Date:	23-Aug-1999 15:07:25
From:	J. Sturk (Jazzman990@aol.com)
	Hi Ted! I'm a 16 year old kid in Michigan, and have my own jazz program on my high school radio station. Would like to have you on as a guest by phone. Loved your book. Let's talk. J. Sturk WSDP Radio Plymouth, MI

 

Date:	25-Aug-1999 02:04:07
From:	Sergio Veschi (redrecords@iol.it)
	I like to have your adress. I like to send some promocopies of our catalogue. Especially some of CD of jazz musicians from Argentina, Brazil and Latin. Sergio Veschi Red Records

 

Date:	28-Aug-1999 22:17:59
From:	Mike (neely@internetwis.com)
	Whenever I read a new book on jazz I got to the index and look for Chuck Wayne. Considering his place in the development of modern jazz guitar, I am continually bewildered to find that he is never/rarely listed. Maybe bewildered is the wrong word at this point - I'm getting accustomed to it. Anyway, it seems to me that Chuck is a worthy candidate for rediscovery for not only his own playing, composing, and arranging, but also for his contributions to jazz guitar technique. It seems to me that one could make a good case that he is the bridge between Charlie Christian and Be-Bop guitar. I'm reading your History of Jazz and am enjoying every chapter - especially liked your mini social/music history of New Orleans. Sounds like there's a whole book in that topic! It's a joy to read someone who truly appreciates the whole spectrum of jazz styles & development and is so evenhanded about it. I'll certainly have to track down your other books. Thank you, for many hours of reading pleasure. Mike

 

Date:	29-Aug-1999 12:11:27
From:	Simone
	I read your "Ted's thoughts on Jazz" and couldn't agree more. Perhaps, grants & academic recognition are not good signs - the bureaucratizing of jazz - it hasn't done poetry in this country much good!!

 

Date:	01-Sep-1999 17:45:27
From:	Jim Hall (groovediggers@hotmail.com)
	Hi Ted, I thought you might like to view our website. This is Zoot Sims nephew L.P. Sims' jazz group called The GrooveDiggers. You can see us at www.mp3.com/groovediggers . Thanks, Jim Hall, sax for The GrooveDiggers

 

Date:	15-Sep-1999 08:12:02
From:	Mike (Neely@internetwis.com)
	Have you heard "Tasty Pudding" (Savoy SV-0253)? (Chuck Wayne with Zoot Sims, Brew Moore, George Duvivier, Ed Shaughnessy, Vinnie Burke, Joe Morello etc.) What do you think?

 

Date:	16-Sep-1999 13:41:14
From:	Ted Gioia (tedgioia@hotmail.com)
	I appreciate the various comments on my book. Mike's remarks about Chuck Wayne remind me of the difficulties of covering the entire history of jazz in a single volume. There are many individual players who are not discussed in my book -- including many of my personal favorites. By necessity, the author of such a book is forced to focus on players who helped define key styles. Hence Charlie Christian receives more attention than any number of later guitarists, etc. This would be true in other fields as well -- someone who had invented a medical cure would take on a larger profile than a doctor who may have actually used that medicine to help cure thousands of people. It is important for readers to understand that the exclusion of any specific player does not imply any deficiency in their music or career. If I had written a book entitled "Great Jazz Soloists" or "My Favorite Jazz Musicians," the artists included would have been different.

 

Date:	19-Sep-1999 14:45:16
From:	uhlmann michaelmmm (miggu66@hotmail.com)
	dear ted, I would like to attend a jazzschool in california,I play electrical bass. Which is the best school in california,which one the best in the US in your opinion? Thank you for answering these questions.

 

Date:	03-Jan-2000 10:14:17
From:	John Litwack (john.litwack@oecd.org)
	Dear Ted: I just read your West Coast Jazz for the first time over the holidays. What a beautiful book! I consider it to be one of the finest books on jazz that I have ever read. My familiarity with West Coast Jazz was particularly poor before reading your book. (Like the some of the stereotypes in your book, I grew up in Berkeley listening primarily to East Coast jazz!) I will now be able to listen to my native "West Coast" music with a geatly enhanced appreciation. Thank you. I also gobbled down your History of Jazz with great enjoyment, another impressive accomplishment! One of the themes in West Coast Jazz that really struck me was the huge influence of the Count Basie band of the 1930s on music in LA. I had been aware of the dominant influence of the Basie band on the earlier Central Avenue scene, especially in the emergence of LA R&B in the late 40s and early 50s. The fact that Lester Young was the model tenor on the coast was also clear. But I had always assumed that the "cool school" essentially looked down on the 1930s Basie model in favor of the more structured "intellectual" jazz of Tristano, Ellington, Gil Evans, etc. I found that aspect of your book particularly interesting, if also a bit puzzling. Thanks again. John

 

Date:	20-Feb-2000 15:53:16
From:	Mark L. MacGregor (marktbonist@yahoo.com)
	I am doing a research paper entitled; Female Big Bands from WW2 to the present. I am experiencing a little difficulty in finding info particularily from the 50's into the early 80's. Do you know of anyone, or anywhere that I might turn to for some info regarding this lost fact of women in jazz. Sincerely, Mark L. MacGregor...marhtbonist@yahoo.com

 

Date:	21-Feb-2000 00:31:19
From:	Dick Salvucci (Richard.Salvucci@mexicomail.com)
	Ted--what do you know about Don Fagerquist? Has anyone ever put together a discography of his work?

 

Date:	29-Feb-2000 03:38:52
From:	Phil Gioia (philg@smarttouch.comn)
	Ted: Shoot me an e-mail, and let's catch up! Meanwhile, visit www,smarttouch.com and www.zeuswireless.com. All that B-School time is coming home to roost. We're going to be christening our daughter Victoria Noelle in April, and I'm going to rope Dana and Mary into this if I can get away with it. All the best, Phil

 

Date:	09-Mar-2000 17:19:31
From:	Lon Price (txstnr@aol.com)
	Hi Ted, I just finished your book, The History of Jazz, and I was really impressed by your objective viewpoint. I was especially glad to read that you feel that jazz has "many tales yet to unfold." I'm distrubed by the current trend of "new traditionalism" touted by Crouch, Murray and Winton Marsalis. I strongly believe that jazz musicians must look ahead, for new ground to break. I admit that it's important not to forget the past, and that's why I read your book in the firest place. I wanted to fill in the gaps in my knowledge about jazz. Your book filled those gaps admirably. But as artists we cannot dwell upon the past; otherwise the art ceases to grow. And that which ceases to grow eventually dies. I'm particularly interested in further exploring the possibilities of fusing jazz and contemporary classical music, in the tradition of Cecil Taylor, Gunther Schuller, et al. I have one question for you. Why was there no mention of Eric Nisenson, the author of "Ascension," "Round Midnight" and "Blue: the Murder of Jazz" in your "Further Reading" section? It would seem to me that these three books are very important and should not be omitted from anyone's list of essential reading material on the subject of jazz. All the best, Lon ********************************** Lon Price Los Angeles txstnr@aol.com txstnr@pacbell.net http://members.aol.com/txstnr/

 

Date:	12-Mar-2000 17:25:56
From:	Ted Gioia
	Lon, Eric's book came out after I had finished writing The History of Jazz. However, the themes he deals with are being widely discussed by many in the jazz community. i believe that the conflict between traditional and progressive approaches in jazz will not disappear any time soon. Jazz is at a stage in its development in which such issues cut to the core of its role as an art form. It is far too simplistic, in my view, to pick sides in this conflict -- in fact, the whole are has become too politically charged and divisive for my tastes. I believe that a middle ground is both attainable and desirable -- however, I don't see many individuals in the jazz community trying to find this middle ground. Ted

 

Date:	14-Jun-2000 23:57:17
From:	john wallingford (jwallingford@thesunlink.com)
	Ted, i'm doing a newspaper story on (alto player) Mark Lewis. if you should happen to get this soon (it's wednesday, june 14, now) soon, i'd appreciate some insight on the matter. you can reach me by phone at 1-800-755-4355. thanks john

 

Date:	04-Sep-2000 13:44:26
From:	Kathleen Wyer Lane (kwyerlane@earthlink.net)
	Hello Ted: I read your bio and comments about jazz history with great interest. Rarely does a musical writer reach back in time to create a colorful historically accurate and in-depth canvass of the life and times of early jazz musicians. You may have read about the Wyer musicians of Florida and their contribution to America's only art form. I read of your interest in the music of Latin America, specifically Argentina. My great uncle was one its early messengers of jazz . I am researching his life and would be curious if you have come across Paul. K. Wyer Lane

 

Date:	30-Sep-2000 15:50:09
From:	Mike Davis (mdavis@manana.swinternet.co.uk)
	No Question. Just to say I enjoyed the Jazz West Coast and thank you for the acknowledgement of my and Roger Hunter's bio/discography on Hamp Hawes. Regards Mike Davis - England

 

Date:	14-Oct-2000 13:51:23
From:	david early (david.early@ukgateway.net)
	As well as enjoying your book WEST COAST JAZZ, I really love the album you recorded with Mark Lewis TANGO COOL. I learned of it through the English saxophone teacher John O'Neill who features three of your compositions in his book. I really think it is one of the best jazz albums I have ever heard. Mark Lewis is a wonderful alto player and I try to model my sound on him. Are there any other albums of you and him together or separately? DAVID EARLY

 

Date:	22-Oct-2000 10:14:37
From:	C. Prescott (acostapulley@netzero.net)
	Al Jolson: A megastar long buried under a layer of "Black face" NY Times Oct 22, 2000 It seems Al Jolson has received as much recognition as he deserves. How much recognition can or should one receive when their popularity is based on making fun of or ridiculing another group. As a Jew he should have clearly understood this. In regards to film, “Birth of a Nation” was regarded as historic in motion pictures. Many performed in black face as well. Politically incorrect or out right offensive? Obviously and unfortunately by your using the reference of “politically incorrect” you illustrate your ignorance on how deep set the repercussions of the white black faced minstrel was on Americans of African descent. As a writer it would fair well for you to research all angles before attempting to write such a biased piece.

 

Date:	25-Oct-2000 17:54:19
From:	Ted Gioia (tedgioia@hotmail.com)
	I am grateful for all the wonderful comments. I will try to respond personally to some of the them. Best regards, Ted

 

Date:	10-Nov-2000 16:47:13
From:	K Wyer Lane
	Hello Ted: I was poised to write you a second query about your jazz research in Argentina and if you had come across my great uncle Paul when I read the article in the NY Times about Al Jolson. Your writings portray jazz artists accurately and you don't fall prey to the "romantic belief" that musicians are only "great" when they have a needle stuck in their arm, pimp their women, wield a knife and die in poverty. You of course, know what I mean. So when I read your article it puzzled me. I had to read it again...looking for something that would get you off the hook for writing about the most despised performers in black face. Despised by black folks like me. I assume that your article was in response to Spike Lee's film. I cannot imagine a black person making a sustained living by assuming the negative caracture of a white ethnic. Not because no one would come to our shows but because it takes one to know one, and rank has its privileges. Think about it. Your profile of Al Jolson's Jewish background certainly doesn't help close the very sad gap between Blacks and Jews. I winced at every word. So you say that Blacks painted their faces, whitened their lips and rolled their eyes to the rhythm of minstrel tunes. Yes they did...because there were few alternatives. But how did they feel about it? Not good. I know...(rank has its privileges)...because some of my ancestors performed in these shows. I can tell you with certainty that Eubie and Sissle were not the grateful "Kneegroes", as you might believe, when they dined with Jolson. Jolson wasn't a racist? Hello??? He certainly had to know what his degrading performances meant to Blacks. I am sure he was a victim to anti-semetic jokes etc. A love fest? Come on Ted. I can't believe that you really mean it. I hope that unlike Jolson, you will be remembered as a conscientious chronicler of jazz history and not for an apologia of Al Jolson. K Wyer Lane

 

Date:	15-Nov-2000 15:19:50
From:	Lisa Paul (paulla@maritz.com)
	Hi, Ted. I am looking for a few famous quotes relating to jazz or any which were said by jazz musicians. It would be terrific if they were funny, but any inspirational, insightful or thought-provoking quotes would help. Appreciate whatever you can provide! Lisa Paul New York, NY

 

Date:	30-Nov-2000 12:44:45
From:	Ted Gioia
	Lisa, There is no book that focuses solely on quotes by jazz musicians, however you may want to check out Bill Crow's book Jazz Anecdotes. Ms. Lane, I am not familiar with your relative's music, so I can't comment on that. As to Al Jolson, I would be interested to hear about any evidence you (or anyone else) might have that he was a racist. I intend to write about him at greater length in the future, and if I have missed any relevant information on this matter, I would be receptive to seeing it. Certainly you are not asserting that putting on burnt cork makeup makes someone a racist -- otherwise Laurence Olivier, Shirley Temple, Bing Crosby, George Burns, etc. would be racists. Can't we agree that we should judge Jolson on the facts of his life, not on conjecture based on how he looked?

 

Date:	05-Dec-2000 17:04:07
From:	Taylor Drotman (tdrotman@brillscontent.com)
	Hello Ted, My name is Taylor Drotman and I am the Academic Expert Editor for a website called Contentville (www.contentville.com). Liz Hartman at Oxford highly recommended you as an expert on Jazz and I would very much like to speak with you about that possibility. Academic Experts recommend the best books and articles in their area of expertise in a feature called "Professor's Picks." For example Susan Gubar (Indiana University) offers her top five readings in feminism and literature, Sean Wilentz (Princeton) writes on American politics since 1787, and Michael Walzer (Institute for Advanced Study) offers essential readings in Jewish political thought. If you have any interest plese be in touch. (212) 332-6330

 

Date:	08-Dec-2000 18:54:16
From:	Mike Moore (mikesmoore@earthlink.net)
	Ted, For an article on Miles Davis' time at the Lighthouse Cafe in 1957 -- specifically the day he got slugged by a bartender (see Miles' autobiography, p. 169) -- I wonder if you can put me in touch with someone who was there. Max Roach? Or someone from the Lighthouse? Doesn't matter. I just need a few details about that bartender. Thanks Mike Moore San Francisco

 

Date:	14-Jan-2001 21:12:50
From:	ze weber (from brazil) (zeweber@ig.com.br)
	Helo Ted:!!! I have the research the Dany Small. Dani was recorded one Long Play of the "Unidet Artist" Number Cod UA-30.025. - Masterpiece He was played into the this LongPlay with: Zane Paul (SAX) - John Lathan (bass) Kin Kenedy (drums) He was teacher the singer: Gloria Lynne He was Born in Chigago 1925, but this LP is 60's Do you know where take the infomation the ancien United Artist? Thank you TED

 

Date:	25-Jan-2001 13:27:48
From:	Helder Coelho (helder@unreal.pt)
	Mr. Ted Gioia, I have a big problem, so i´m sending you this e-mail in hope that you could help me solving it: The problem is about an english school work that i must present to my teatcher, i have to write about the evolution of gospel, jazz, and relate them to civil rigths and naming a few names that helped in this evolution. I want you to be aware that i´m not asking you to do the job for me, I just want to help me completing this "Infernal" and almost impossible task, off course that something like this is no match for you. :) Please help me, I must pass discipline and I´m depending on you. Helder

 

Date:	04-Feb-2001 13:52:14
From:	Jav
	I just bought that wonderful box set "The West Coast Jazz Box" and I heard some cool Cal Tjader stuff. I'd like to add some really cool sounding Cal Tjader CDs to my collection. What would you recommend?

 

Date:	11-Feb-2001 16:14:10
From:	Jeremy Chapman (jeremychapman@hotmail.com)
	Dear Ted, I am about to start an MA in musiclogy in England and I am hoping to base it on the Norwegian saxophonist, Jan Garbarek, in particular, his use of harmony from Afric Pepperbird to Rites. This idea was partly influenced by your discussion of a need to formulate an 'aesthetics of imperfection.' I feel that he has been unable to maintain the American 'imperfect' approach and very soon brought his playing into a much more western classical 'perfect' approach to art. Garbarek has gone from pretty wild to pretty tame and his use of harmony over thirty years could be said, quite crudely perhaps, to have resembled that of western classical music, but in reverse. Currently he is improvising over plainchant with the Hilliard Ensemble. What next? And why? Is there something ultimately disatisfying with harmony? Does it allude to heaven? I would be curious to know if you have any views on the progression of Garbarek's work and/or the very fact of harmony in the west and how it somehow conveys information about the west and its approach to a relationship between God and Man.

 

Date:	24-Feb-2001 20:21:52
From:	Sherry Dupre (sdupre2@hotmail.com)
	Dear Mr. Gioia: I am a senior in journalism at Louisiana State University. In researching an extensive story about "Storyville" and the musicians that played there, I came across your book. I was just wondering if you would share your thoughts about why jazz developed in this area at his time? Were the conditions of Storyville just right for this kind of music? I would greatly apreciate anything you could tell me about the scene jazz in Storyville. Thanks for your time.

 

Date:	27-Feb-2001 18:02:15
From:	Ted Gioia
	Once again, I thank everyone for their comments and questions. I have been responding to these by email. Ted Gioia

 

Date:	17-Mar-2001 18:52:51
From:	Ken Habeeb/Half Moon Bay, CA (ken@coastside.net)
	Hi Ted, I just finished a considered reading of The History of Jazz. It was informative and absorbing. When I was finished, I thought again about your comments regarding the lesser attention shown on Jazz musicians who came along in the '60s and '70s -- the lost generation as it were. I wonder if you can in retrospect -- circa 2001 -- make a short list of lost-generation musicians who rank with the more well-known Young Lions we all know of. By the way, did you catch the trumpeters et al at the S.F. Jazz Fest tribute to Hubbard and Shaw? I was especially impressed by Kenny Garrett, who took too few solos, and Ingrid Jensen, whose solos were very nice statements. Thanks, Ken H. (drummer)

 

Date:	20-Mar-2001 22:51:26
From:	Ken H. (ken@coastside.net)
	Jeez, my last letter sounded a little stilted. I just wanted to say that I read your book slowly to really let it sink in. As for the list request, well that must sound pretty daunting. I can hear you saying: Well, on what instrument, Ken? I guess I can find out for myself, Ted. It'll just take a little longer. I would, though, like to hear any thoughts on the SF Jazz Fest: on what you may have heard, or if not, what you would recommend. There's still time! P.S. We have a mutual acquaintance in Steve, formerly of the Chimera Bookstore and now of Borders in P.A. I've been talking to him about Jazz for a long time. Funny, huh? Ken Habeeb Half Moon Bay

 

Date:	23-Mar-2001 10:26:19
From:	Robin Sue Roger (robinruns@hotmail.com)
	Ted, I am working on a magazine article about the history of Storyville and its contributions to jazz. It seems in your The History of Jazz you spend a considerable amount of time debunking the myth that Storyville was the birthplace of jazz. I was wondering if I might interview you for the article. Please contact me. Robin

 

Date:	28-Mar-2001 19:35:08
From:	David Brent Johnson (DJohnso6@bordersstores.com)
	Ted, I live in Bloomington, IN, and interviewed you by phone about a year & a half ago for an article I did about Indianapolis jazz (thanks again!). I am currently developing a 13-part radio series on the history of the Third Stream that will run on either our local public radio station or our community radio station, where I do a weekly jazz program. One episode will examine West Coast artists in the 1950's, with an emphasis on recordings by Jimmy Giuffre, Shelly Manne, and other artists mentioned in your book West Coast Jazz. Would it be possible to tape an interview with you by phone again (prob. sometime in April or May)that could be incorporated into such a program?

 

Date:	31-Mar-2001 12:58:57
From:	K Wyer Lane
	Dear Ted: I haven't visited your site in quite awhile and was I was interested in your comments to my message regarding Al Jolson. Please understand that I value your work and contribution to jazz history. I discussed your message and mine with my dear friend, Chris Albertson. Like Chris, you accurately present the life and times of jazz artists within the context of history. I do hope that your book will include Jolson's understanding of how African-American musicians and audiences smarted everytime they saw him portraying us as buffons. Regards

 

Date:	05-Apr-2001 17:34:31
From:	David Brent Johnson (DJohnso2001@yahoo.com)
	Ted, Other artists I'd include in my program (& would like to interview you about) include Gerry Mulligan, Chico Hamilton, and Duane Tatro. I've been re-reading your notes for the Mulligan/Baker Pacific Jazz set, which make a wonderful complement to the music. Sorry if you've tried to reply to my previously-listed e-mail address, which has been quite erratic lately; I'm listing my other one above.

 

Date:	10-Apr-2001 15:51:33
From:	Ted Joy (tedjoy@hiroad.net)
	Greetings, Time for a completely off-the-subject, personal question. Do you pronounce your last name Joy? Best, Ted Joy

 

Date:	28-Apr-2001 21:19:15
From:	Ted Gioia
	I am delighted to be able to clear up the mystery of how my last name is pronounced. It should be pronounced JOY-uh. It is an Italian name, and means "joy" in Italian.

 

Date:	21-May-2001 11:18:40
From:	Tasha (Tydie01@yahoo.com)
	Hey Gioia! My name is tash and im in my last year if high school and I have to do a research paper on Jazz. I've read your articls and I like your views on the subject. I was wondering if you could give me any advice? thanks alot Tasha from Jax.,NC

 

Date:	18-Jul-2001 15:39:15
From:	Alek (alekk@freemail.org.mk)
	Hi Ted. I've a problem and I think you can help me out(or anybody else).It's a song and i don't know it's title. Here is what I know: it's a Chet Baker song(no doubt about it), a very popular one because I'm hearing it very often; it's short, not longer then 4 minutes (it's instrumental), it starts with a very playful piano riff(like tan-tan'ta-ta-ta'tan-tan'ta-ta-ta) and then comes Baker. It has a drum solo in the middle of the song. The song has similar melody through out those 4 minutes (the piano riff). I recently heard it on a Woody Allen film but again I didn't manage to see the title. Please help out 'cause i want to have it. Thanks!

 

Date:	21-Jul-2001 07:47:55
From:	Martin Mayes (mayes@tin.it)
	I am the horn player of the Italian Instabile Orchestra. The horn player Doug Hill mentioned your book "The imperfect art...". It doesn't seem to be available through Amazon. Do you have any suggestions where I can find a copy? With thanks and best wishes Martin Mayes

 

Date:	22-Jul-2001 15:03:27
From:	Alek
	Never mind, i found it!

 

Date:	30-Jul-2001 02:07:15
From:	Ted Gioia
	In response to Martin's inquiry about my first book, The Imperfect Art: It is again available from Oxford University Press. It can be ordered via their web site at http://www.oup-usa.org/isbn/0195053435.html

 

Date:	23-Sep-2001 13:20:34
From:	Henry Benson (editor@centralcoastmagazine.com)
	Hello! We just took lots of pictures of Lucky Peterson, Joe Lovano and Branford & Wynton Marsalis, and Roy Hargrow, and many other musicians at Monterey Bay Jazz Festival/2001. We create e-Cards for Musicians and Artists: http://centralcoastmagazine.com/postcards/index.htm http://centralcoastmagazine.com/postcards/hargrove.ht ml http://centralcoastmagazine.com/postcards/jonnylang/i ndex.html and Web presence for Jazz/Blues Publishers, Reviews and Festivals: http://centralcoastmagazine.com/timelessjazz/ http://centralcoastmagazine.com/santacruzblues/scblu es_index.html Full Info at: http://centralcoastmagazine.com/index1.html Sincerely, HENRY BENSON Executive Editor/Photographer

 

Date:	23-Sep-2001 16:02:46
From:	clem (csaha@hal-net.org)
	Dear Ted:

 

Date:	23-Sep-2001 16:18:00
From:	Clem (csaha@hal-net.org)
	Dear Ted: I first began listening to jazz when I was in high school in the late fifties. Hard bop was then in its glory days what with Miles Davis and Art Blakey and Horace Silver. I adopted the prejudices of Downbeat critics regarding West Coast jazz and, besides, most of the musicians were either in jail or out of the country or just not playing anymore. To me the greatest creative period in jazz ended about 1965. Some months ago I read your book "West Coast Jazz" and I wondered what I had missed. A lot its turning out. I am only now discovering Chet Baker and Art Pepper, and I have begun to collect the fine Capitol releases of Stan Kenton's music. One of my greatest surprises was listening to Dave Brubeck's solo album on Columbia from 1955 and the Octet of 1946-50. I recommend your book to anyone who cares about jazz.

 

Date:	03-Oct-2001 22:26:00
From:	McArn (putterguy@mindspring.com)
	I'm a high school student working on a History Day project about bebop. Our topic is Revolution, Reaction and Reform. How do you think bebop applies to one or all of these areas? What brought about the birth of bebop and what was its impact? I can use any information you give me as an interview for my resources. Thank you.

 

Date:	03-Oct-2001 22:27:23
From:	McArn (putterguy@mindspring.com)
	I'm a high school student working on a History Day project about bebop. Our topic is Revolution, Reaction and Reform. How do you think bebop applies to one or all of these areas? What brought about the birth of bebop and what was its impact? I can use any information you give me as an interview for my resources. Thank you.