Weißer Bebop
– ein eigener Jazz-Stil?
As a study of other works, which examine the Jazz music of this time, reveals, the playing style of diverse ensembles and white musicians, in the years from 1945–1950 cannot be categorized with a clear conscience in the Bebop style, although it was influenced by Bebop. Studies have shown that real Bebop was almost solely created and interpreted by Afro-American musicians. White musicians might have found the protest, the sect-like atmosphere and often provocative behaviour of the Bebop musicians, as well as the unbalanced, above all melodic and highly irregular rhythmical character of the music, as having blocked them from playing together with the black musicians. They therefore created their own music, related to Bebop in playing style, however less nervous and abrupt. It was more balanced, melodic and had less complicated rhythmical phrasing, with stronger legato qualities and pleasant arrangements. They idolized Charlie Parker less, and found their inspiration in the quieter, cooler and self-possessed playing of Lester Young. This was especially true of the saxophonists. Among them were such musicians as Stan Getz, Zoot Sims and Al Cohn. They produced their own saxophone style of rounded off, melodic legato phrasing.
In view of the fact that numerous ensembles with well-known white musicians existed, which practised this style of playing, the author assumes the viewpoint that this should be recognized as an individual Jazz style, and should be termed "White Bebop". He characterizes this style with reference to its main features (accompanying rhythm, solo rhythm, melody, harmony, compositions and arrangements). He provides a survey of the most important ensembles and interpreters, with references to musical examples available on records.
"White Bebop" held until the end of 1949, especially on the west coast of the United States. It was further assimilated by off-shoots, and was finally transformed into "West Coast Jazz" at the beginning of the fifties. This style closes the gaping breach in Jazz literature between the Bebop style and "West Coast Jazz".