CHAPTER IV: BEBOP PIANO STYLES ‘The development of bebop during the 1940's by pianists such as Thelonious Monk, Bud Powell, Al Haig and Duke Jor- ddan resulted in fundamental changes in pianistic conception. Since bebop pianists were seldom heard in a solo piano set- ting it was of primary importance that their piano styles be ‘complementary to the new vocabulary being developed by bassists such as Oscar Pettiford, Charles Mingus and Curly Russell and by drummers such as Kenny Clarke and Max Roach. The bass players were developing very sophisticated ‘and melodically interesting ways of outlining the harmonic pro- ‘gressions in their walking lines. The drummers were playing in amore interactive style, using accents and rhythmic inter- jections on the snare and bass drums as well as varying their ride rhythms on the cymbals. The older stride piano style simply clashed with all these new developments. It was too basic harmonically and too regular and predictable rhyth- rmically to blend with what the younger bassists and drummers were playing. The perfect solution turned out to be a style of “comping” (probabiy from the words compliment and accom pany) which stated the chords in sparse, clearly articulated rhythmic figures similar to those being played by the drum- ‘mers on the snare and the bass drums. This gave the bassists plenty of room to develop their walking lines. It also began a tradition of special teamwork between pianists and drum- ‘mers which continued to evolve thru all subsequent styles and is an important aspect of the music today. Since the rhythmic function of the piano and drums shared so much common ‘ground, the most interesting jazz groups from the 1940's to the present have usually been those groups in which the pianist and drummer have had exceptional musical rapport. This can be heard clearly in the late 1940's and early 1950's recordings of Bud Powell or Al Haig with Max Roach, and ‘Thelonious Monk with Art Blakey. Later pianist and drummer ‘combinations which made many memorable records include Horace Silver with Art Blakey, John Lewis with Connie Kay, Hank Jones with Osie Johnson, Red Gartand with Philly Jo Jones, Sonny Ciark with Billy Higgins, Bill Evans, Paul Bley or Keith Jarrett with Paul Motian, Thelonious Monk with Frankie Dunlop, Wynton Kelly with Jimmy Cobb, Herbie Han- ‘cock with Tony Willams, Keith Jarrett with Jack DeJohnette, McCoy Tyner with Eivin Jones and Chick Corea with Roy Haynes or Barry Altschul. ‘A graphic representation of the modem rhythm section, as it began to develop during the late 1940's might be shown as im the diagram below. rhythmic interjections [rao] ¢ > aus] % \ ‘Anthough all three players obviously must be masters of all three functions, each instrument has two functions which are ‘more primary. The piano’s primary functions in a rhythm sec- tion, for example, are those of stating the harmony (with the bass) and making rhythmic interjections in response to the soloist (with the drums). The piano is not primarily responsi- ble for playing the pulse, although the pianist must obviously play in exact relation to the pulse being generated by the bass and drums. The above diagram also clearry illustrates the fact that each instrument shares one primary function with each of the others, This is why jazz musicians must listen constantly to each other and have the abilty to respond instantaneously ‘and appropriately in musical situations which are always fo ‘changing. There are, of course, many secondary musical func- tions for each instrument. These wil be more easily recognized ‘and understood, however, once the primary functions have been mastered. ‘This discussion of the evolution of the rhythm section helps to clarify why it was essential for piano technics to change radically during the 1940's. These changes naturally affected the approach of bebop pianists to unaccompanied solo play- ing. When Bud Powell or Al Haig played solo piano they usually aocompanied their right hand melodies with a left hand ‘comping style which was rhythmically identical to their two- handed comping style used to accompany hom soloists. Even ‘Thelonious Monk, who grew up playing stride piano but laterbecame one of the most important pioneers of bebop, often used this sparse and percussive left hand style when playing ‘solo piano. The best bebop pianists played with such energy and rhythmic clarity that they could often imply the feeling of an entire rhythm section with only occasional rhythmic jabs from the left hand. The secret was their ability to consistently achieve precise and appropriate placement and articulation of those few notes. Melodically speaking, the bebop pianists generally used identical or similar vocabulary to that being developed by the great horn soloists such as Charlie Parker, Fats Navarro, Dizzy Gillespie and Sonny Stitt, although each player had specific musical trademarks and idiosyncracies which can be easily recognized given a sufficient period of careful listening. The major exception was Monk, who evolved a truly singular ap- Proach which managed to totally personify the bebop idiom while remaining brilliantly free from clichés. It is interesting to note that Ellington, who deeply influenced Monk, had been similarly successful in virtually personifying the deepest qualities of swing music while remaining one of the most unique voices in the history of jazz. Generally speaking, however, certain basic observations can be made in regard to the melodic vocabulary used by the bebop pianists. 1. Bebop tended to be chromatic where swing music and stride tended to be more diatonic. There was more frequent use of both chromatic passing tones and chromatic embellishments of basic chord tones. 2, Bebop tended to emphasize altered chord tones more than basic chord tones or diatonic extensions. Although Ell- ington had been quite chromatic as a composer, his soloists were fairly conserve the 1940's. 3. Bebop tendec and earlier styles te on the beat. 4. Bebop utilizec teenth notes, even were often related the melodic lines. The compositi characteristic use ¢ The suggested liste ings since most be a solo piano settin Barry Harris oft music ever conceiv terms of improvisin: @ preconceived ha music of Bach is tc ‘standard of exceller creative musician n with few exceptions most lasting contrit with John Coltrane Keith Jarrett with CI they were dealing in rooted in bebop. It is temporary jazz mu: from which to reeva possible directions A 624 This composition, based on “rhythm changes” in BD, il- lustrates the basic bebop left hand comping style commonly used in both trio and solo settings. The left hand rhythmic figures and their relationship to the melody should be carefully noted. Measures 1, 2, 3 and 4, and 7 and 8 should be com- Se Se ey The use of chro’ of basic chord tone: frequent use of trito should also be stt throughout the bricA624 by Bill Dobbins Medium Fast Bebop (d= 120) shag? 7 77 . “A hee ye 4 ? A oo © 1985 by E.B.D. Music