Thomas Owens
- Published in print:
- 1996
- Published Online:
- October 2011
- ISBN:
- 9780195106510
- eISBN:
- 9780199853182
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195106510.001.0001
- Subject:
- Music, History, American
Created in the jazz clubs of New York City, and initially treated by most musicians and audiences as radical, chaotic, and bewildering, bebop has become, this book states, “the lingua franca of jazz, ...
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Created in the jazz clubs of New York City, and initially treated by most musicians and audiences as radical, chaotic, and bewildering, bebop has become, this book states, “the lingua franca of jazz, serving as the principal musical language of thousands of jazz musicians.” It takes an insightful, loving tour through the music, players, and recordings that changed American culture. Combining vivid portraits of bebop's gigantic personalities—among them Charlie Parker, Dizzy Gillespie, and Miles Davis—with deft musical analysis, this book offers an instrument-by-instrument look at the key players and their innovations.Less
Created in the jazz clubs of New York City, and initially treated by most musicians and audiences as radical, chaotic, and bewildering, bebop has become, this book states, “the lingua franca of jazz, serving as the principal musical language of thousands of jazz musicians.” It takes an insightful, loving tour through the music, players, and recordings that changed American culture. Combining vivid portraits of bebop's gigantic personalities—among them Charlie Parker, Dizzy Gillespie, and Miles Davis—with deft musical analysis, this book offers an instrument-by-instrument look at the key players and their innovations.
Thomas Owens
- Published in print:
- 1996
- Published Online:
- October 2011
- ISBN:
- 9780195106510
- eISBN:
- 9780199853182
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195106510.003.0006
- Subject:
- Music, History, American
The lineage of bebop trumpeters begins with Dizzy Gillespie. His colleagues acknowledged him as a leader from the beginning, and soon the general public was aware of him. Most early articles on the ...
More
The lineage of bebop trumpeters begins with Dizzy Gillespie. His colleagues acknowledged him as a leader from the beginning, and soon the general public was aware of him. Most early articles on the new music in the popular national press focused principally upon him. His extroverted behavior and unique appearance made him much more than a trumpeter; for millions of Americans, he was the epitome of bebop. Fats Navarro was a highly musical bebop trumpeter. During the late 1940s, he and Gillespie were the most accomplished trumpeters in bebop. Other bebop trumpeters in the 1940s helped establish and spread the new bebop vocabulary for their instrument, though they were less innovative than Gillespie, Navarro, and Miles Davis. Among noted trumpeters were Kenny Dorham and Red Rodney.Less
The lineage of bebop trumpeters begins with Dizzy Gillespie. His colleagues acknowledged him as a leader from the beginning, and soon the general public was aware of him. Most early articles on the new music in the popular national press focused principally upon him. His extroverted behavior and unique appearance made him much more than a trumpeter; for millions of Americans, he was the epitome of bebop. Fats Navarro was a highly musical bebop trumpeter. During the late 1940s, he and Gillespie were the most accomplished trumpeters in bebop. Other bebop trumpeters in the 1940s helped establish and spread the new bebop vocabulary for their instrument, though they were less innovative than Gillespie, Navarro, and Miles Davis. Among noted trumpeters were Kenny Dorham and Red Rodney.
Williams Martin
- Published in print:
- 1993
- Published Online:
- October 2011
- ISBN:
- 9780195083491
- eISBN:
- 9780199853205
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195083491.003.0047
- Subject:
- Music, Popular
By the 1920s, jazz music was being recorded more or less regularly. And if those who heard the past legendary musicians claim that the records by Fletcher Henderson or King Oliver or Bix Beiderbecke ...
More
By the 1920s, jazz music was being recorded more or less regularly. And if those who heard the past legendary musicians claim that the records by Fletcher Henderson or King Oliver or Bix Beiderbecke were a shadow of the reality, at least the records were there and in some quantity. A more recent legendary event, the appearance of Charlie Parker-Dizzy Gillespie quintets in the early forties, is now regarded as much a part of jazz tradition as Oliver's Creole Band. Finally, a 1953 concert in Toronto did get recorded and now reappears on Fantasy, “Jazz At Massey Hall.”Less
By the 1920s, jazz music was being recorded more or less regularly. And if those who heard the past legendary musicians claim that the records by Fletcher Henderson or King Oliver or Bix Beiderbecke were a shadow of the reality, at least the records were there and in some quantity. A more recent legendary event, the appearance of Charlie Parker-Dizzy Gillespie quintets in the early forties, is now regarded as much a part of jazz tradition as Oliver's Creole Band. Finally, a 1953 concert in Toronto did get recorded and now reappears on Fantasy, “Jazz At Massey Hall.”
Alyn Shipton
- Published in print:
- 2010
- Published Online:
- May 2015
- ISBN:
- 9780195141535
- eISBN:
- 9780190268398
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:osobl/9780195141535.003.0008
- Subject:
- Music, Popular
This chapter looks at the life of Dizzy Gillespie, the trumpeter of Cotton Club Dance Orchestra. Gillespie's entry into the trumpet section did not fit into the framework that Cab Calloway had ...
More
This chapter looks at the life of Dizzy Gillespie, the trumpeter of Cotton Club Dance Orchestra. Gillespie's entry into the trumpet section did not fit into the framework that Cab Calloway had established for himself and his men, either socially or musically. Gillespie's aim was for a more complex style of his own. His performance then became subpar with the live performances of the band. He was also accused of having a hot temper and unstable character.Less
This chapter looks at the life of Dizzy Gillespie, the trumpeter of Cotton Club Dance Orchestra. Gillespie's entry into the trumpet section did not fit into the framework that Cab Calloway had established for himself and his men, either socially or musically. Gillespie's aim was for a more complex style of his own. His performance then became subpar with the live performances of the band. He was also accused of having a hot temper and unstable character.
Martin Williams
- Published in print:
- 1993
- Published Online:
- October 2011
- ISBN:
- 9780195083491
- eISBN:
- 9780199853205
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195083491.001.0001
- Subject:
- Music, Popular
This collection of record notes, interviews, portraits, and reviews recalls the Charlie Parker-Dizzy Gillespie Dial Record sessions, Langston Hughes reading poetry to the sound of jazz, and Thelonius ...
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This collection of record notes, interviews, portraits, and reviews recalls the Charlie Parker-Dizzy Gillespie Dial Record sessions, Langston Hughes reading poetry to the sound of jazz, and Thelonius Monk recording for the Library of Congress. In addition, in this book there are profiles of such legendary performers as Billie Holiday, Dinah Washington, Duke Ellington, and Fats Waller, and chapters on the importance of jazz history and a jazz-view of The Beatles.Less
This collection of record notes, interviews, portraits, and reviews recalls the Charlie Parker-Dizzy Gillespie Dial Record sessions, Langston Hughes reading poetry to the sound of jazz, and Thelonius Monk recording for the Library of Congress. In addition, in this book there are profiles of such legendary performers as Billie Holiday, Dinah Washington, Duke Ellington, and Fats Waller, and chapters on the importance of jazz history and a jazz-view of The Beatles.
Thomas Owens
- Published in print:
- 1996
- Published Online:
- October 2011
- ISBN:
- 9780195106510
- eISBN:
- 9780199853182
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195106510.003.0002
- Subject:
- Music, History, American
In the winter of 1943–4, the first small group organized to perform the still-unnamed new music debuted at the Onyx Club on Fifty-Second Street in New York City. It was a quartet, then a quintet, ...
More
In the winter of 1943–4, the first small group organized to perform the still-unnamed new music debuted at the Onyx Club on Fifty-Second Street in New York City. It was a quartet, then a quintet, co-led by Dizzy Gillespie and bassist Oscar Pettiford. The other members were pianist George Wallington, drummer Max Roach, and then tenor saxophonist Don Byas. The group remained intact only a few months and did not record as a quintet, though some of the members recorded as sidemen for other leaders. Perhaps the finest example of big-band bebop in the 1940s came from the Woody Herman band. Herman, whose swing-style clarinet and saxophone playing hardly changed at all during his career, was nonetheless sympathetic to the new idiom. By late 1947, his was essentially a bebop band, though its repertory included his earlier swing-style hits as well.Less
In the winter of 1943–4, the first small group organized to perform the still-unnamed new music debuted at the Onyx Club on Fifty-Second Street in New York City. It was a quartet, then a quintet, co-led by Dizzy Gillespie and bassist Oscar Pettiford. The other members were pianist George Wallington, drummer Max Roach, and then tenor saxophonist Don Byas. The group remained intact only a few months and did not record as a quintet, though some of the members recorded as sidemen for other leaders. Perhaps the finest example of big-band bebop in the 1940s came from the Woody Herman band. Herman, whose swing-style clarinet and saxophone playing hardly changed at all during his career, was nonetheless sympathetic to the new idiom. By late 1947, his was essentially a bebop band, though its repertory included his earlier swing-style hits as well.
Nick Catalano
- Published in print:
- 2001
- Published Online:
- October 2011
- ISBN:
- 9780195144000
- eISBN:
- 9780199849017
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195144000.003.0004
- Subject:
- Music, History, American
Clifford Brown sought new opportunities in Philadelphia. He had been playing at jam sessions for quite a while and had established himself strongly enough so that he thought about forming his own ...
More
Clifford Brown sought new opportunities in Philadelphia. He had been playing at jam sessions for quite a while and had established himself strongly enough so that he thought about forming his own group. Dizzy Gillespie contacted Max Roach, who had established himself as the leading drummer of the new bebop school. Roach had played on Charlie Parker and Gillespie's classic bebop recordings and later with Miles Davis. In September 1949, Brown went back to school on a new campus and totally new environment. Maryland State College, again an all-black school, had an excellent music department, and there was an active jazz scene. On the evening of June 6, 1950, after a particularly successful outing, Brown and three of his cohorts were involved in a car accident. After a year of recuperation, Brown resumed playing the trumpet. Soon he found employment, and his fattest paychecks soon began rolling in, albeit from an unlikely source—a rhythm ‘n’ blues pop star named Chris Powell.Less
Clifford Brown sought new opportunities in Philadelphia. He had been playing at jam sessions for quite a while and had established himself strongly enough so that he thought about forming his own group. Dizzy Gillespie contacted Max Roach, who had established himself as the leading drummer of the new bebop school. Roach had played on Charlie Parker and Gillespie's classic bebop recordings and later with Miles Davis. In September 1949, Brown went back to school on a new campus and totally new environment. Maryland State College, again an all-black school, had an excellent music department, and there was an active jazz scene. On the evening of June 6, 1950, after a particularly successful outing, Brown and three of his cohorts were involved in a car accident. After a year of recuperation, Brown resumed playing the trumpet. Soon he found employment, and his fattest paychecks soon began rolling in, albeit from an unlikely source—a rhythm ‘n’ blues pop star named Chris Powell.
Nick Catalano
- Published in print:
- 2001
- Published Online:
- October 2011
- ISBN:
- 9780195144000
- eISBN:
- 9780199849017
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195144000.001.0001
- Subject:
- Music, History, American
Although he died in a tragic car accident at the age of twenty-five, Clifford Brown is widely considered one of the most important figures in the history of jazz, a trumpet player who ranks with ...
More
Although he died in a tragic car accident at the age of twenty-five, Clifford Brown is widely considered one of the most important figures in the history of jazz, a trumpet player who ranks with Louis Armstrong, Dizzy Gillespie, and Miles Davis, and a leading influence on contemporary jazz musicians. This book gives us a major biography of this musical giant. Based on extensive interviews with Clifford Brown's family, friends, and fellow jazz musicians, here is a fascinating portrait of a remarkable musician. The book depicts Brown's early life, showing how he developed a facility and dazzling technique that few jazz players have ever equalled. We read of his meteoric rise in Philadelphia, where he played with many of the leading jazz players of the 1950s, including Dizzy Gillespie and Charlie Parker; his tour of Europe with Lionel Hampton, which made him famous; and his formation of the Brown-Roach Quintet with prominent drummer Max Roach—one of the most popular hard bop combos of the day. In an era when most jazz players were either alcoholics or addicts, Brown was clean living and drug free. Indeed, he became a role model for musicians who were struggling with drugs and had great influence in this area with one prominent colleague, tenor sax player Sonny Rollins. This book not only provides a colorful account of Brown's life, but also features an informed analysis of his major recorded solos, highlighting Brown's originality and revealing why he remains a great influence on trumpet players today.Less
Although he died in a tragic car accident at the age of twenty-five, Clifford Brown is widely considered one of the most important figures in the history of jazz, a trumpet player who ranks with Louis Armstrong, Dizzy Gillespie, and Miles Davis, and a leading influence on contemporary jazz musicians. This book gives us a major biography of this musical giant. Based on extensive interviews with Clifford Brown's family, friends, and fellow jazz musicians, here is a fascinating portrait of a remarkable musician. The book depicts Brown's early life, showing how he developed a facility and dazzling technique that few jazz players have ever equalled. We read of his meteoric rise in Philadelphia, where he played with many of the leading jazz players of the 1950s, including Dizzy Gillespie and Charlie Parker; his tour of Europe with Lionel Hampton, which made him famous; and his formation of the Brown-Roach Quintet with prominent drummer Max Roach—one of the most popular hard bop combos of the day. In an era when most jazz players were either alcoholics or addicts, Brown was clean living and drug free. Indeed, he became a role model for musicians who were struggling with drugs and had great influence in this area with one prominent colleague, tenor sax player Sonny Rollins. This book not only provides a colorful account of Brown's life, but also features an informed analysis of his major recorded solos, highlighting Brown's originality and revealing why he remains a great influence on trumpet players today.
Gary Giddins
- Published in print:
- 2013
- Published Online:
- August 2015
- ISBN:
- 9780816690411
- eISBN:
- 9781452949536
- Item type:
- chapter
- Publisher:
- University of Minnesota Press
- DOI:
- 10.5749/minnesota/9780816690411.003.0004
- Subject:
- Literature, Film, Media, and Cultural Studies
This chapter discusses the popularization of bebop jazz music through the band Diz and Bird on Fifty-second Street. The jazz audience considered bebop a terrible dissonance and a frantic assault on ...
More
This chapter discusses the popularization of bebop jazz music through the band Diz and Bird on Fifty-second Street. The jazz audience considered bebop a terrible dissonance and a frantic assault on decency and good taste. Dizzy Gillespie teamed up with Oscar Pettiford, with pianist George Wallington, saxophonist Don Byas, and Charlie Parker to form the band Diz and Bird on Fifty-second Street. They conducted their first performance of bebop jazz at Three Deuces club where many listeners found bebop jazz enticing.Less
This chapter discusses the popularization of bebop jazz music through the band Diz and Bird on Fifty-second Street. The jazz audience considered bebop a terrible dissonance and a frantic assault on decency and good taste. Dizzy Gillespie teamed up with Oscar Pettiford, with pianist George Wallington, saxophonist Don Byas, and Charlie Parker to form the band Diz and Bird on Fifty-second Street. They conducted their first performance of bebop jazz at Three Deuces club where many listeners found bebop jazz enticing.
Williams Martin
- Published in print:
- 1993
- Published Online:
- October 2011
- ISBN:
- 9780195083491
- eISBN:
- 9780199853205
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195083491.003.0006
- Subject:
- Music, Popular
Ross Russell was an American jazz producer and writer, as well as the founder of Dial Records. After World War II finished, he opened Tempo Music Shop, his own jazz record store, in Hollywood. He ...
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Ross Russell was an American jazz producer and writer, as well as the founder of Dial Records. After World War II finished, he opened Tempo Music Shop, his own jazz record store, in Hollywood. He founded Dial Records in 1946 for him to record with Charlie Parker, who was living in Los Angeles during that period. He also recorded with Dizzy Gillespie, Erroll Garner, Howard McGhee, Dodo Marmarosa, Dexter Gordon, Wardell Gray, and Earl Coleman. As an artist, he loved Jelly Roll Morton and Louis Armstrong, and he wrote an essay on James P. Johnson.Less
Ross Russell was an American jazz producer and writer, as well as the founder of Dial Records. After World War II finished, he opened Tempo Music Shop, his own jazz record store, in Hollywood. He founded Dial Records in 1946 for him to record with Charlie Parker, who was living in Los Angeles during that period. He also recorded with Dizzy Gillespie, Erroll Garner, Howard McGhee, Dodo Marmarosa, Dexter Gordon, Wardell Gray, and Earl Coleman. As an artist, he loved Jelly Roll Morton and Louis Armstrong, and he wrote an essay on James P. Johnson.
Clark Terry
Gwen Terry (ed.)
- Published in print:
- 2011
- Published Online:
- May 2012
- ISBN:
- 9780520268463
- eISBN:
- 9780520949782
- Item type:
- book
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520268463.001.0001
- Subject:
- Music, History, American
This is the story of one of the most recorded jazz trumpeters of all time, Clark Terry, born in 1920. Thi sbook takes us from his impoverished childhood in St. Louis, Missouri, where jazz could be ...
More
This is the story of one of the most recorded jazz trumpeters of all time, Clark Terry, born in 1920. Thi sbook takes us from his impoverished childhood in St. Louis, Missouri, where jazz could be heard everywhere, to the smoke-filled small clubs and carnivals across the Jim Crow South where he got his start, and on to worldwide acclaim. The book takes us behind the scenes of jazz history as it introduces scores of legendary greats—Ella Fitzgerald, Oscar Peterson, Dizzy Gillespie, Dinah Washington, Doc Severinsen, Ray Charles, Thelonious Monk, Billie Holiday, Sarah Vaughan, Coleman Hawkins, Zoot Sims, and Dianne Reeves, among many others. The book also reveals much about Terry's own personal life, his experiences with racism, how he helped break the color barrier in 1960 when he joined the Tonight Show band on NBC, and why—at ninety years old—his students from around the world still call and visit him for lessons.Less
This is the story of one of the most recorded jazz trumpeters of all time, Clark Terry, born in 1920. Thi sbook takes us from his impoverished childhood in St. Louis, Missouri, where jazz could be heard everywhere, to the smoke-filled small clubs and carnivals across the Jim Crow South where he got his start, and on to worldwide acclaim. The book takes us behind the scenes of jazz history as it introduces scores of legendary greats—Ella Fitzgerald, Oscar Peterson, Dizzy Gillespie, Dinah Washington, Doc Severinsen, Ray Charles, Thelonious Monk, Billie Holiday, Sarah Vaughan, Coleman Hawkins, Zoot Sims, and Dianne Reeves, among many others. The book also reveals much about Terry's own personal life, his experiences with racism, how he helped break the color barrier in 1960 when he joined the Tonight Show band on NBC, and why—at ninety years old—his students from around the world still call and visit him for lessons.
Larry Kart
- Published in print:
- 2004
- Published Online:
- October 2013
- ISBN:
- 9780300104202
- eISBN:
- 9780300128192
- Item type:
- chapter
- Publisher:
- Yale University Press
- DOI:
- 10.12987/yale/9780300104202.003.0005
- Subject:
- Music, Theory, Analysis, Composition
This chapter discusses the story and musical contributions of jazz musicians that belong to the third generation described in the previous chapter. It includes discussions on Dizzy Gillespie, ...
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This chapter discusses the story and musical contributions of jazz musicians that belong to the third generation described in the previous chapter. It includes discussions on Dizzy Gillespie, Thelonious Monk, Herbie Nichols, Oscar Peterson, Stan Getz, Woody Herman, Al Cohn, Art Pepper, Sonny Stitt, Jackie McLean, Sonny Rollins, Hank Mobley, Tina Brooks, Clifford Brown, Max Roach, Philly Joe Jones, Horace Silver, Lee Morgan, Donald Byrd, Blue Mitchell, Bill Evans, Keith Jarrett, Gary Burton, Pat Metheny, Frank Zappa, McCoy Tyner, Wayne Shorter, Ornette Coleman, Cecil Taylor, Roscoe Mitchell, Evan Parker, and the Vanguard Jazz Orchestra.Less
This chapter discusses the story and musical contributions of jazz musicians that belong to the third generation described in the previous chapter. It includes discussions on Dizzy Gillespie, Thelonious Monk, Herbie Nichols, Oscar Peterson, Stan Getz, Woody Herman, Al Cohn, Art Pepper, Sonny Stitt, Jackie McLean, Sonny Rollins, Hank Mobley, Tina Brooks, Clifford Brown, Max Roach, Philly Joe Jones, Horace Silver, Lee Morgan, Donald Byrd, Blue Mitchell, Bill Evans, Keith Jarrett, Gary Burton, Pat Metheny, Frank Zappa, McCoy Tyner, Wayne Shorter, Ornette Coleman, Cecil Taylor, Roscoe Mitchell, Evan Parker, and the Vanguard Jazz Orchestra.
Nick Catalano
- Published in print:
- 2001
- Published Online:
- October 2011
- ISBN:
- 9780195144000
- eISBN:
- 9780199849017
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195144000.003.0006
- Subject:
- Music, History, American
In 1952, Clifford Brown met someone with the unlikely name of Tadley Ewing Peake Dameron. Born in Cleveland in 1917, Dameron had written arrangements for Dizzy Gillespie's big band, and his major ...
More
In 1952, Clifford Brown met someone with the unlikely name of Tadley Ewing Peake Dameron. Born in Cleveland in 1917, Dameron had written arrangements for Dizzy Gillespie's big band, and his major orchestra piece, “Soul-phony”, was premiered by the band at a Carnegie Hall concert in 1948. That same year, Dameron led a group in New York that featured Fats Navarro. In 1952, he was involved with various groups in the New York–Philadelphia area and had become an important figure for jazz record producers. In the last weeks of May 1953, Brown became suddenly more active on the bebop scene. He was being besieged by leaders to record and appear with them, but it was Dameron's band that interested him the most. A recording date with Dameron's band was scheduled for June 11. Meanwhile, altoist Lou Donaldson, under contract to Blue Note Records, had long sought out Brown for a record date, slated for June in New York.Less
In 1952, Clifford Brown met someone with the unlikely name of Tadley Ewing Peake Dameron. Born in Cleveland in 1917, Dameron had written arrangements for Dizzy Gillespie's big band, and his major orchestra piece, “Soul-phony”, was premiered by the band at a Carnegie Hall concert in 1948. That same year, Dameron led a group in New York that featured Fats Navarro. In 1952, he was involved with various groups in the New York–Philadelphia area and had become an important figure for jazz record producers. In the last weeks of May 1953, Brown became suddenly more active on the bebop scene. He was being besieged by leaders to record and appear with them, but it was Dameron's band that interested him the most. A recording date with Dameron's band was scheduled for June 11. Meanwhile, altoist Lou Donaldson, under contract to Blue Note Records, had long sought out Brown for a record date, slated for June in New York.
Gary Giddins
- Published in print:
- 2013
- Published Online:
- August 2015
- ISBN:
- 9780816690411
- eISBN:
- 9781452949536
- Item type:
- chapter
- Publisher:
- University of Minnesota Press
- DOI:
- 10.5749/minnesota/9780816690411.003.0001
- Subject:
- Literature, Film, Media, and Cultural Studies
This chapter describes the funeral of Charlie Parker, also known as “Yardbird” or “Bird”, an American jazz saxophonist and composer considered as a leading figure for the development of bebop—a form ...
More
This chapter describes the funeral of Charlie Parker, also known as “Yardbird” or “Bird”, an American jazz saxophonist and composer considered as a leading figure for the development of bebop—a form of jazz. His funeral was attended by the musicians, critics, and a coterie of enthusiasts whom he influenced greatly. Among them were Jay Mcshann, Dizzy Gillespie, Red Rodney Dizzy, and Buddy De Franco. All of them acknowledged that Parker was a leader of a new and distinctly American music.Less
This chapter describes the funeral of Charlie Parker, also known as “Yardbird” or “Bird”, an American jazz saxophonist and composer considered as a leading figure for the development of bebop—a form of jazz. His funeral was attended by the musicians, critics, and a coterie of enthusiasts whom he influenced greatly. Among them were Jay Mcshann, Dizzy Gillespie, Red Rodney Dizzy, and Buddy De Franco. All of them acknowledged that Parker was a leader of a new and distinctly American music.
Nadine Cohodas
- Published in print:
- 2012
- Published Online:
- July 2014
- ISBN:
- 9780807872437
- eISBN:
- 9781469602240
- Item type:
- chapter
- Publisher:
- University of North Carolina Press
- DOI:
- 10.5149/9780807882740_cohodas.12
- Subject:
- History, African-American History
This chapter describes the many things that happened after Nina last played the Queen Mary Room at the Rittenhouse Hotel—so many that she might have forgotten her free performance at a 1957 benefit ...
More
This chapter describes the many things that happened after Nina last played the Queen Mary Room at the Rittenhouse Hotel—so many that she might have forgotten her free performance at a 1957 benefit for disabled children. The officers at the Mildred Malschick Fuhrman Charities, however, hadn't. They were sponsoring the first annual jazz festival at Philadelphia's Academy of Music March 13, and they wanted Nina. This time she would be paid $2,000 for two performances as the headliner, even though the Dizzy Gillespie quintet, the Four Freshmen, and Art Blakey and the Jazz Messengers were also on the bill. A few days before the event, Nina sat down with Frank Brookhouser of the Bulletin, who was still writing his “Man About Town” column, and together they traced her trajectory from child star in the church to acclaimed jazz singer.Less
This chapter describes the many things that happened after Nina last played the Queen Mary Room at the Rittenhouse Hotel—so many that she might have forgotten her free performance at a 1957 benefit for disabled children. The officers at the Mildred Malschick Fuhrman Charities, however, hadn't. They were sponsoring the first annual jazz festival at Philadelphia's Academy of Music March 13, and they wanted Nina. This time she would be paid $2,000 for two performances as the headliner, even though the Dizzy Gillespie quintet, the Four Freshmen, and Art Blakey and the Jazz Messengers were also on the bill. A few days before the event, Nina sat down with Frank Brookhouser of the Bulletin, who was still writing his “Man About Town” column, and together they traced her trajectory from child star in the church to acclaimed jazz singer.
