BEBOP AND THE RISE OF MODERN JAZZ

In the 1940s a new kind of jazz began co appear,

familiar

in which the embellishment

tunes was replaced by a fast and freer style of melodic

soloing

of

using scales

derived from changes made co the chords of those runes. This was accompanied
punchy

and irregular

with charismatic

rhythms,

and pianists

Thelonious

Monk.

like Bud Powell,

jazz through

Evans and McCoy Tyner

bebop pianists was Bud Powell (above).

appeared

Wynton

the 1950s,

especially with their subtle techniques

ushered

in a period

of post-bebop

instruments

jazz and thirdstream

Kelly,

or the individualistic

but in the 1960s pianists

on the scene, developing

further,
keyboard

by

a whole new feel. Bebop had arrived, along

and virtuosic players such as Charlie Parker, Miles Davis and John

Coleraine,

Bebop dominated

A dominant influence among the younger

creating

this language

for laying Out left-hand

experimentation,

like Bill

including

even

chords. This

the use of electric

in jazz by the likes of Herbie Hancock,

as well as west coast

jazz, in which players like Dave Brubeck

introduced

elements

of modern classical music.

The legacy of bebop and post-bebop,

from the 1970s through

has been a modern jazz scene that continues

approaches,

as shown

Barron, not co mention

Braxton or Cecil Taylor.

Bill Evans (right) was perhaps the greatest of

all jazz pianists, although Thelonious Monk
has to be a close contender. Recordings are
all that we have left of both Monk and Evans.

30

by players

co the present day,

co include a wide range of experimental

such as Chick

Corea, Keith Jarrett

advocates of free jazz and avant-garde

and Kenny

jazz such as Anthony