Re- GRGR(5) - More Parker

[Paul Mackin]

davemarc continues the discussion of rebop, bebop, bop with (among
other things):

As for the overall tendency to claim that African American jazz players were
somehow politically subverting "white" music by using it as the foundation
of their own, more complex, musicmaking, I don't dispute that there is a
grain of truth in that--though I think it might be more accurate to look at
it as "cultural" rather than "political" subversion. 

.
Though by now (and with davemarc's latest) I think a fairly good balance has been struck among the political, cultural, racial, and technical influences on bop. Still I would like to contribute one thing more. I found 
these two interesting sentences in the Encyclopaedia Britannica (15th ed.)
Jazz article:

"Throughout its history jazz has been abstract, in the
sense, that, subconsciously informed though it may be by
race memory it has been guided less by concrete or living 
factors than by the mathematical precision of the march 
from discord to resolution, the soloist being like a man
working out an algebraic equation."

"To use an American pioneer analogy, after jazz had moved harmonically westward for a half a century, Parker took it to the sea."


				Paul M.