What is Hip?

A playlist/watchlist/reading list to accompany your reading by Scott Saul from his book Freedom Is, Freedom Ain’t: Jazz and the Making of the Sixties.

  1. Oscar Brown, Jr.: “But I Was Cool”
  2. Lenny Bruce:
  3. Norman Mailer’s essay “The White Negro,” published in Dissent in 1957.
  4. One of the “jazz” excerpts from Jack Kerouac’s beat novel, On the Road:

    Boom, kick, that drummer was kicking his drums down the cellar, and rolling the beat upstairs with his murderous sticks, rattlety-boom! The pianist was only pounding the keys with spreadeagled fingers, chords, at intervals when the great tenorman was drawing breath for another blast – Chinese chords, shuddering the piano in every timber, chink and wire, boing! The tenorman jumped down from the platform and stood in the crowd, blowing around; his hat was over his eyes, somebody pushed it back for him. He just hauled back and stamped his foot and blew down a hoarse, laughing blast, and drew breath, and raised the horn, and blew high, wide, and screaming in the air.

    Dean was directly in front of him, with his face lowered to the bell of the horn, clapping his hands, pouring sweat on the man’s keys, and the man noticed, and laughed in his horn a long, quivering, crazy laugh, and everybody else laughed and they rocked and rocked; and finally the tenorman decided to blow his top and crouched down and held a note in high C for a long time as everything else crashed along and the cries increased and I thought the cops would come swarming from the nearest precinct.

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    (Kerouac in 1959.)

  5. A cinematic portrayal of the same scene from the 2012 film On the Road:
  6. A Youtube playlist of all the music mentioned in the book.
  7. Cab Calloway singing “Minnie the Moocher’:
  8. Mezz Mezzrow, “Blues in Disguise”:
  9. More on Mezzrow: “The Original Rachel Dolezal was a Jew Named Mezz Mezzrow.”
  10. Miles Davis, Birth of the Cool complete album:

The Evolution of Bebop

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(Bird on Money, Jean-Michel Basquiat’s tribute to Charlie Parker.)

The song “Cherokee,” by the English dance-band leader Ray Noble:

Charlie Parker’s version:

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Parker said that, when playing “Cherokee,” he realized that the 12 semitones in any scale could take a piece of music from one key into any other, a realization that Arnold Schoenberg had also come to in Vienna earlier in the century.

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“Ko-Ko,” based on the harmonic progression (i.e. chord changes) of “Cherokee”:

How does Parker’s soloing represent a break from that of the saxophone masters who came before him? Can you hear how Lester Young improvises on the melody, while Bird goes deep into the harmony, skews it, and cobbles together new melodies from different scale degrees?

How does Parker’s version of “Lover Man” differ from Coleman Hawkins’s?

By the way, it was Lester Young who famously noted that he couldn’t play a tune because he didn’t know the words.