11 More on Bop and Boogie, Progressive 40s

Played by Charlie Parker (sax) and Buddy Rich (drums), Thelonius Monk on keys, and Dizzy Gillespie (trumpet)

Notes:

• Notice how the sax and trumpet are Trading 4's, specifically they are trading the same motif. The melody between themselves feeling like mountains and valleys, or like the movement of the stock market or brownian motion.
• The trading feels light and bubbly, but in the chords still.
• You can really hear Buddy Rich keeping the momentum going (he'll go ahead of the beat at times).

This is essentially a long Charlie Parker solo.

Notes:

• Form is 12 bar blues
• The pianist (John Lewis) gets to trade bars (see Trading 4's) with Charlie. With this space, unlike maybe trading in Lazy Frog the Call And Response has more impact.
• You get to see how much Charlie likes to do Repetition (really like Diminuition/Augmentation, both in time and key/tonality)
• It's a much more relaxed piece, so Charlie is playing much more mellowly to contrast his fast playing.

This is the only live video of Dizzy Gillespie with Charlie Parker:

Notes:

• You can see Buddy Rich on the drums in the background!
• Dizzy has a specially made trumpet that points the bell upwards. It's even on the cover of the textbook (see [[Mark C. Gridley - Concise Guide to Jazz-Pearson.pdf#pages=1]])

It's still AABA Jazz Form. Played by Charlie Parker with Dizzy Gillespie on trumpet.

Notes:

• I think it's the melody having random "high" notes that don't really conform with the melody. Sometimes they like to do a run, but add random high notes. This is playing with virtuoso.
• Charlie Parker gets to play like a cooler trumpet player, while Dizzy gets to take center stage and play like a sax player.

You get to hear Dizzy Gillespie play with Sonny Stitt, unlike with say Charlie Parker:

Notes:

• At one point Sonny plays just like the trumpet player (hear the quarter high notes)
• Sonny plays with the drums, doing swung eighths to stay in time with the drummer
• Sonny plays a lot more double tounging here so that he can still be in rhythmic time with the drums (he'll do a run, then double tounge to stay in time with the drums)
• You hear Dizzy playing much quieter at the start to build up (after the loud, almost obscene playing by Sonny)
• You see how little he's moving the valves! That's because he is trying to hit different pitches.

Played by Dizzy Gillespie in his Dizzy Orchestra.

Notes:

• The vocals are there just to add rhythmic things. They don't actually mean anything.
• Feels like a Bebop (Bop) big band.

Played by Lionel Hampton & Milt Jackson.

Notes:

• The form is a unique, non-AABA or traditional 12-bar blues form.
• This brings in the Afro-Cuban influence from Dizzy Gillespie.
• The rhythm almost feels not like 4/4 when they do the night life section.
• The trumpet solo has a lot of power at some smaller times; a characteristic of Dizzy Gillespie (he has virtuosity in the higher registers)

Played by Dizzy Gillespie, and featuring Chano Pozo on the bongos.

Notes:

• You hear the Patin Juba, or the Afro-Cuban feel from Dizzy Gillespie forcing the bongos, and that contrasts with the more swung rhythm that's implied. This is very similar to A Night in Tunisia that does a similar rhythmic thing.
• You hear the trumpets playing with similar style to Dizzy Gillespie; high virtuosity
• This is in contrast to Charlie Parker who only wanted fast and virtuostic all the time.

Composed by Thelonius Monk, this is one of his biggest jazz.

Notes:

• There's moving melodies even in places where it's very somber (the Trombones will fall while the piano holds out a note in their solo)
• You hear a lot of dissonance in the playing by Thelonius's melody
• The rhythmic part is replicating that of ticking time, speeding up and slowing down.
• "Jagged" maybe is how you describe. It almost doesn't sound like Bebop (Bop). Very idiosyncratic.