The JAZZ Story

(1924-1982), Dexter Gordon (1923-1990), and Gene Ammons

(1925-1974); and pianist-arranger-bandleader Tadd Dameron (1917-1965).

Bop, of course, was basically small-group music, meant for listening, not

dancing. Still, there were big bands featuring bop--among them those led

by Dizzy Gillespie, who had several good crews in the late `40s and early

to mid-50's; and Woody Herman's so-called Second Herd, which included

the cream of white bop--trumpeter Red Rodney (b. 1927), and

saxophonists Stan Getz (1927-1993), Al Cohn (1925-1988) and Zoot Sims

(1925-1985), and Serge Chaloff (1923-1957).

BOP VS. NEW ORLEANS

Ironically, the coming of bop coincided with a revival of interest in New

Orleans and other traditional Jazz. This served to polarize audiences and

musicians and point up differences rather than common ground. The

needless harm done by partisan journalists and critics on both sides

lingered on for years.

Parker's greatest disciples were not alto saxophonists, except for Sonny

Stitt. Parker dominated on that instrument. Pianist Bud Powell

(1924-1966) translated Bird's mode to the keyboard; drummers Max

Roach and Art Blakey (1919-1990) adapted it to the percussion

instruments. A unique figure was pianist-composer Thelonious Monk,

(1917-1982). With roots in the stride piano tradition, Monk was a

forerunner of bop--in it but not of it.

JAZZ-ROCK FUSION

In the wake of Miles Davis' successful experiments, rock had an

increasing impact on Jazz. The notable Davis alumni Herbie