Editing Bebop (section)

===Breakout===
By 1946 bebop was established as a broad-based movement among New York jazz musicians, including trumpeters [[Fats Navarro]] and [[Kenny Dorham]], trombonists [[J. J. Johnson]] and [[Kai Winding]], alto saxophonist [[Sonny Stitt]], tenor saxophonist [[James Moody (saxophonist)|James Moody]], baritone saxophonists [[Leo Parker]] and [[Serge Chaloff]], vibraphonist [[Milt Jackson]], pianists [[Erroll Garner]] and [[Al Haig]], bassist [[Slam Stewart]], and others who would contribute to what would become known as "modern jazz".  The new music was gaining radio exposure with broadcasts such as those hosted by [[Symphony Sid|"Symphony Sid" Torin]].  Bebop was taking root in Los Angeles as well, among such modernists as trumpeters [[Howard McGhee]] and [[Art Farmer]], alto players [[Sonny Criss]] and [[Frank Morgan (musician)|Frank Morgan]], tenor players [[Teddy Edwards]] and [[Lucky Thompson]], trombonist [[Melba Liston]], pianists [[Dodo Marmarosa]], Jimmy Bunn and [[Hampton Hawes]], guitarist [[Barney Kessel]], bassists [[Charles Mingus]] and [[Red Callender]], and drummers [[Roy Porter (drummer)|Roy Porter]] and [[Connie Kay]].  Gillespie's "Rebop Six" (with Parker on alto, Lucky Thompson on tenor, Al Haig on piano, Milt Jackson on vibes, [[Ray Brown (musician)|Ray Brown]] on bass, and [[Stan Levey]] on drums) started an engagement in Los Angeles in December 1945. Parker and Thompson remained in Los Angeles after the rest of the band left, performing and recording together for six months before Parker suffered an addiction-related breakdown in July.  Parker was again active in Los Angeles in early 1947.  Parker and Thompson's tenures in Los Angeles, the arrival of Dexter Gordon and [[Wardell Gray]] later in 1946, and the promotional efforts of [[Ross Russell (jazz)|Ross Russell]], [[Norman Granz]], and [[Gene Norman]] helped solidify the city's status as a center of the new music.

Gillespie landed the first recording date with a major label for the new music, with the [[RCA Bluebird]] label recording Dizzy Gillespie And his Orchestra on February 22, 1946 (''52nd Street Theme, A Night in Tunisia, Ol' Man Rebop, Anthropology''). Later Afro-Cuban styled recordings for Bluebird in collaboration with Cuban ''rumberos'' [[Chano Pozo]] and [[Sabu Martinez]], and arrangers [[Gil Fuller]] and [[George Russell (composer)|George Russell]] (''Manteca, Cubana Be, Cubana Bop, Guarache Guaro'') would be among his most popular, giving rise to the Latin dance music craze of the late 1940s and early 1950s.  Gillespie, with his extroverted personality and humor, glasses, lip beard and beret, would become the most visible symbol of the new music and new jazz culture in popular consciousness.  That of course slighted the contributions of others with whom he had developed the music over the preceding years.  His show style, influenced by [[Black Vaudeville|black vaudeville circuit]] entertainers, seemed like a throwback to some and offended some purists ("too much grinning" according to Miles Davis), but it was laced with a subversive sense of humor that gave a glimpse of attitudes on racial matters that black musicians had previously kept away from the public at large.  Before the Civil Rights Movement, Gillespie was confronting the [[racial segregation|racial divide]] by lampooning it.  The intellectual subculture that surrounded bebop made it something of a sociological movement as well as a musical one.{{Citation needed|date=July 2017}}

With the imminent demise of the big swing bands, bebop had become the dynamic focus of the jazz world, with a broad-based "progressive jazz" movement seeking to emulate and adapt its devices.  It was to be the most influential foundation of jazz for a generation of jazz musicians.{{Citation needed|date=July 2017}}