African-American music Ruth persuaded a gospel group to sing in a secular setting, the Apollo Theater, with such success that he subsequently arranged gospel caravans that traveled around the country, playing the same venues that rhythm and blues singers had popularized. Meanwhile, jazz performers began to push jazz away from swing, a danceable popular music towards more intricate arrangements, improvisation, and technically challenging forms, culminating in the bebop of Charlie Parker and Dizzy Gillespie, the cool sounds and modal jazz of Miles Davis, and the free jazz of Ornette Coleman and John Coltrane. African-American musicians in the 1940s and 1950s were developing
John LaPorta with the Woody Herman Orchestra. Beginning in 1947 he studied with Lennie Tristano. With Teo Macero and Charles Mingus he was a member of the Jazz Composers Workshop, trying to combine jazz with classical music. In the classical world, he worked with Boston Pops, Leonard Bernstein, Leopold Stokowski, and Igor Stravinsky. In jazz he worked with Kenny Clarke, Miles Davis, Dizzy Gillespie, Charlie Parker, Buddy Rich, and Lester Young. He taught at Parkway Music School, then at public schools on Long Island, followed by the Manhattan School of Music and the Berklee College of Music. With guitarist Jack Petersen, he