Words matter. These are the best Bebop Quotes from famous people such as Chuck Mangione, Dr. John, Steve Erickson, Alice Coltrane, Quincy Jones, and they’re great for sharing with your friends.
We may play in a contemporary rock vein, use standard bebop themes, and many other things besides.
There was a lot of freedom, so bands in those days did not have to play for the public. They played for club owners that enjoyed music. You know, what happened – there was a lot of clubs that had bebop music or different forms of music. It was great for musicians.
The 1988 biopic of bebop immortal Charlie Parker, ‘Bird,’ was the film that opened my eyes to Clint Eastwood’s potential as a filmmaker.
I came through the bebop era, and to me that was enough.
I was reading Omar Khayyam, Kahlil Gibran, Rumi, L. Ron Hubbard, all sorts of philosophy. Bebop cats are like that. Curious. I wanted to know about everything.
I still prefer the bebop of the ’40s. The very stuff I started out with is still the best to me. I have come full circle.
When creating ‘Cowboy Bebop,’ I thought it would be more interesting if I added different types of elements together to create something that was completely new.
I went through the whole number, you know. The swing era, the boogie woogie era, the bebop era. Thelonious Monk is still one of my favorites. So a lot of these people had their effect on me.
What makes bebop legitimate is the fact that when it was done, it was illegitimate.
Bebop and hip-hop, in so many ways, they’re connected. A lot of rappers remind me so much of bebop guys in terms of improvisation, beats and rhymes. My dream is to see hip-hop incorporated in education. You’ve got the youth of the world in the palm of your hand.
I wanted to have lots of characters in ‘Bebop’ without white skin, and if people weren’t used to that, well, maybe it would even make them think a little bit about it.
I’ve always thought that jazz needs to be heard by a wider audience in Puerto Rico. I want to put together a series of free concerts in the small towns – one with Miles Davis music, another with bebop, maybe Duke Ellington. I want younger people to see what is possible.
Rock and roll is not an instrument. Rock and roll isn’t even a style of music. Rock and roll is a spirit that’s been going since the blues, jazz, bebop, soul, R&B, heavy metal, punk rock and, yes, hip-hop.
Musically, swing pretty much dominated in the ’30s. And into the late ’30s, swing is beginning to change over to bebop in the early ’40s, which is exactly when this new science of theoretical physics, particularly theoretical atomic physics, was really coming to the fore.
I can take any series of numbers and turn it into music, from Bach to bebop, Herbie Hancock to hip-hop.
I really enjoy listening to players on the cusp of swing into bebop like Charlie Shavers, Clifford Brown and Clark Terry. They balance immense facility on their instrument with rhythm, melody, and more complex harmonies of the time.
I grew up in Shanghai ’til I was 10 or 11, with one year in Tibet. When I was 5 or 6 years old, the American radio station came to Shanghai, and I used to love bebop and jazz, but I didn’t know where it came from.
I have pretty ecumenical tastes. I’m interested in a lot of different kinds of music, so I don’t listen with a jaundiced ear to music because it’s in a certain category, whether it’s country or opera or hip-hop or bebop or whatever it is.
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.
I was listening to a lot of bebop. And to Miles Davis. Everyone thinks I was just in the folk world in 1966, but in 1963 and 1964, I was absorbing enormous amounts of music, from baroque to jazz to blues to Indian music.
