Note Set #3: “Bebop, Vocal Jazz, and Jazz as Democracy”

 Democracy is a government in which power and responsibility are vested in the people and exercised by them; according to Abraham Lincoln, democracy is a government "of the people, by the people, and for the people"  Although the terms democracy and freedom are often used interchangeably, they are not the same; democracy is individual freedom but with responsibility to the group.  In a democratic society, individuals have the freedom to do whatever they wish as long as it doesn’t interfere with anyone else.  In a perfect democratic society, what the individuals happen to freely choose to do enhances the whole group.  If all people freely chose to work hard, not commit crime, be fair, and not discriminate, we would have a perfect democratic society.  Unfortunately, not all people think this way.  Things like greed, people wanting power, and racism get in the way.

 A jazz combo is an example of a perfect democracy. Each player has the freedom to play whatever s/he wants.  But, at the same time, each player wants to play something that will not only please himself/herself, but make the whole group sound better as well, enhancing the overall sound.  Jazz musicians work together on this, supporting each other while not compromising their own artistic individuality.  The best jazz bandleaders (e.g., Miles Davis) want their fellow musicians (AKA sidemen ) to express themselves the way they want and not just do the bandleader’s “bidding.”  In jazz, the best bandleaders encourage their sidemen to think and play however they wish, knowing that the entire group, in turn, will get more ideas and be inspired to play better individually and collectively; the leader and the sidemen work through each song as a team, learning from, complementing, and enhancing each other as they go along.  This is the same for the rhythm section and soloist – the rhythm section players want to support, complement, excite, spur on, interact with, and enhance the soloist; the soloist, in turn, wants to interact with, inspire, and be inspired by the rhythm section.

 Jazz musicians realize that the whole is greater than the sum of the parts.  Each individual part is enhanced by the group, i.e., each individual player gets better and comes up with more musical ideas because of the others in the group.  Together the musicians can do so much more than they could ever do individually.  They need each other to accomplish their individual and collective goals.  Jazz musicians realize the music is better because each player is different – it brings something new to the music.  If everyone in the band were the same, the music would probably be boring (there wouldn't be much give and take, learning from one another, or enjoyment).  In a jazz group, it doesn’t matter what color you are or what your ethnicity is; what matters is who you are inside and how you play.

 Bebop was at the forefront of jazz and went through its most concentrated growth and development from 1940 –  Bebop was primarily played by small groups (combos).  A typical bebop combo is comprised of two horns (e.g., trumpet and saxophone) and rhythm section (piano, bass, and drums).  Although usually a quintet, bebop combos can range in size from three pieces (e.g., piano, bass, and drums) to seven pieces (e.g., three horns, guitar, and three rhythm).  Whereas in Big Band Swing the focus is on the arrangement and the playing of the ensemble, in bebop the focus is on the soloist.  Bebop combo arrangements are rarely written.  The basic format is simply the head played in unison by the horns for the first and last chorus with a lot of improvised solos in between. The head serves as a “frame” for the most important part: the improvised solos.  The combo is the perfect setting for featuring soloists, i.e., no elaborate arrangements, just good, solid improvised interplay between soloist and rhythm section surrounded by the head at the beginning and the end (very little rehearsal, if any, required).

 Jam Sessions  Jam sessions are informal, non-rehearsed gatherings of musicians where they play together, challenge each other (who can “outplay” whom), and learn from each other.  Bebop, in large part, developed through jam sessions.  Jam sessions can be held anywhere, e.g., someone’s house, a bar, nightclub, etc.; some of the most famous jam sessions in jazz history occurred at a nightclub called Minton’s Playhouse in Harlem in the 1940s.  Bebop is the music most played at jazz jam sessions because all the musicians need to know are the head (the song's main melody) and changes (the song's chord progression).  Bebop is far more musically complex than its Big Band Swing forbearer.  Bebop harmonies (chords) are more complex.  Tempos are often much faster (although the bebop style can be played at any tempo).  Bebop heads are more intricate and difficult to play than regular melodies.  Bebop musicians improvise far more complex solos than those of the Swing Era.  Bebop requires musical virtuosity and artistry to play it.

 Whereas Big Band Swing was considered entertainment (i.e., dance music), bebop was considered art music. Like classical music, bebop was for listening only and bebop musicians considered themselves artists, not merely entertainers.  The two most important bebop musicians were:  alto saxophonist Charlie “Bird” Parker  trumpeter Dizzy Gillespie

Dizzy Gillespie and Charlie Parker,

 Scat Singing  Scat singing (AKA “scatting”) is a type of singing whereby the vocalist imitates the style of bebop jazz solos (as played by instrumentalists) using nonsense syllables; scat solos, like their instrumental counterparts, are improvised  The most important scat singer was Ella Fitzgerald, also called the “First Lady of Song.”

Ella Fitzgerald on the Perry Como Show, circ

 The demise of the Swing Era big bands was, in part, due to World War II:  the draft - many jazz musicians were called to war, leaving few at home  bands raided each other, that is, with so few musicians left at home, band leaders “stole” musicians from other bands, offering them a slightly better deal; bands that were intact before the war were depleted  transportation to reach night spots outside city limits was difficult due to gas shortages (gas rationing), tire shortages (rubber rationing), and the dismantling of urban and interurban railways  midnight curfews (“brown-outs”)  20% amusement tax - customers would have to pay 20 cents tax on the dollar in any nightclub that included dancing  Racism and segregation were rampant in America during the swing and bebop eras.

 African American jazz musicians became increasingly disenchanted with swing music the more they watched European Americans capitalize on it; they wanted to create their “own” music, a music that was not for dancing but for listening: a true African American art form.  Bebop reflected the culture of the times; like the African American experience at the time, the music:  was difficult  alluded to the blues  explored new directions and uncharted territory  was separate from the mainstream of America  In the history of entertainment, many artists have been faced with alcohol and drug addiction. In the case of young jazz musicians, some, in their struggle to deal with racism, oppression, and related issues, became addicted to alcohol and drugs; some, in fact, met their demise due to alcohol abuse and drug abuse. Jazz greats who overcame their addictions have stated, contrary to popular belief, that alcohol and drugs never enhanced their musical performance.

Ella Fitzgerald,

 The Rat Pack is the nickname given to a group of popular entertainers most active between the mid-1950s and mid-1960s.  The most famous of the members were  Frank Sinatra, aka “The Chairman of the Board”  Dean Martin  Sammy Davis, Jr.

 The Rat Pack often performed in Las Vegas, Nevada, and were instrumental in the rise of Las Vegas as a popular entertainment destination.  They played an important role in the desegregation of Las Vegas hotels and casinos in the early 1960s.  Sinatra and the others would refuse to play in or patronize those establishments that would not give full service to African American entertainers including Davis.  Once Rat Pack appearances became popular and the subject of media attention, the Las Vegas properties were forced to abandon segregation-based policies.  Often, when one of the members was scheduled to give a performance, the rest of the Pack would show up for an impromptu show, causing much excitement amongst audiences.  They sold out almost all of their appearances and people would come pouring into Las Vegas, sometimes sleeping in cars and hotel lobbies when they could not find rooms, just to be part of the Rat Pack's entertainment experience.  The marquees of the hotels at which they were performing as individuals would read, for example, "DEAN MARTIN - MAYBE FRANK - MAYBE SAMMY."

Frank Sinatra, Dean Martin, and Sammy Davis, Jr. with Johnny Carson, circ