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The tune was also called "Bip Bop" by Monk, and he claims that the tune's latter title was the origin of the genre-defining name bebop. It quickly became popular as an opening and closing tune on the clubs on 52nd Street on Manhattan where Dizzy Gillespie and Charlie Parker played. [2]
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 ...
A contrafact is a musical composition built using the chord progression of a pre-existing song, but with a new melody and arrangement. Typically the original tune's progression and song form will be reused but occasionally just a section will be reused in the new composition. The term comes from classical music and was first applied to jazz by ...
This is an A–Z list of jazz tunes which have been covered by multiple jazz artists. It includes the more popular jazz standards, lesser-known or minor standards, and many other songs and compositions which may have entered a jazz musician's or jazz singer's repertoire or be featured in the Real Books, but may not be performed as regularly or as widely as many of the popular standards.
For a list of the core jazz standards, see the following lists by decade: . Before 1920; 1920s; 1930s; 1940s; 1950s and later; For a looser, more comprehensive A-Z list of jazz standards and tunes which have been covered by multiple artists, see the List of jazz tunes
This list includes tunes written in the 1940s that are considered standards by at least one major fake book publication or reference work. The swing era lasted until the mid-1940s, and produced popular tunes such as Duke Ellington 's " Cotton Tail " (1940) and Billy Strayhorn 's " Take the 'A' Train " (1941).
In 1964, Charles McPherson played it with Carmell Jones on his Prestige album Bebop Revisited! for the Prestige label; In 1976, Barry Harris who was the pianist on the 1964 version played a trio version on his Barry Harris Plays Tadd Dameron - Xanadu Records; In 1982, Chaka Khan covered the tune as part of "Be Bop Medley," on her album Chaka ...
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