The kindred spirits developing the new music gravitated to sessions at Minton's Playhouse, where Monk and Clarke were in the house band, and Monroe's Uptown House, where Max Roach was in the house band. Part of the atmosphere created at jams like the ones found at Minton's Playhouse was an air of exclusivity: the "regular" musicians would often reharmonize the standards, add complex rhythmic and phrasing devices into their melodies, or "heads," and play them at breakneck tempos in order to exclude those whom they considered outsiders or simply weaker players. These pioneers of the new music (which would later be termed "bebop" or "bop", although Parker himself never used the term, feeling it demeaned the music) began exploring advanced harmonies, complex syncopation, altered chords and chord substitutions. The bop musicians advanced these techniques with a more freewheeling, intricate and often arcane approach. Bop improvisers built upon the phrasing ideas first brought to attention by Lester Young's soloing style. They would often deploy phrases over an odd number of bars and overlap their phrases across bar lines and across major harmonic cadences. Christian and the other early boppers would also begin stating a harmony in their improvised line before it appeared in the song form being outlined by the rhythm section. This momentary dissonance creates a strong sense of forward motion in the improvisation. The sessions also attracted top musicians in the swing idiom such as Coleman Hawkins, Lester Young, Ben Webster, Roy Eldridge, and Don Byas. Byas became the first tenor saxophone player to fully assimilate the new bebop style in his playing. In 1944 the crew of innovators was joined by Dexter Gordon, a tenor saxophone player from the west coast in New York with the Louis Armstrong band, and a young trumpet player attending the Juilliard School of Music, Miles Davis.