MUS 106 Lecture Notes - Lecture 13: Brownstone, Teddy Hill, Chano Pozo
Document Summary
Mus 106 - lecture 13 - chapter 7: the bebop revolution. Racial inequities of the swing era disengage the most creative black musicians. Alternative music scene develops in harlem after-hours jam sessions. Musicians viewed themselves as artists rather than entertainers. Jam sessions at minton"s playhouse, clark monroe"s uptown house, and others. House band includes thelonious monk (piano), kenny clark (drums) Early 1940s: scene moves downtown as racial tensions increase in harlem. Many clubs between 5th and 6th avenues. Independent labels are first to record bebop. New heads put on existing jazz standards to avoid publishing royalties. 1937: cymbal incident drummer from count basie orchestra threw cymbal at parker and told him he needed to practice more. 1938-1942: off and on with jay mcshann orchestra. Can no longer work in new york nightclubs. March 5, 1955: last gig at birdland marred by argument. Style rooted in kansas city blues tradition. Role model both positive and negative.
