Word: bebop
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Dates: during 1990-1999
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...uprising that began when Louis Armstrong blew his first hot notes grew into a revolution. Continually shifting--Big Band, bebop, cool--and propelled by the sorcery of improvisation, jazz absorbs, transforms, discards, but always replenishes itself. Here are some of the other cats who made things swing...
CHARLIE PARKER (1920-1955) With startling impact, the musical quantum leap known as Bebop shook the jazz world in the mid-1940s. Its prime energy source was sax man Parker. Unhinging improvisation from song melody, jumping into dissonances and spinning out complex lines, Parker created the sound that dominated postwar jazz. His 1953 recording Jazz at Massey Hall catches this revolutionary in full flight...
MILES DAVIS (1926-1991) Kind of Blue, Davis' landmark 1959 recording with John Coltrane and Cannonball Adderley, was the apotheosis of Cool Jazz. Distilling the music to an almost bare essence, Davis and arranger Bill Evans created a lean, sensuous sound that broke with the intensity of bebop and attracted thousands of new listeners to jazz. Davis' warm, amber tone was the model for a generation of trumpeters...
...Clock Is Ticking" incorporates electric guitars and vocal distortions more freshly than any R&B since En Vogue's "Free Your Mind"; and "Hold On," the final track, makes the unlikely choice of Brandy's lightweight hit "Baby" as the sample-basis for one of Kirk Franklin's bebop spiritual revivals...
...musical attraction of "Semi-Charmed Life" is the scat section of the chorus-an easy sing-along that gives permission to even the most tone deaf amateur to join in (believe me, I know!). Along with this bebop blast, the chorus proclaims "I want something else, to get me through this...semi-charmed kind of life." Who better to identify with this mantra than the supposedly characteristic bored youth generation? Well, I have no answer for that, but I can say that a handful of suburban kids working jobs for spending money and wasting time in search of fun would...