In addition, the paper aims to bring a close understanding of need of revolution and development in the jazz genre of music. In-depth highlights will be provided in the paper regarding the collaborations that helped Dizzy Gillespie in bringing developing or positive impact on jazz music.
It should be noted that Dizzy Gillespie was able to work in collaboration with Charlie Parker who was a saxophonist. The collaboration of both the musicians was able to introduce be-bop revolution. As a matter of fact, the revolution was not just limited to sleek and high speed musical addition as the style of jazz music but also intensified tune (Crow). This duo was widely famous around the world because they rather made it easier for the musicians to follow jazz music. In other words, Dizzy Gillespie along with Parker redefined jazz music. To them, it was extremely needed that musicians were playing an easier music so that the audiences can also follow the beats. In addition, the reach of jazz music, back in 1960s, was limited to certain regions (Shipton). Therefore, it was the need of the time to spread the music to different parts of the world so that people could follow differing tunes and tempos that were being provided by jazz music. Notwithstanding, there were many critical appraisals that were received by the jazz music (Crow).
One of the vibrant changes that he successfully brought in jazz music was the inclusion of Afro-Cuban music (Davenport). Most of the music analysts claimed that the inclusion of the combination music allowed jazz music to develop as it needed resolution. Also, analysis and music critics claimed that Dizzy Gillespie was able to undertake such a huge change within the jazz music because he had a very entertaining approach towards music-making. A lot of people claimed that he had very fun techniques to produce music that ultimately made him work with many musicians (Crow).
As a matter of fact, there was a huge fight between Mr. ...
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The melody is started out by Parker and Gillespie playing a tune together. This is followed by Parker improvised solo made of a moderate in-tempo phase followed by a more elaborate one. Parker then plays a bridge which is straightforward and closely resembles the