A Quote by Jack Kerouac
Bop began with Jazz but one afternoon somewhere on a sidewalk maybe 1939, 1940, Dizzy Gillespie or Charlie Parker or Thelonious Monk was walking past a men's clothing store on 42nd Street or South Main in L.A. and from a loudspeaker they suddenly heard a wild impossible mistake in jazz that could only have been heard inside their own imaginary head, and that is a new art. Bop.
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Ornette Coleman is doing the only really new thing in jazz since the innovations in the mid-forties of Dizzy Gillespie, Charlie Parker, and those of Thelonious Monk
I grew up listening to Ravel, Debussy, Bartok and jazz like Charlie Parker, Dizzy Gillespie, Cannonball Adderley, Charlie Christian and Django Reinhart. It was incredibly inspiring! And I was given a guitar and I said 'What the hell is this?!'
The first jazz pianist I heard was Thelonious Monk. My father was listening to an album of his called 'Monk's Dream' almost every day from the time I was born.
I got really sick of playing just, like, 'Bop-bop-bop-bada-bop-bop-bada-rapa-pah.' Just playing that 190-beats-per-minute punk-rock songs, I didn't feel it anymore. And I always loved melody - when you looked back on those early records, there's always a hook buried in there somewhere.
We not only grew up on Be-Bop; Be-Bop raised us. For my generation, Be-Bop came on like a light bulb going flash behind the eyes.For us, it was not only an intellectual movement, but a way of life. We walked, dressed, and rapped Be-Bop.
When it's all said and done, jazz with a capital J is where I'm coming from. Dexter Gordon, Billie Holiday, Miles Davis, Charlie Parker, Thelonious Monk - that's what I really studied when I was a teenager and what really fueled my passion.
When I heard Charlie Parker, I knew that that was going to be the new wave, the new way to play jazz. From that point on, I was sold with... the idea of bebop.
In New York, I was excited about the music in New York because the only music that I was more or less involved with in the South was either country and western or hillbilly music as we used to call it when I was a kid and, ah, gospel. There was no, there was no in between. And when I got to New York all the other musics that's in the world just came into my head whether it was the classics, jazz, I never knew what jazz was about all, had heard anything about jazz.
Jazz should be recognized as music of the people, based in a lot of accents and melodies. What is jazz but music that people danced to? Jazz has the dynamic thing. I don't think you have to be playing only Charlie Parker licks on your horn or whatever the new version of that is.
All I want to say to people, man, is, "Yo, you see me walking down the street and I got a little bop in my walk, don't think because I've got a bop in my walk I'm trying to be all that. The bop in my walk is because I'm just like you, man. I bop when I walk." Know what I'm saying? I'm proud. If you see me smiling, standing straight up, gold around my neck, it's not because I'm conceited. It's because I'm proud of what I achieved. I made this. I worked hard for this. That's all this is about.
I got into music when I was a little boy. My dad was always into jazz. I got my education from him. The first time I listened to jazz, he gave me a Thelonious Monk record. It was so different from anything I had ever heard. It took me a while to understand it, and I liked that. I liked the fact that it wasn't immediately palatable.
Dizzy, Duke and Charlie Parker were the greatest jazz legends of all time.
A-bop-bop-a-loom-op-a-lop-bop-boom.
It's just music. It's trying to play clean and looking for the pretty notes. The beat in a bop band is with the music, against it, behind it. It pushes it. It helps it. Help is the big thing. It has no continuity of beat, no steady chug-chug. Jazz has, and that's why bop is more flexible.
I used to tell my friends, 'Art Blakey is way more gangster than Eazy-E!' I ended up getting my friends into jazz, and all of a sudden there was this little group of kids in the middle of South Central that were all into hard-bop.
Charlie Parker was the greatest individual musician that ever lived. Every instrument in the band tried to copy Charlie Parker, and in the history of jazz there had never been one man who influenced all the instruments.
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