The Bebop cauldron was the hotbed of epic toasts and the cutting contests in which these toasts thrived. Apropos is Neil Leonard’s (1987) recounting of an encounter that Sonny Stitt had with Art Pepper.
* Stitt called for “Cherokee,” a demanding number of notoriously difficult cord changes, at the time used to test a player’s nerves and skill. He counted it off at breakneck speed and , as (Art) Pepper said, “He was flying. We played the head, the melody, and then he took the first solo. He played, I don’t know, about forty choruses. He played for about an hour maybe, did everything that could be done on a saxophone, everything you could play, as much as Charlie Parker could have played if he’d been there. Then he stopped. And he looked at me. Gave me one those looks. “I forgot everything and everything came out. I played way over my head. I played completely different than he did. When I finally finished I was shaking all over, my heart was pounding; I was soaked in sweat, and the people were screaming, the people were clapping, and I looked at Sonny, but I just kind of nodded, and he went, “All right.” And that was it. That’s what it’s all about.
Transitions: Function and difference in myth and Ritual.
In the 1940′
s, certain transitional events began to take place in African-American music-events that would have far-reaching effects and would change the course of black music in subsequent decades. These events took place as follows:
1. In jazz, the rise of bebop, with its creators returning to and embracing elements of African-American myth and ritual, changed the course of the genre.
2. In popular music, the rise of rhythm and blues laid the foundation for rock ‘n’roll and and soul music and also caused an incursion of black music into white society.
3. In concert-hall music, certain black composers embraced myth, paid homage to ritual, and produced works of high quality and import, signaling the rise of black composers of first rank in American society.
According to an African-American toast,
Deep down in the jungle, way back in the sticks, the animals had formed a game called pool. The baboon was a slick. Now a few stalks shook, and a few leaves fell. Up popped the monkey one day, ’bout sharp as hell. He had a one-button roll, two -button satch. You know, one of them boodhipper coats with a belt in the back. The baboon stood with a crazy rim, Charcoal gray vine, and a stingy brim, Handful of dimes, pocket full of herbs, Eldorado Cadillac, parked at the curb.
Modern toasts demand modern music. The experiments of Charlie Parker, Dizzy Gillespie, and others in the big bands of Cab Calloway, Earl Hines in the midst of the Swing Era, the potentials of combo jazz began to be explored again. The emerging cabarets hosted late night sessions in which young musicians were able to carry on the older practices of their elders. Many of these fledgling cabarets were primarily after-hours joints, derivatives of the jook-part of what Hazzard-Gordon (1990, x-xi) has labeled “the jook continuum” (as also were honky-tonks and rent parties). These after-hours clubs hosted jazz’s experimental movement. In this environment, the young lions of the movement formed their experimental excursions into a new Music.
To be continued….