(Continues w/part 2 of ?...) ...by 1st stating that I am in no way dissing (aka: DISrespecting) rappers anywhere now nor at anytime in the evolution of rap, as I am guilty myself of contributing to that evolution. But I have kept my eye on HIP-HOP while doing so and have seen the foretold shift of its style occur in the early 2000s. That shift was marked by the introduction of ARTISTS such as MOS DEF (aka: YASMIN BEY), TALIB KWELI, LUPE FIASCO, and even WIZ KHALIFA, 2 name a few. And now that I have made reference to the shift in HIP-HOP, lets go back to the time of the 1st tremor, BE-BOP. Bebop was born in 1941, when trumpeter Dizzy Gillespie, double bass player Milt Hinton, alto saxophonist Charlie Parker, pianist Thelonious Monk and drummer Kenny Clarke began playing informally together. Its official birth place was Mintons Playhouse, a New York club. The unified improvisation began. The sound and pace of Bebop was considered NEW AGE at that time and the acceptance of Bebop was slow from its birth from the big band swing sound. The following is an excerpt from an article entitled The Bebop revolution in jazz composed by Satyajit Roy Choudhury: By the late 1930s and early 1940s many younger musicians began to find that the commercially dominant form of jazz at the time, the big-band swing style, failed to provide an outlet for their musical creativity. Swing became widely popular because of its appeal as dance music. Solo improvisation remained an important element, but swing bands adopted structured musical arrangements suited to popular dance styles. For some musicians, the commercial success of swing eventually led to unwanted constraints: formulaic rhythms, simple harmonies, dependence on traditional melodic structures, and too little room for individual expression. Younger musicians who ignored those constraints found themselves out of favor with bandleaders, older musicians and most audiences. Kenny Clarke, one of the founders of bebop, began to experiment in the late 1930s with the drum kit as a separate musical voice rather than as a device for keeping time. His unorthodox use of rhythmic accents and patterns led to him being fired from his band, after other players complained that he kept breaking up the musics tempo. The popularity of swing in the 1930s thus produced a growing tension between commercial demands and the desire to develop new creative ideas. For further insight, I recommend doing the knowledge of this type of jazz For now, I offer this: m.youtube/watch?v=09BB1pci8_o and this: jazzandbebop.blogspot/2010/04/rise-of-bebop.html?m=1 The above linked blog credits a different year as the origin of Bebob, but thats the web 4ya! But what has remained consistent is the head-nodding, body-moving track by MAN PARRISH that serves as a nod to HIP-HOPs true origins. Listen here: m.youtube/watch?v=7tsfJn8YdwQ As it can b seen by Mr. Chaoudhurys article, just as in the late 40s, young African Americans in the late 70s sought an outlet for their musical creativity. As the country was leaving the Disco/Funk/R&B era and moving more toward the FUNK/R&B era, the formulaic process of being recognized as a talent via talent shows (IE: The Apollo, local schools, street performances) or who you knew was waning. This break from the traditional methods was spurred by the DJs of that time. Just as it is today, it is the DJ that serves as the true VOICE of HIP-HOP AND RAP. In those days it was the DJs job to spin records AND communicate as neatly, effectively, and energetically as possible. Some may remember names such as WOLFMAN JACK, PETEY GREEN (Talk To Me movie starring Taraji P Henson and Don Cheadle), DON CORNELIUS, and CASEY KASEM, to name a few. Early HIP-HOP DJs looked to not only emulate, but to improve upon the rigid, yet entertaining, styles of those b4 them. Not just in their MIC skills but also in the way the music was presented. The following link picks up the story from here: cincystreetdesign/1520_Sedgwick/ (2b continued)
Posted on: Fri, 16 Jan 2015 15:47:47 +0000
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