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
Flea (musician) interest in music to jazz performers like Jaco Pastorius, Miles Davis, Duke Ellington, Charlie Parker, Louis Armstrong, John Coltrane, and Dizzy Gillespie. After Kiedis introduced him to punk and rock, Flea became infatuated with artists such as Black Flag, David Bowie, and Defunkt. Flea's early influences before "Blood Sugar Sex Magik" were mainly funk artists. They would become a notable aspect of the Red Hot Chili Peppers' sound up to "Mother's Milk". Originally, Flea was given the impression by punk bands, that one should play as hard and fast as they possibly could, but ultimately rejected this philosophy during "Blood