Editing Bebop (section)

==Influence==
The musical devices developed with bebop were influential far beyond the bebop movement itself.  "[[Progressive jazz]]" was a broad category of music that included bebop-influenced "art music" arrangements used by big bands such as those led by [[Boyd Raeburn]], [[Charlie Ventura]], [[Claude Thornhill]], and [[Stan Kenton]], and the cerebral harmonic explorations of smaller groups such as those led by pianists [[Lennie Tristano]] and [[Dave Brubeck]].  Voicing experiments based on bebop harmonic devices were used by [[Miles Davis]] and [[Gil Evans]] for the groundbreaking "[[Birth of the Cool]]" sessions in 1949 and 1950.  Musicians who followed the stylistic doors opened by Davis, Evans, Tristano, and Brubeck formed the core of the [[cool jazz]] and "[[west coast jazz]]" movements of the early 1950s.

By the mid-1950s musicians began to be influenced by music theory proposed by [[George Russell (composer)|George Russell]].  Those who incorporated Russell's ideas into the bebop foundation defined the post-bop movement that later incorporated [[modal jazz]] into its musical language.

[[Hard bop]] was a simplified derivative of bebop introduced by [[Horace Silver]] and [[Art Blakey]] in the mid-1950s.  It became a major influence until the late 1960s when [[free jazz]] and [[fusion jazz]] gained ascendancy.

The [[neo-bop]] movement of the 1980s and 1990s revived the influence of bebop, post-bop, and hard bop styles after the free jazz and fusion eras.

Bebop style also influenced the [[Beat Generation]] whose spoken-word style drew on African-American "jive" dialog, jazz rhythms, and whose poets often employed jazz musicians to accompany them. [[Jack Kerouac]] would describe his writing in [[On the Road]] as a literary translation of the improvisations of Charlie Parker and Lester Young.<ref>{{cite book | title=The Beat Generation | publisher=Oneworld Publications | author=Gair, Christopher | year=2008 | location=Oxford | pages=16–17 | isbn=9781851685424}}</ref><ref>{{cite book | title=American Literature from 1945 through today | publisher=Britannica Educational Publishing | year=2011 | page=101 | isbn=978-1615301331 | editor=Augustyn, Adam }}</ref> The "beatnik" stereotype borrowed heavily from the dress and mannerisms of bebop musicians and followers, in particular the beret and lip beard of Dizzy Gillespie and the patter and bongo drumming of guitarist [[Slim Gaillard]].  The bebop subculture, defined as a non-conformist group expressing its values through musical communion, would be echoed in the attitude of the psychedelia-era [[hippy|hippies]] of the 1960s. Fans of bebop were not restricted to the United States; the music also gained cult status in France and Japan.

More recently, [[hip-hop]] artists ([[A Tribe Called Quest]], [[Guru (rapper)|Guru]]) have cited bebop as an influence on their rapping and rhythmic style. As early as 1983, Shawn Brown rapped the phrase "Rebop, bebop, Scooby-Doo" toward the end of the hit "[[Rappin' Duke]]". Bassist [[Ron Carter]] collaborated with A Tribe Called Quest on 1991's ''[[The Low End Theory]]'', and vibraphonist [[Roy Ayers]] and trumpeter [[Donald Byrd]] were featured on ''[[Guru's Jazzmatazz, Vol. 1]]'' in 1993. Bebop samples, especially bass lines, ride cymbal swing clips, and horn and piano riffs are found throughout the hip-hop compendium.