1940s in jazz

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Charlie Christian

In the early 1940s in jazz,

substitute chords, and altered chords. The style of drumming shifted as well to a more elusive and explosive style, in which the ride cymbal was used to keep time, while the snare and bass drum were used for accents. This appealed to a more specialized audiences than earlier forms of jazz, with sophisticated harmonies, fast tempos and often virtuoso musicianship. Bebop musicians often used 1930s standards, especially those from Broadway musicals, as part of their repertoire.[2]

Among standards written by bebop musicians are Gillespie's "Salt Peanuts" (1941) and "A Night in Tunisia" (1942), Parker's "Anthropology" (1946), "Yardbird Suite" (1946) and "Scrapple from the Apple" (1947), and Monk's "'Round Midnight" (1944), which is currently the most recorded jazz standard composed by a jazz musician.[3]

An early 1940s style known as "jumping the blues" or

Kansas City Jazz in the 1930s as exemplified by tenor saxophonist Lester Young
marked the transition from big bands to the bebop influence of the 1940s.

These divergences from the jazz mainstream of the time initially met with a divided, sometimes hostile response among fans and fellow musicians, especially established swing players, who bristled at the new harmonic sounds. To hostile critics, bebop seemed to be filled with "racing, nervous phrases".[4] Despite the initial friction, by the 1950s bebop had become an accepted part of the jazz vocabulary. The most influential bebop musicians included saxophonist Charlie Parker, pianists Bud Powell and Thelonious Monk, trumpeters Dizzy Gillespie and Clifford Brown, and drummer Max Roach.

The swing era lasted until the mid-1940s, and produced popular tunes such as Duke Ellington's "Cotton Tail" (1940) and Billy Strayhorn's "Take the 'A' Train" (1941). When the big bands struggled to keep going during World War II, a shift was happening in jazz in favor of smaller groups. Some swing era musicians, like Louis Jordan, later found popularity in a new kind of music, called "rhythm and blues", that would evolve into rock and roll in the 1950s.[5]

Louis Armstrong

In the late 1940s there was a revival of "

Wild Bill Davison. Most of this group were originally Midwesterners, although there were a small number of New Orleans musicians involved. The second population of revivalists consisted of young musicians such as the Lu Watters band. By the late 1940s, Louis Armstrong
's Allstars band became a leading ensemble. Through the 1950s and 1960s, Dixieland was one of the most commercially popular jazz styles in the US, Europe, and Japan, although critics paid little attention to it.

By the end of the 1940s, the nervous energy and tension of bebop was replaced with a tendency towards calm and smoothness, with the sounds of

list of cool jazz and West Coast musicians
for further detail.

1940

Main article: 1940 in jazz

Album releases

Births

Deaths

1941

Main article: 1941 in jazz

Births

1942

Main article: 1942 in jazz

Births

Deaths

1943

Main article: 1943 in jazz

Events

The American Federation of Musicians recording ban, called by James Petrillo, continued through 1943.

Album releases

Births

Larry Coryell

Deaths

1944

Main article: 1944 in jazz

Album releases

Births

  • Don Sickler (January 6, 1944 -), trumpeter
  • Ron Mathewson (February 19, 1944), double bassist
  • Eddie Gómez
    (October 4, 1944), double bassist

Deaths

Glenn Miller
  • Glenn Miller (March 1, 1904 – missing December 15, 1944), musician and composer
  • Jimmie Noone (April 23, 1895 – April 19, 1944)

1945

Main article: 1945 in jazz

Album releases

Births

Deaths

1946

Main article: 1946 in jazz

Births

1947

Main article: 1947 in jazz

Album releases

1948

Main article: 1948 in jazz

Album releases

Births

1949

Main article: 1949 in jazz

Album releases

Deaths

See also

References

  1. ^ Joachim Berendt. "The Jazz Book". 1981. Page 15.
  2. ^ Jazz History: The Standards (1940s) on jazzstandards.com - retrieved on May 18, 2009
  3. ^ 'Round Midnight at jazzstandards.com - retrieved on February 20, 2009
  4. ^ Joachim Berendt. "The Jazz Book". 1981. Page 16.
  5. ^ Jazz History (1940s) at jazzstandards.com - retrieved on May 18, 2009
  6. ^ Joe Biviano, his Accordion and Rhythm Sextette (2 June 2018). "Accordion Capers" – via Internet Archive.
  7. ^ The Billboard, "Record Reviews", April 27, 1946 P. 124
  8. ^ Joe Biviano, his Accordion and Rhythm Sextette; Tom Delaney; John Serry. "Leone Jump; Swing Low, Sweet Chariot; The Jazz Me Blues; Nursery Rhymes" – via Internet Archive.

Bibliography

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