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            One often compares the musicians bops to iconoclasts which took all that fell to them under the hand, topics of jazz or varieties, to transform it with their way i.e. by accelerating the tempo in extreme cases of the instrumental capacities and by deforming the harmonies to obtain an aggressive result, virtuoso certainly but contrary to the nice melodies which had been used as basic material.

 


            Compare “How high the moon” in a version Swing pépère and this same topic re-examined and corrected by Charlie Parker, you will understand immediately what it acts. Like all the innovators, the bopers were persuaded that the iconoclasts were those which did not evolve, which was satisfied to draw the old strings and to use of the well-worn receipts of the Swing.


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Chalie Parker
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            Charlie Parker summarizes the situation as follows: “I was tired stereotyped agreements of passage that one used constantly at the time, and I did not cease saying to me that it was to exist other thing. ” With Dizzy Gillespie they discover together this new alchemy in company of the pianist Thelonius Monk, of the beater Kenny Clarke, the guitarist Charlie Christian. 

The musicians are fascinated by the genius of Parker, the public less. Parker truffle its chorus of “foreign notes”, i.e. the deteriorated notes, for example instead of playing the " G "written on the Parker partition exploits G flat, one key period, and he insists.


            It is in constant shift compared to the harmony deployed by the other musicians. And in more it goes very quickly. The listening of Parker can still surprise not prepared ears, this is why we could not too advise you to know well the repertory used thanks to the listening of orchestras former to this period. In addition it is capital to listen to others bopers like the pianist Bud Powell for example.
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