Please explain in detail. Billy Mitchell, a tenor saxophone player, organized a band that played at the Blue Bird Inn during the early 1950s that "anchored the city's Jazz scene" and attracted hard bop musicians to the city.[9]. This article is about the jazz style. A more intense type of Bebop promoted by John Coltrane starting in the 1950s. Roy Carr, Miles Davis (t), Lee Konitz (as), Gerry Mulligan (bar s), JJ Johnson (tb), Kai Winding (tb), Junior Collins (Fr hn), Gunther Schuller (Fr hn), Sandy Siegelstein (Fr hn), Billy Barber (tba), John Barber (tba), Nelson Boyd (b), Joe Shulman (b), Al McKibbon (b), Al Haig (p), John Lewis (p), Kenny Clarke (d), Max Roach (d), Gil Evans (arr), Johnny Carisi (arr) and Kenny Hagood (v). And like so many classic albums of the period, it was taped in a single session, in the summer of 1956. Regardless of whatever suffering accompanies artistic endeavors, there is something especially fulfilling, a profound inner joy, that arises from communicating the creative, artistic experience itself. Truth: it sounds even more contemporary today than way back then with recordist Rudy Van Gelder faithfully capturing the sheer depth of Rollins delivery. See Also: A letter to John Andrews: Two questions about jazz history, International Committee of the Fourth International, A letter to John Andrews: Two questions about jazz history. The baffled audience responded with a huge ovation. This follows from the fact that jazz music continued to develop technically up to the bebop era, but since that time has progressed principally by working through the advances of bebop or by grafting other musical traditions, such as bossa nova or rock, with modern jazz. Fugue: 1 main theme. The level of invention Powell achieves puts this recital on equal par with anything in the recorded annals of jazz piano and makes it basic required jazz listening. Jive at Five: The Stylemakers of Jazz (1920s-1940s), Introspection: Neglected Jazz Figures of the 1950s and Early 1960s, Nico's Dream: Small Jazz Groups of the 50s and Early 60s, When Malindy Sings: Jazz Vocalists 1938-1961, Billy Tipton Memorial Saxophone Quartet: Box, Earl Hines & Jimmy Rushing: Blues & Things, Great Circle Saxophone Quartet: Child King Dictator Fool, Greg Saunier/Mary Halvorson/Ron Miles: New American Songbooks, Volume 1, Jammin' for the Jackpot: Big Bands and Territory Bands of the 30's, Jazz in Revolution: The Big Bands of the 1940s, Jon Raskin Quartet: The Bass & The Bird Pond, Julius Hemphill (1938 - 1995): The Boy Multi-National Crusade for Harmony (Box Set), Kamikaze Ground Crew: Madam Marie's Temple of Knowledge, Kris Davis/Matt Mitchell/Arun Ortiz/Matthew Shipp: New American Songbooks, Volume 2, Leroy Jenkins: Themes and Improvisations on the Blues, Little Club Jazz: Small Groups in the 30s, Marty Ehrlich's Dark Woods Ensemble: Emergency Peace, Mirage: Avant-Garde and Third-Stream Jazz, Muhal Richard Abrams and Marty Ehrlich: Open Air Meeting, Muhal Richard Abrams: One Line, Two Views, New World Records/DRAM/Sound American915 Broadway, Suite 101A | Albany, NY 12207Telephone: 212.290.1680, Sign up to our email newsletter to keep up to date witheverything New World Records. Often its the one jazz title owned by a metal head or a classical enthusiast, not just the jazz-focused. His music is not easy, being complex and angular, even at this distance his 1956 sessions for Victor giving the listener few points of comfort. As DeVeaux eloquently explains, "bebop is the point at which our contemporary ideas of jazz come into focus. A smooth, serene style of jazz that began on the West Coast in the 1950s. The resulting breachesfirst, between the older and younger . The motives ascribed to the young pioneers in the style range from dissatisfaction with the restrictions on freedom of expression imposed by the then dominant big-band swing style to the deliberate invention of a subtle and mystifying manner of playing that could not be copied by uninitiated musicians. One of the striking features of his style was his intensification of, . And if you are a true aficionado then this list is sure to remind you of some albums that you will rush to rediscover. Excellent jazz players have come from different ethnic groups and, indeed, different nations. Journalists and record companies began using the term in the mid-1950s[1] to describe a new current within jazz that incorporated influences from rhythm and blues, gospel music, and blues, especially in saxophone and piano playing. The 1959 disc didnt arrive with a thunderous clap, yet four decades later, at the end of the millennium, there it was at the top of any and all best of lists, nudging aside so many rock, pop and hip-hop recordings. By then, Ah Um had made its impact, not least because of sidemen such as Knepper, Ervin and Handy none of them names until chosen by Mingus and, similarly, the great Richmond. Modal jazz rose to prominence in the late 1950s as an alternative to the static structure of bebop. Debuted at the Chicago Civic Opera House in 1948, a capacity audience greeted the piece in stunned silence until Kenton, with remarkable presence of mind, leapt in front of his band and with a dramatic gesture signalled for his band to take a bow. Chalk and cheese: Brubecks frequently thunderous, bombastic pianistics being in stark contrast to Desmonds unruffled pure toned alto sax. [21] Coltrane was a longtime member of Miles Davis' band, which bridged the gap between hard bop and modal jazz with albums such as Milestones and Kind of Blue. Bebop was the title of a Gillespie composition recorded in early 1945. DeVeaux tells his story with an unwarranted focus on Coleman Hawkins, the superlative swing era virtuoso justifiably regarded as the father of all jazz tenor saxophonists, but not a bop musician. Additionally - and crucially - he influenced just about every jazz singer and musician worthy of the name between the 1940s and today, including such people as Lester Young, Miles Davis and John Coltrane, all of whom had listened very closely indeed to Sinatra's balladry. As WSWS arts editor David Walsh explained, "Art is very much bound up with the struggle, as old as human consciousness, to shape the world, including human relations, in accordance with beauty and the requirements of freedom, with life as it ought to be." It endures. The Birth of Bebop: A Social and Musical History. [6] Other early documents were the two volumes of the Blue Note albums A Night at Birdland, also from 1954, recorded by the Jazz Messengers at Birdland months before the Davis set at Newport. ) 2023 "[13], Scott Yanow described hard bop in the late 1960s as "running out of gas." Rec. [23] Other hard bop musicians went to Europe, such as pianist Bud Powell (elder brother of Richie Powell) in 1959 and saxophonist Dexter Gordon in 1962. Although there was certainly much in jazz music that qualified as art prior to bebop, during the 1930s swing music to a large extent played much the same role as rock music has since the 1950s--entertaining masses of youth. It cemented "Coltrane's ability to navigate complex chord changes over a fast tempo" and is associated with Griffin's reputation as "the world's fastest saxophonist. "[22], In the early 1960s, Joe Henderson formed a band with Kenny Dorham, which recorded for Blue Note Records, and played extensively as a sideman in the bands of Horace Silver and Herbie Hancock; however, he received less recognition after he moved to San Francisco and began recording for Milestone. Compared to swing, bebop was. 1956. 22 May 1998. While the United States Supreme Court had affirmed the fundamental rights of, African Americans to equal access to public education in 1954, many states in the, South resisted integration, as they also sought to suppress the voting rights of. What Miles Davis innovation initiated an era of jazz-rock fusion? Keith Shadwick, Clifford Brown (t), Harold Land (ts), Richie Powell (p), George Morrow (b) and Max Roach (d). Theres something both intelligent and often highly emotional going on in these albums that stands the test of time. Moreover, DeVeaux's racialist thesis is contradicted by the statements of the bop pioneers themselves, who, despite the terrible impact segregation must have had on the musicians in the 1940s, did not respond with black nationalist and separatist views. fusing classical music and jazz 1. And there it sits in at least five million CD collections. Mark Allen Group ", "Characteristically," DeVeaux writes, "the revolutionary qualities of bop are situated not within but outside the jazz tradition, in the collision between jazz as an artistic endeavor and the social forces of commerce and race. Rec. The way that Bird and Dizzy play "Shaw 'Nuff," they're so accurate it . Just one month later, Miles adopted the role of sideman on Somethin Else, Adderleys one-off album for Blue Note. In any event, the result of this process, he contends, was the sudden appearance of regular Harlem jam sessions at which the new musicians, including Charlie Christian (before his untimely death of tuberculosis in 1942), Charlie Parker, Thelonius Monk, Dizzy Gillespie, and drummer Kenny Clarke, worked out the new musical vocabulary. Rec. 1996 Kenyon College Yet, they had everything going for them and as this selection by the pre-Rollins line-up proves that one of their great strengths was a pad of marvellous material that embraced Brownies unforgettable Daahoud, The Blues Walk and Joy Spring plus original takes on Delilah, Jordu, Parisian Thoroughfare and Duke Ellingtons What Am I Here For. Though Brownie and Max Roach deservedly grabbed the plaudits, its time to turn the spotlight on that truly underrated tenor player Harold Land plus Bud Powells ill-fated piano playing younger brother Richie who really goes for broke on two takes of The Blues Walk as does Land. The advent of World War II brought these relations to a crashing halt. Who is Laura Numeroff? To be sure, parts are highly redolent of the period in terms of their classical counterpoint, and a couple of brief episodes that don't quite come off stick out rather uncomfortably at this distance. Piano. Describes the heyday of mainstream modern jazz from the 1950s until the 1960s. A programme starting out with three remarkably different blues Better Git It In Your Soul, Goodbye Pork Pie Hat and Boogie Stop Shuffle could hardly fail to grab Mingus fans, but the performances were tight enough to convince many doubters as well. Bebop 80271 Jazz historians explain the coming of bebopthe radically new jazz style that established itself toward the end of World War IIas a revolutionary phenomenon. Michael Verity. [8] Whether or not this was the intent, many musicians quickly adopted the style, regardless of race. Rec. The process of recording everyday sounds on to tape and then manipulating them into new sounds using electronic oscillators and filters. It certainly didnt do Julian Cannonball Adderley any harm who joined Miles in October 1957, three months prior to wayward John Coltranes return to the fold, and remained until September 1959 when he departed to be reunited with his brother Nat. The electric guitarist who joined the Benny Goodman band in 1939 was. City Of Glass is one of the great, if misunderstood, extended compositions in jazz. 1959. 1956. His pitch bending was so exaggerated by conventional standards that his. Its emphasis on freedom and new directions in sound would help change the course of jazz and even carry over to rock and other music forms. many of those considered among the greatest achieved fame in this era. Rec. 1955-56, Sinatra the jazz singer? Precisely because he is a professor, his book is infected with the pretentious, roundabout and ponderous writing which seems mandatory these days at institutes of higher learning. For example, Donald Byrd's shift toward commercial fusion and smooth jazz recordings of the early 1970s, while celebrated within some circles, was considered a "betrayal" by fans of hard bop. Certainly, Kind of Blue must be measured by musical influence. Keith Shadwick, John Lewis (p), Milt Jackson (vb), Percy Heath (b) and Connie Kay (d). What Miles Davis innovative recordings enlarged the scope of jazz composition, big-band music, and recording projects? [2]:38[10] However, the song became a successful hit.[10]. 1. classical elements to composition. Young jazz musicians, of course, enjoyed and listened to these R & B sounds which, among other things, began the amalgam of blues and gospel that would later be dubbed 'soul music.' Many established jazz musicians, including the progenitor Louis Armstrong, condemned the new music as noisy and unswinging. A survey of local car dealers revealed that 64% of all cars sold last month had CD players, 28% had alarm systems, and 22% had both CD players and alarm systems. [3], According to Nat Hentoff in his 1957 liner notes for the Art Blakey Columbia LP entitled Hard Bop, the phrase was originated by music critic and pianist John Mehegan, jazz reviewer of the New York Herald Tribune at that time. Learn vocabulary, terms, and more with flashcards, games, and other study tools. Bebop is a style of jazz that developed in the 1940s and is characterized by improvisation, fast tempos, rhythmic unpredictability, and harmonic complexity. in the wake of bebop, jazz composition in the 1950s "Bebop," as used in the title of DeVeaux's book refers to the modern jazz pioneered by alto saxophonist Charlie Parker, trumpeter Dizzy Gillespie, pianist Thelonius Monk and other young jazz musicians during the early 1940s. Nestled in a sympathetic small-group setting, Sassy simply blossoms into an overwhelmingly seductive artist whose complete abandonment to her own idea of line and sound gives the listener a level of ecstatic pleasure delivered only by - well, by Sassy, Ella and Billie, truth be told. Ultimately, Colemans talent is for making music that is as complex as it is primal. It would take the Civil Rights Act of 1964 to. Miles Davis Nonet. The, artistic/philosophic aesthetic of musical freedom found its correspondence in the. Stuart Nicholson, Dave Brubeck (p), Paul Desmond (as), Eugene Wright (b) and Joe Morello (d). This is, generally, what happened to the boppers. Although he points out that early in the century jazz musicians came disproportionately from the ranks of the black middle class, many aspiring black musicians lacked the resources for extensive formal training. -kerouac's "on the Road" became bible for the beats. The playing of all four musicians concerned: Rollins, Tommy Flanagan, Watkins and Roach is of the highest order to where the passing of 54-years hasnt in any way diminished its sheer vitality. [25], Davis led other jazz musicians toward the fusion genre, particularly other trumpet players. It stuck, however, and is used respectfully by musicians and aficionados today, often in its shortened form--"bop.". ", DeVeaux attempts to explore a third path, one which incorporates elements of "evolution," and turns the objective of the bop "revolution" on its head. We have now taken the concept much further with a brand new publication The 100 Jazz Albums That Shook The World a 100-page definitive guide to the most important and influential jazz albums that have gone on to change and shape the course of the music from the 1920s to the present day. Golson and Morgan formed their own bands and produced further records in the hard bop genre: Golson's Jazztet with Art Farmer on trumpet recorded the album Meet the Jazztet in 1960, which was given a five-star rating by AllMusic, and Morgan explored hard bop and sister genres in records like The Sidewinder, known for its "funky, danceable groov[e] that drew from soul-jazz, Latin boogaloo, blues, and R&B. Jazz Chapter 13: Jazz Composition in the 1950s Flashcards [27], Following fusion's decline, younger musicians started a bop revival, the best-known proponent of this being trumpeter Wynton Marsalis. It's that simple: Jimmy Smith invented modern jazz organ and this is the album (in fact, volume one of two quickly-released volumes recorded at the same February 1956 sessions) where he announced his arrival. The phrase was an onomatopoeic rendering of a rhythmicmelodic figure characteristic of the new style. For the album by Art Blakey and The Jazz Messengers, see. By then the first album had delivered a blues-plus-bebop blueprint for the jazz organ trio that Smith would subsequently develop, refine and occasionally revise, but that stayed remarkably consistent in content and quality over the next decade. But this uniquely conceived piece of music had no precedent in either classical music or jazz so there was no context in which to situate it at the time. DeVeaux explains with great passion that despite the commercial success of the bands, the twin impact of the Depression and Jim Crow racism caused great hardships and a never-ending string of petty humiliations for these talented musicians. [1][3] The "funky" label refers to the rollicking, rhythmic feeling associated with the style. The development of bebop, in the aftermath of World War II, signified a certain optimism and hope about the ability to break down racial barriers. Thus, bebop is often construed as a protest against commercialism: through an uncompromising complexity of their art, bop musicians are said to have asserted their creative independence from the marketplace. Kind of Blue. This music just has to be heard. "[17] Morgan's albums attracted rising stars in the jazz world, particularly saxophonists Joe Henderson and Wayne Shorter; Morgan formed a "long-standing partnership" with the latter. Roy Carr, Ahmad Jamal (p), Israel Crosby (b), Vernell Fournier (d). Jazz, although uniquely American in origin, is an art form combining many different cultural influences and musical traditions. London, SE24 0PD. Other musicians who contributed to the hard bop style include Donald Byrd, Tina Brooks, Sonny Clark, Lou Donaldson, Blue Mitchell, Sonny Rollins, and Sonny Stitt. Hard bop is sometimes referred to as "funky hard bop". What Miles Davis recording launched the cool jazz movement? in the wake of bebop, jazz composition in the 1950s digicel fiji coverage map June 10, 2022. uptown apartments oxford ohio 7:32 am 7:32 am Even his advocates affectionately referred to his melodic improvisations as, . A ban on recording declared by the American Federation of Musicians (AFM) in 1942 lasted two years. To understand jazz, one must understand bebop.". How does one properly gauge impact? In 1969, discouraged by the quarterly's financial burdens, Kenyon College ceased publication of KR. While separable, these themes of revolution tend to intertwine as a rebellion by black musicians against a white-controlled capitalist hegemony. Conscription decimated the ranks of the big bands and gas shortages halted the tours. jazz styles. Robert Shore, Gerry Milligan (bar s), Chet Baker (t), Bobby Whitlock (b) and Chico Hamilton (d). [3] Leroi Jones noted a combination of "wider and harsher tones" with "accompanying piano chords [that] became more basic and simplified." was an artistic representation of a host of aspirations, both individual and collective. week 11 quiz.docx - Lesson 11 Free Jazz In the wake of bebop the 1950s Rec. Since a professional musician must sell his creative product in order to survive, the eternal question for serious jazz musicians has always been whether to pursue an aesthetic goal, at the risk of alienating sections of the public, or to cash in on their skills by orienting to the popular music industry. Four jazz composers represent four approaches to expanding the jazz canvas: 1. Rec. Mingus: bassist that worked with and expanded conventional forms, adding effects from gospel, ragtime, bop, classical music. Rec. Bebop: The Genre Of Music That Developed In The Early 1940s Gil Evans: radically transformed work of other composers. We didn't know what it was going to evolve into, but we knew we had something that was a little different. Rec. The gulf between the world as it is for the jazz virtuoso of the 1940s--dominated by war, gross social inequality, degrading racial discrimination, and, often, philistine ignorance, and how it ought to be--full of beauty and freedom, gives the resulting spontaneous improvisations of the jazz master of the 1940s an added passion. Rec. These albums represented a transition toward more experimental jazz, but Davis maintained core ideas of hard bop, such as the "call-and-response theme" found on one of Kind of Blue's best-known tracks, "So What. 1950-51, Two Herculean trio tunes Tea For Two and Hallelujah, both taken at breakneck speeds make up the 1950 contribution here. Goal. Originally issued as Art Blakey And The Jazz Messengers, the title was quickly changed to Moanin to capitalise on the publics instant response to the LPs opening track and also Blues March. They really liked digging into blues and gospel, things with universal appeal. Keith Shadwick, Charles Mingus (b), Jackie McLean (as), , JR Monterose (ts), Mal Waldron (p), Willie Jones (d). The LP, featuring 11 tracks largely written and entirely arranged by the great Neal Hefti, was originally released on the infamous Morris Levys Roulette Records label. Central to this. By seeking to reduce bop to nothing more than a gimmick for black musicians to make money at the expense of their less gifted but more privileged white counterparts, DeVeaux unconsciously translates profound questions of art and society into the crude language of the 1990s--that the sole purpose of human activity is the accumulation of personal wealth and privileges, with various groups pitted against each other along racial and ethnic lines. Pictured are Lee Morgan (left), "Secrets of the Blue Note Vault: Michael Cuscuna on Monk, Blakey, and the One That Got Away", "Richie Powell Biography, Songs, & Albums", "Re-Masculating Jazz: Ornette Coleman, "Lonely Woman," and the New York Jazz Scene in the Late 1950s", "John Coltrane: A Guide to His Life and Music", "Joe Henderson Biography, Songs, & Albums", "Dexter Gordon Master of the Tenor Sax", "When Jazz Ruled The World: The Rise And Reign Of America's One True Art", "The Young Lions brought bebop and swing roaring back", https://en.wikipedia.org/w/index.php?title=Hard_bop&oldid=1146369802, This page was last edited on 24 March 2023, at 13:12. One of the greatest Jazz singers of all (played by Diana Ross in "Lady Sings The Blues") was. When bebop exploded on the scene just as World War II was ending, the rhythmic intricacies, advanced harmonies and sometimes frantic tempos of its virtuoso improvisers, primarily within small combos, seemed an extreme and abrupt departure from the big dance bands that dominated popular music during the prewar years. Jimmy Smith (org), Thornel Schwartz (g), Bay Perry and Donald Bailey (d). 1959. Since then, the organization has expanded greatly, producing a series of well-regarded workshops and undertaking a variety of electronic initiatives. Rec. Bebop: Modern New York Jazz Keith Shadwick, Art Blakey (d), Lee Morgan (t), Benny Golson (ts), Bobby Timmons (p) and Jymie Merritt (b). But Parker died too young to reflect in tranquility on the genesis of bebop. Jazz was usually tied to dancing or to backing entertainers who sang and danced. For terms and use, please refer to our Terms and Conditions A New Sound, A New Star. Verified answer. That is why, virtually from its beginning, this wonderful music has found such a devoted following throughout the world. These are values that that can be enjoyed by anyone and everyone, just as Coltrane intended. An album which, each time it's reissued, seems to get better. Bebop or bop is a style of jazz developed in the early-to-mid-1940s in the United States. A. foreshadowed the fusion of jazz with rock music. Hard bop was the most popular form of jazz during the 1950s, while cool jazz remained popular on the East Coast. 1949-50, Its certainly possible to overrate these recordings (as is true of Kind Of Blue) and, while that was widespread during the 1950s-60s, the reverse seems to be the case today. Overall, a pretty well faultless account of one of the greatest of hard bop bands, which remains just as relevant today as the day it was first minted. . Well, I beg to differ. Brian Priestley, Bud Powell (p), Ray Brown (b) and Buddy Rich (d). Modernist compositions. [3][6] Alternatively, Anthony Macias points to Detroit as an early center in the rise of bop and hard bop, noting Detroit musicians Barry Harris and Kenny Burrell and the fact Miles Davis lived in the city from 1953 to 1954. Among the pianists in the band were Richie Powell[11] and Carl Perkins,[3] both of whom died at a young age. It has its own message, its own story to tell. Often a new approach to collective improvisation was, Because historically the piano provided the chord progressions, many free jazz, combos dispensed with the instrument. Final Chapters 27-end Flashcards | Quizlet In the wake of bebop, the 1950s had witnessed an unprecedented diversification of. Apart from the on-site near-riot after the conclusion of 'Diminuendo And Crescendo in Blue', this is a well-paced record for a lounge-chair audience wanting to know what the excitement was all about. From mid-1942 to 1944 a ban on recording had left jazz performers without a mass audience. This first of the series is a solo recital. Though Saint Thomas and Moritat (Mack The Knife) are this albums best known tracks a knowing interpretation of You Dont Know What Love Is is surely the jewel in this crown. The former, he contends, "privileges continuity over discontinuity" where "the process of change that links these styles is seen as a gradual, linear evolution, conserving essential qualities even as it introduces innovations." Recent years have seen new work by established authors E. L. Doctorow, Louise Erdrich, Seamus Heaney, and A.S. Byatt, as well as new voices-such as, Meghan O'Rourke, Roy Kesey, Kellie Wells, and Ron Rash-featured in KR. Described by Al Campbell as "one of the greatest hard bop jam sessions ever recorded" and "filled with infectious passion and camaraderie," it was the only studio session ever recorded including all three saxophonists. He expected his musicians to adhere to such views and accept whatever discipline he imposed. Enjoy it without shame. Though the singles are the best-known tracks, Kathys Waltz and Three To Get Ready are their equal in terms of genuine inspiration. From the off, Blue Note was looking for commercial success and his version of 'The Champ', though not the first Jimmy Smith Blue Note single (on Volume two rather than Volume one), delivered big time. [2]:24, A key recording in the early development of hard bop was Silver's composition "The Preacher", which was considered "old-timey" or "corny", such that Blue Note head Alfred Lion was hesitant to record the song. If youre unaware of this album, get up to speed now. With 50 years of hindsight, however, the change appears much less dramatic. listening ch 13 Flashcards | Quizlet How the Rise of Bebop Changed Jazz More a populariser than innovator, his soulful sound was much easier to assimilate and thus connected instantly with fans of both straight-ahead jazz and R&B/ soul. Some listeners make no distinction between 'soul-jazz' and 'funky hard bop,' and many musicians don't consider 'soul-jazz' to be continuous with 'hard bop. Keith Shadwick, Ella Fitzgerald (v) and the Buddy Bregman Orchestra. a cool jazz arranger and orchestrator. [7] Some writers, such as James Lincoln Collier, suggest that the style was an attempt to recapture jazz as a form of African American expression. Rec. Music is by its nature the most abstract of all art forms, yet its allure lies in its ability to concretize the most fundamental human emotions. I think Parker's words on the subject are much more persuasive than DeVeaux's arguments. Jazz Quiz Flashcards | Quizlet Course Hero is not sponsored or endorsed by any college or university. What bebop meant to jazz history - World Socialist Web Site Indeed, so much has been written about Coltrane that it might appear you need a doctorate of music to go anywhere near his recordings. In the late 1950s and early 1960s this tendency toward greater stylistic diversity, accelerated, most especially within the avant-garde jazz movement.