Bebop Jazz History

Bebop jazz, which "slowly evolved from late swing and transition period jazz" (Jazz and the Beat Generation), was quite a shock to the white population when it first appeared on the scene during the Depression. This intricate compilation of sounds became the staple for all that was anti-commercial and as much a part of African-American roots as possible. The reason for such separation between blacks and whites when bebop became so popular is that white musicians were in it for the commercial success, seeing no other reason to play jazz but for financial gain and recognition. Blacks, on the other hand, turned bebop jazz into a personal expression devoid of as much materialistic impression as possible. This new attitude caused great dissent
Johnson, Kai Winding, Buddy DeFranco, Charlie Parker, Charlie Ventura, Ernie Caceres, Billy Bauer, Lennie Tristano, Eddie Safranski and Shelly Manne combined their stellar talents as a means by which to produce one of history's most coveted events. Musical numbers were plentiful (Overtime, Victory Ball) as were the variety of styles at the Metronome All Stars -- labeled by many as the birth of cool (Whitehead 41); clearly, there was not one white person in the audience who was unable to find something to enjoy from this collection of superstars, including bebop jazz. "It was more than a music; it became an attitude toward life, a way of walking, a language and a costume…"(Holmes
Both men were white, and both men understood the importance of this monumental change. Indeed, works by both men possessed many important components that, if not taken in their direct context, were overlooked by the average reader. It was essential to also look beyond each author's obvious intention with regard to their somewhat different literary approaches so as not to miss the grand but elusive subtleties. To be sure, Holmes and Kerouac incorporated a significant amount of blatancy while also implying considerable obscurity, a dichotomy that has certainly served the writers well. Without question, books such as Holmes' Go: A Novel and Kerouac's On The Road provide a unique insight into the relationships that existed between and among the musical cultures, individuals and personalities at the time of bebop's arrival. To the extent that Kerouac's 1957 book was a "work of sensibilities: wild cool, and beat" (Lindsey et al 36), it helped to keep conservative eyes open to the growing acceptance of a funky kind of music that would inevitably be around for a very long