especially his work with Chet Baker and Bob Brookmeyer; the music of Stan Kenton's sidemen during the late 1940s through the 1950s; and the works of George Shearing and Stan Getz.
• These experiences seeing Gillespie and Basie play in Omaha foreshadowed his period in New York watching Gillespie play and develop the music of bebop on 52nd Street and his later involvement with Count Basie's band.
• It is the birthplace of hip hop, garage house, boogaloo, doo wop, bebop, punk rock, disco, and new wave.

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