Editing Bebop (section)

===Beyond===
By 1950, bebop musicians such as [[Clifford Brown]] and [[Sonny Stitt]] began to smooth out the rhythmic eccentricities of early bebop. Instead of using jagged phrasing to create rhythmic interest, as the early boppers had, these musicians constructed their improvised lines out of long strings of eighth notes and simply accented certain notes in the line to create rhythmic variety.  The early 1950s also saw some smoothing in Charlie Parker's style.

During the early 1950s bebop remained at the top of awareness of jazz, while its harmonic devices were adapted to the new "cool" school of jazz led by Miles Davis and others.  It continued to attract young musicians such as [[Jackie McLean]], [[Sonny Rollins]], and [[John Coltrane]].  As musicians and composers began to work with expanded music theory during the mid-1950s, its adaptation by musicians who worked it into the basic dynamic approach of bebop would lead to the development of [[post-bop]].  Around that same time, a move towards structural simplification of bebop occurred among musicians such as [[Horace Silver]] and [[Art Blakey]], leading to the movement known as [[hard bop]].  Development of jazz would occur through the interplay of bebop, cool, post-bop, and hard bop styles through the 1950s.