Bebop came around in the 1940s as a style of jazz that had great contrast to the big bands. It included a small group of musicians mostly four to six players - rather than the 10 or more associated with the big bands. The smaller size allowed more solo opportunities for the players. There were more complex melodies and chord progressions in bebop, as well as more stress on the role the rhythm section. Also, the music is different in length, making bebop interesting to listen to, but in contrast to music of the big bands, not fit for dancing.
Excellent jazz players have come from different ethnic groups and, indeed, different nations. Most of the music's innovators and leading voices, however, have been black Americans, the descendants of slaves. This agreement between the black population in the United States and jazz music has led to all sorts of biased debate, most of it taking place on a very low level. The essential lines of the dispute place those who see jazz as an art which transcends questions of race against those who contend jazz is a black product which, therefore, "belongs" to black people. The latter position has, not surprisingly, has been actively embraced by black nationalists.
Excellent jazz players have come from different ethnic groups and, indeed, different nations. Most of the music's innovators and leading voices, however, have been black Americans, the descendants of slaves. This agreement between the black population in the United States and jazz music has led to all sorts of biased debate, most of it taking place on a very low level. The essential lines of the dispute place those who see jazz as an art which transcends questions of race against those who contend jazz is a black product which, therefore, "belongs" to black people. The latter position has, not surprisingly, has been actively embraced by black nationalists.
