By Robert S Gold
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Extra info for A Jazz Lexicon
Blade, 15 Feb. , p. his 158. music Of it faded away until applied to at Minton's. " Origiword used to describe the continually shifting accents of the early work of Charlie Parker, Dizzy GiUespie, Kenny Clarke, and Thelonious Monk, it soon became a free-floating, generic one as well, whose tight, rude sound impKed something harsh, jerky, and unattractive. , p. 127. Describing bebop in the past tense is not wholly accurate, for it survives, in diffused shapes, in the work of almost few are lumpier or nally a casual onomatopoeic — all modern-jazz musicians.
2. " 1956 Sideman, p. 274. " fluential innovator history of jazz. — . — 1947 Chasing the Bird — . — — birdie, n. [by analogy pectedness; with a bird's sound, esp. some currency since c. 1917] its unex- See quots. — p. 71. " — 1942 p. 560. birdies: bit, n. improvised grace notes. [extension of its minor See c. 1943] 275. , part or performance); widely current since last quot. — get so do I 1956 Sideman, p. " — 1958 Somewhere There's Music, p. 69. , — p. 33. A "bit" is what someone does. , p. When, the on other hand, he does the hit, he is 225.
Times Magazine, ^ [ 1 1 BALL ] 20 May, p. 45. bag: a point of view or pattern of behavior. by analogy with the pleasure derived from ball, n. [prob. , a formal dance); of. i960 Dictionary "Some early c. 1935 Negro jive use. Orig. popularized by bop and cool use, and associated with jazz and avant-garde groups. v. v. — See 1938 quot. 1938 ball: to enjoy your- bitch] Cab Calloway: Hi De Ho, p. 16. have a — 1948 Trumpet on the Wing, One too much. — 1952 A we pitched got be History of Jazz in America, to enjoy 351.