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118 JAZZ
sessions, taking their own kind of a 'busman's holiday'. An example of the kind of free-for-all music which ensued might be found, to some degree, in the jam session section of the Carnegie Hall Concerts where the Basie rhythm section join the Goodman stars. This is, after all, one of the finest tracks of the two LPs.
The jam session as such was, by the early 'forties, to find its own progression into what was (hideously) named 'Bop', promoted as a kind of musical revolt by up-and-coming youngsters like Charlie Christian, Charlie Parker and Thelonius Monk at a place in New York where musicians gathered in their off-times called Mintorfs. A tape recorder managed to capture the early voicings of this unusual style— Charlie Christian, Jazz Immortal (Vogue LDE 001).
As this experimenting blossomed into more mature sounds by both white and coloured musicians (see 'Originators of Modern Jazz' on Vogue LDE 006) an ugly split between white and coloured creative artists became evident. The white school is exemplified by Gerry Mulligan's Quartet on Vogue LDE 029 and the high-falutin' neo-classical dabblings of Stan Kenton and his Orchestra in "New Concepts of Artistry in Rhythm" (Capitol LC 6595); and the negro school under the wing of John Lewis and Milt Jackson's Modern Jazz Quartet (Esquire EP 14).
Whilst the West Coast musicians (the white experimenters) sprang largely out of the Kenton bands and included only the odd negro musician, the |
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