Editing Bebop (section)

===Going beyond swing in New York===
As the 1930s turned to the 1940s, Parker went to New York as a featured player in the [[Jay McShann|Jay McShann Orchestra]]. In New York he found other musicians who were exploring the harmonic and melodic limits of their music, including [[Dizzy Gillespie]], a [[Roy Eldridge]]-influenced trumpet player who, like Parker, was exploring ideas based on upper chord intervals, beyond the [[Seventh (chord)|seventh]] chords that had traditionally defined jazz harmony. While Gillespie was with [[Cab Calloway]], he practiced with bassist [[Milt Hinton]] and developed some of the key harmonic and chordal innovations that would be the cornerstones of the new music; Parker did the same with bassist [[Gene Ramey]] while with McShann's group. Guitarist [[Charlie Christian]], who had arrived in New York in 1939 was, like Parker, an innovator extending a southwestern style. Christian's major influence was in the realm of rhythmic [[Musical phrasing|phrasing]]. Christian commonly emphasized weak beats and off beats and often ended his phrases on the second half of the fourth beat. Christian experimented with asymmetrical phrasing, which was to become a core element of the new bop style.{{Citation needed|date=July 2017}}

Bud Powell was pushing forward with a rhythmically streamlined, harmonically sophisticated, virtuosic piano style and [[Thelonious Monk]] was adapting the new harmonic ideas to his style that was rooted in Harlem [[stride piano]] playing.{{Citation needed|date=November 2018}}

Drummers such as [[Kenny Clarke]] and [[Max Roach]] were extending the path set by Jo Jones, adding the ride cymbal to the high hat cymbal as a primary timekeeper and reserving the bass drum for accents.  Bass drum accents were colloquially termed "bombs", which referenced events in the world outside of New York as the new music was being developed. The new style of drumming supported and responded to soloists with accents and fills, almost like a shifting [[call and response (music)|call and response]].  This change increased the importance of the string bass. Now, the bass not only maintained the music's harmonic foundation, but also became responsible for establishing a metronomic rhythmic foundation by playing a "walking" bass line of four quarter notes to the bar. While small swing ensembles commonly functioned without a bassist, the new bop style required a bass in every small ensemble.{{Citation needed|date=July 2017}}

The kindred spirits developing the new music gravitated to sessions at [[Minton's Playhouse]], where Monk and Clarke were in the house band, and [[Monroe's Uptown House]], where Max Roach was in the house band.<ref name="Davis89Auto">[[Miles Davis]] (1989) ''Autobiography'', chapter 3, pp. 43–5, 57–8, 61–2</ref>  Part of the atmosphere created at jams like the ones found at Minton's Playhouse was an air of exclusivity: the "regular" musicians would often reharmonize the standards, add complex rhythmic and phrasing devices into their melodies, or "heads", and play them at breakneck tempos in order to exclude those whom they considered outsiders or simply weaker players.<ref name="Double" /> These pioneers of the new music (which would later be termed ''bebop'' or ''bop'', although Parker himself never used the term, feeling it demeaned the music) began exploring advanced harmonies, complex syncopation, altered chords and chord substitutions. The bop musicians advanced these techniques with a more freewheeling, intricate and often arcane approach. Bop improvisers built upon the phrasing ideas first brought to attention by Lester Young's soloing style. They would often deploy phrases over an odd number of bars and overlap their phrases across bar lines and across major harmonic cadences. Christian and the other early boppers would also begin stating a harmony in their improvised line before it appeared in the song form being outlined by the rhythm section. This momentary dissonance creates a strong sense of forward motion in the improvisation.  The sessions also attracted top musicians in the swing idiom such as [[Coleman Hawkins]], [[Lester Young]], [[Ben Webster]], [[Roy Eldridge]], and [[Don Byas]].  Byas became the first tenor saxophone player to fully assimilate the new bebop style in his playing.  In 1944 the crew of innovators was joined by [[Dexter Gordon]], a tenor saxophone player from the west coast in New York with the [[Louis Armstrong]] band, and a young trumpet player attending the [[Juilliard School of Music]], [[Miles Davis]].<ref name="Davis89Auto" />