1940s in jazz

none thumb|175px|right|Charlie Christian 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"Joachim Berendt. "The Jazz Book". 1981. Page 15. 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.Jazz History: The Standards (1940s) on jazzstandards.com - retrieved on May 18, 2009 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.'Round Midnight at jazzstandards.com - retrieved on February 20, 2009 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".Joachim Berendt. "The Jazz Book". 1981. Page 16. 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.Jazz History (1940s) at jazzstandards.com - retrieved on May 18, 2009 upright|thumb|Louis Armstrong 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. 2 y 1940 1940 in jazz Album releases Duke Ellington: In A Mellotone Duke Ellington: Sophisticated Lady Births Dave Burrell (September 10, 1940), pianist Eddie Henderson (October 26, 1940), trumpet and flugelhorn player Pharoah Sanders (October 13, 1940), saxophonist Deaths Johnny Dodds (April 12, 1892 – August 8, 1940) 1941 1941 in jazz Births Bobby Hutcherson (January 27, 1941), vibraphone and marimba player Palle Mikkelborg (March 6, 1941), trumpeter Airto Moreira (August 5, 1941), drummer and percussionist 1942 1942 in jazz Births John McLaughlin (January 4, 1942-), guitarist Jack DeJohnette (August 9, 1942), drummer Marlena Shaw (September 22, 1942), singer Deaths Charlie Christian (July 29, 1916 – March 2, 1942), guitarist Bunny Berigan (November 2, 1908 – June 2, 1942) 1943 1943 in jazz Events The American Federation of Musicians recording ban, called by James Petrillo, continued through 1943. Album releases Duke Ellington: Black, Brown and Beige (1943) Births thumb|right|Larry Coryell Larry Coryell (April 2, 1943-), guitarist Kenny Barron (June 9, 1943), pianist Michał Urbaniak (January 22, 1943) Deaths Fats Waller (May 21, 1904 - December 15, 1943) 1944 1944 in jazz Album releases Coleman Hawkins - Rainbow Mist (1944) Births Don Sickler (January 6, 1944 -), trumpeter Ron Mathewson (February 19, 1944), double bassist Eddie Gómez (October 4, 1944), double bassist Deaths thumb|right|Glenn Miller Glenn Miller (March 1, 1904 – missing December 15, 1944), musician and composer Jimmie Noone (April 23, 1895 – April 19, 1944) 1945 1945 in jazz Album releases Mary Lou Williams: Zodiac Suite (1945) John Serry Sr.: Leone Jump Single on Sonora Records Births Keith Jarrett (May 8, 1945 -), pianist Henri Texier (January 27, 1945), double bassist Deaths Pha Terrell (May 25, 1910 - October 14, 1945) 1946 1946 in jazz Births Digby Fairweather (April 25, 1946) Bennie Wallace (November 18, 1946) 1947 1947 in jazz Album releases Dexter Gordon and Teddy Edwards: The Duel John Serry Sr. and Joe Biviano: Accordion Capers - featuring the Biviano Accordion & Rhythm Sextettehttps://archive.org/details/mbid-47ec1899-c909-4d5f-b38c-4920df8f57d9 Accordion Capers his Accordion and Rhythm Sextette Joe Biviano 2 June 2018 Internet ArchiveThe Billboard, "Record Reviews", April 27, 1946 P. 124https://archive.org/details/78_swing-low-sweet-chariot_joe-biviano-his-accordion-and-rhythm-sextette-john-serry_gbia0037324 Leone Jump; Swing Low, Sweet Chariot; The Jazz Me Blues; Nursery Rhymes his Accordion and Rhythm Sextette Joe Biviano Tom Delaney John Serry Internet Archive 1948 1948 in jazz Album releases Coleman Hawkins: Picasso Births Larry Carlton (March 1, 1948 -), guitarist Richie Cole (February 29, 1948), alto saxophonist Jessica Williams (March 17, 1948), pianist and composer 1949 1949 in jazz Album releases Lennie Tristano: Crosscurrents (1949) Duke Ellington: Liberian Suite (1949) Lee Konitz: Subconscious-Lee (1949) Bob Wilber: Jazz Band (1949) Deaths Albert Ammons (September 23, 1907 — December 2, 1949) See also Jazz List of 1940s jazz standards References 2 Bibliography The New Real Book, Volume I 1988 Sher Music 0-9614701-4-3 The New Real Book, Volume II 1991 Sher Music 0-9614701-7-8 The New Real Book, Volume III 1995 Sher Music 1-883217-30-X The Real Book, Volume I 6th 2004 Hal Leonard 0-634-06038-4 The Real Book, Volume II 2nd 2007 Hal Leonard 1-4234-2452-2 The Real Book, Volume III 2nd 2006 Hal Leonard 0-634-06136-4 The Real Jazz Book Warner Bros 978-91-85041-36-7 The Real Vocal Book, Volume I 2006 Hal Leonard 0-634-06080-5 Category:1940s in music Category:20th century in jazz Category:Jazz by decade