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Cool jazz is a style of modern jazz music inspired by bebop and big band [1] that arose in the United States after World War II. It is characterized by relaxed tempos and a lighter tone than that used in the fast and complex bebop style. Cool jazz often employs formal arrangements and incorporates elements of classical music.
"Criss-Cross" (originally titled "Sailor Cap") [5] was one Monk's first compositions, he wrote early in 1944 as response to a collaborative project between Monk, Mary Lou Williams, and Bud Powell. [38] It was first recorded on July 23, 1951, for the Genius of Modern Music sessions, and was later featured on the 1964 album of the same name. [39]
When it was published, it was the first volume of a projected two volume history of jazz through the Swing era. (Schuller died before he could write a promised third volume, on the bebop period and after.) The book takes an enthusiastic tone to its subject. [3]
Bennie Moten was born in Kansas City on December 13, 1893, the beginning of the story of the 1923 recording session. During his first gigs, Moten played house rent parties and brothels operating from private homes, according to long-time Kansas City native Fred Hicks. Between 1916 and 1918, Moten began performing with the drummer Dude Langford.
[17] [112] Some students first sang solos from a recording slowed to half the normal speed; eventually they learned to sing and play them at normal speed. [113] Tristano stressed that the student was not learning to imitate the artist, [114] but should use the experience to gain insight into the musical feeling conveyed. [17]
Bebop or bop is a style of jazz developed in the early to mid-1940s in the United States. The style features compositions characterized by a fast tempo (usually exceeding 200 bpm), complex chord progressions with rapid chord changes and numerous changes of key, instrumental virtuosity, and improvisation based on a combination of harmonic structure, the use of scales, and occasional references ...
Gillespie and the full band continue the bebop mood, using swing eighths in spite of Pozo's continuing even eighths, until the final A section of the theme returns. Complete assimilation of Afro-Cuban rhythms and improvisations on a harmonic ostinato was still a few years away for the beboppers in 1947."
By the late 1930s, with the rise of swing, hep began to be used commonly in mainstream "square" culture, so by the 1940s hip rose in popularity among jazz musicians, to replace hep. In 1944, pianist Harry Gibson modified hepcat to hipster [ 2 ] in his short glossary "For Characters Who Don't Dig Jive Talk", published in 1944 with the album ...
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