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Coming Yesterday : Live at Salle Gaveau 2019[modifier | modifier le code]

Escalator over the Hill[modifier | modifier le code]

Modèle pistes vide[modifier | modifier le code]

Références BD[modifier | modifier le code]

>>> Discussion utilisatrice:Bédévore/Sources bédéphiles

Références jazz[modifier | modifier le code]

Thelonious Monk[modifier | modifier le code]

Martial Solal[modifier | modifier le code]

Shirley[modifier | modifier le code]

Discographie de Lennie Tristano[modifier | modifier le code]

Pense-bête[modifier | modifier le code]

À surveiller[modifier | modifier le code]

Femmes[modifier | modifier le code]

Hommes[modifier | modifier le code]

Autres[modifier | modifier le code]

Théorie du jazz[modifier | modifier le code]

Mary Lou Williams[modifier | modifier le code]

Bebop[modifier | modifier le code]

ref name="In her own words"/

  • Now I want to write what I know about how and why bop got started. Monk and some of the cleverest of the young musicians used to complain: `We'll never get credit for what we're doing.' they had reason to say it. In the music business the going is tough for original talent. Everybody is being exploited through paid-for publicity, and most anybody can become a great name if he can afford enough of it. In the end the public believes what it reads. So it is often difficult for the real talent to break through. Anyway, Monk said: `We are going to get a big band started. We're going to create something that they can't steal, because they can't play it.' There were more than a dozen people interested in the idea, and the band began rehearsing in a basement somewhere. Monk was writing arrangements, and Bud Powell and maybe Milt Jackson. Everyone contributed towards the arrangments, and some of them were real tough. Even those guys couldn't always get them right.
    • When Monk first played at Minton's there were few musicians who could run changes with him. Charlie Christian, Kenny Clarke, Idrees Sulieman and a couple more were the only ones who could play along with Monk then. Charlie and I used to go to the basement of the hotel where I lived and play and write all night long. I still have the music of a song he started but never completed.
    • 1943 During this period Monk and the kids would come to my apartment every morning around four or pick me up at the Café after I'd finished my last show, and we'd play and swop ideas until noon or later. Monk, Tadd Dameron, Kenny Dorham, Bud Powell, Aaron Bridges, Billy Strayhorn, plus various disc jockeys and newspapermen, would be in and out of my place at all hours, and we'd really ball. When Monk wrote a new song he customarily played it night and day for weeks unless you stopped him. That, he said, was the only way to find out if it was going to be good. `Either it grew on or it didn't.'
    • So the boppers worked out a music that was hard to steal
    • Out of that first big band Monk formed grew people like Milt Jackson, J.J. Johnson and Bud Powell. No one could play like Bud, not until he recorded and the guys had a chance to dig him. And even now they cannot play just like him, for I believe he is the only pianist who makes every note ring. The strength in his fingers must be unequalled. Yet I am forced to the conclusion that Monk influenced him as a kid. He idolises Monk and can interpret Monk's compositions better than anyone I know. And the two used to be inseparable. At the piano Bud still does a few things the way Monk would do them, though he has more technique.
    • Yes, Thelonius Monk, Charlie Christian, Kenny Clarke, Art Blakey and Idrees Sulieman were the first to play bop. Next were Parker, Gillespie, and Clyde Hart, now dead, who was sensational on piano. After them came J.J. Johnson, Bud Powell, Al Haig, Milt Jackson, Tadd Dameron, Leo Parker, Babs Gonzales, Max Roach, Kenny Dorham and Oscar Pettiford. Those men played the authentic bop, and anybody who heard the small combo that Dizzy kept together for so long in New York should easily be able to distinguish the music from the imitation article.
    • Often you hear guys blowing a lot of notes and people say: `They're bopping.' But they are not. Bop is the phrasing and accenting of the notes, as well as the harmonies used. Every other note is accented. Never in the history of jazz has the phrasing been like it is in bop. Musicians like Dave Brubeck come up with different styles which may be interesting. But they are not bop. Personally, I have always believed that bebop was here to stay. That's one reason I tried to encourage the original modernists to continue writing and experimenting.
  • From Lennox to 125th Street and 8th…

Christmas Carols[modifier | modifier le code]

A 65 ans, Carla Bley ouvre sa journée en culbutant Brahms et Chostakovich sur un piano à queue. Elle se force ensuite à improviser sur des cassettes que le bassiste Steve Swallow, son amoureux consciencieux, a mis des heures à fabriquer. Et puis, elle diffère une fois de plus la parution de son album de chants de Noël sur lequel elle travaille depuis toujours, pour arranger une phrase qu'elle a entendue le jour d'avant. «Je suis une fille monstrueuse», chuchote-t-elle sans une once de dérision. «Je ne connais personne d'autre qui vive à tel point immergé dans la musique.»