Editing Bebop (section)

===Early recordings===
Bebop originated as "musicians' music," played by musicians with other money-making gigs who did not care about the commercial potential of the new music. It did not attract the attention of major record labels nor was it intended to. Some of the early bebop was recorded informally. Some sessions at Minton's in 1941 were recorded, with Thelonious Monk alongside an assortment of musicians including [[Joe Guy (musician)|Joe Guy]], [[Hot Lips Page]], Roy Eldridge, Don Byas, and Charlie Christian. Christian is featured in recordings from May 12, 1941 (Esoteric ES 548). Charlie Parker and Dizzy Gillespie were both participants at a recorded jam session hosted by [[Billy Eckstine]] on February 15, 1943, and Parker at another Eckstine jam session on February 28, 1943 (Stash ST-260; ST-CD-535).

Formal recording of bebop was first performed for small specialty labels, who were less concerned with mass-market appeal than the major labels, in 1944.  On February 16, 1944, Coleman Hawkins led a session including Dizzy Gillespie and Don Byas, with a rhythm section consisting of [[Clyde Hart (pianist)|Clyde Hart]] (piano), [[Oscar Pettiford]] (bass) and Max Roach (drums) that recorded "[[Woody 'n' You|Woody'n You]]" ([[Apollo Records (1944)|Apollo]] 751), the first formal recording of bebop. Charlie Parker and Clyde Hart were recorded in a quintet led by guitarist [[Tiny Grimes]] for the [[Savoy Records|Savoy]] label on September 15, 1944 (''Tiny's Tempo, I'll Always Love You Just the Same, Romance Without Finance, Red Cross'').  Hawkins led another bebop-influenced recording session on October 19, 1944, this time with Thelonious Monk on piano, Edward Robinson on bass, and [[Denzil Best]] on drums (''On the Bean, Recollections, Flyin' Hawk, Driftin' on a Reed''; reissue, [[Prestige Records discography|Prestige]] PRCD-24124-2).

Parker, Gillespie, and others working the bebop idiom joined the [[The Earl Hines Orchestra|Earl Hines Orchestra]] in 1943, then followed vocalist Billy Eckstine out of the band into the [[Billy Eckstine|Billy Eckstine Orchestra]] in 1944.  The Eckstine band was recorded on [[V-discs]], which were broadcast over the Armed Forces Radio Network and gained popularity for the band showcasing the new bebop style.  The format of the Eckstine band, featuring vocalists and entertaining banter, would later be emulated by Gillespie and others leading bebop-oriented big bands in a style that might be termed "popular bebop".  Starting with the Eckstine band's session for the [[De Luxe Records|De Luxe]] label on December 5, 1944 (''If That's the Way You Feel, I Want to Talk About You, Blowing the Blues Away, Opus X, I'll Wait and Pray, The Real Thing Happened to Me''), bebop recording sessions grew more frequent. Parker had left the band by that date, but it still included Gillespie along with Dexter Gordon and [[Gene Ammons]] on tenor, [[Leo Parker]] on baritone, [[Tommy Potter]] on bass, [[Art Blakey]] on drums, and [[Sarah Vaughan]] on vocals. ''Blowing the Blues Away'' featured a tenor saxophone duel between Gordon and Ammons.

On January 4, 1945, Clyde Hart led a session including Parker, Gillespie, and Don Byas recorded for the [[Continental Records|Continental]] label (''What's the Matter Now, I Want Every Bit of It, That's the Blues, G.I. Blues, Dream of You, Seventh Avenue,  Sorta Kinda, Ooh Ooh, My My, Ooh Ooh''). Gillespie recorded his first session as a leader on January 9, 1945, for the [[Manor Records|Manor]] label, with Don Byas on tenor, [[Trummy Young]] on trombone, Clyde Hart on Piano, Oscar Pettiford on bass, and [[Irv Kluger]] on drums.  The session recorded ''I Can't Get Started, Good Bait, Be-bop (Dizzy's Fingers)'', and ''Salt Peanuts'' (which Manor wrongly named "Salted Peanuts").  Thereafter, Gillespie would record bebop prolifically and gain recognition as one of its leading figures.  Gillespie featured Gordon as a sideman in a session recorded on February 9, 1945 for the Guild label (''Groovin' High, Blue 'n' Boogie'').  Parker appeared in Gillespie-led sessions dated February 28 (''Groovin' High, All the Things You Are, Dizzy Atmosphere'') and May 11, 1945 (''Salt Peanuts, Shaw 'Nuff, Lover Man, Hothouse'') for the Guild label. Parker and Gillespie were sidemen with Sarah Vaughan on May 25, 1945, for the Continental label (''What More Can a Woman Do, I'd Rather Have a Memory Than a Dream, Mean to Me''). Parker and Gillespie appeared in a session under vibraphonist Red Norvo dated June 6, 1945, later released under the [[Dial Records (1946)|Dial]] label (''Hallelujah, Get Happy, Slam Slam Blues, Congo Blues''). [[Charles Thompson (jazz)|Sir Charles Thompson's]] all-star session of September 4, 1945 for the Apollo label (''Takin' Off, If I Had You, Twentieth Century Blues, The Street Beat'') featured Parker and Gordon.  Gordon led his first session for the Savoy label on October 30, 1945, with [[Sadik Hakim]] (Argonne Thornton) on piano, Gene Ramey on bass, and [[Eddie Nicholson]] on drums (''Blow Mr Dexter, Dexter's Deck, Dexter's Cuttin' Out, Dexter's Minor Mad'').  Parker's first session as a leader was on November 26, 1945, for the Savoy label, with Miles Davis and Gillespie on trumpet, Hakim/Thornton and Gillespie on piano, [[Curley Russell]] on bass and Max Roach on drums (''Warming Up a Riff, Now's the Time, Billie's Bounce, Thriving on a Riff, Ko-Ko, Meandering''). After appearing as a sideman in the R&B-oriented [[Cootie Williams]] Orchestra through 1944, Bud Powell was in bebop sessions led by Frankie Socolow on May 2, 1945 for the Duke label (''The Man I Love, Reverse the Charges, Blue Fantasy, September in the Rain''), then Dexter Gordon on January 29, 1946 for the Savoy label (''Long Tall Dexter, Dexter Rides Again, I Can't Escape From You, Dexter Digs In'').  The growth of bebop through 1945 is also documented in informal live recordings.