Jazz in the post-war years: In the early 1940s, bebop-style performers began to shift jazz from danceable popular music toward a more challenging "musician's music." The most influential bebop musicians included saxophonist Charlie Parker, pianists Bud Powell and Thelonious Monk, trumpeters Dizzy Gillespie and Clifford Brown, and drummer Max Roach. Divorcing itself from dance music, bebop established itself more as an art form, thus lessening its potential popular and commercial appeal. Composer Gunther Schuller wrote, "In 1943 I heard the great Earl Hines band which had Bird in it and all those other great musicians. They were playing all the flatted
Music of Cuba playing conga with Dizzy Gillespie and Machito in New York City. Cuban jazz had started much earlier, in Havana, in the period 1910–1930. Arsenio Rodríguez, one of Cuba's most famous tres players and conjunto leaders, emphasised the "son"'s African roots by adapting the "guaguancó" style, and by adding a cowbell and conga to the rhythm section. He also expanded the role of the tres as a solo instrument. In the late 1930s and 40s, the danzonera Arcaño y sus Maravillas incorporated more syncopation and added a montuno (as in son), transforming the music played by charanga orchestras. The big band