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.
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.
