Jazz

... often taken to symbolize introspection, the eternal return or cyclicality,[4]especially in the sense of something constantly re-creating itself. It also represents the infinite cycle of nature's endless creation and destruction, life and death and despair.[5]

Featuring unusual instrumentation and several notable musicians, the music consisted of innovative arrangements influenced by classical music techniques such as polyphony, and marked a major development in post-bebop jazz. As the title suggests, these recordings are considered seminal in the history of cool jazz. Most of them were originally released in the 10-inch 78-rpm format and are all approximately three minutes long.

John Laird Abercrombie (born December 16, 1944) is an American jazz guitarist, composer and bandleader.[1][2] His work explores jazz fusion, post bop, free jazz, and avant-garde jazz ... He began by playing along to Chuck Berry, but discovered jazz by listening to Barney Kessel.[4] ... He quickly became one of the "most in-demand session players,"[4] recording with Gil Evans in 1974, Gato Barbieri in 1971, and Barry Miles in 1972 among others ... His playing style is "spare" and "understated," and he has continued to experiment and push the boundaries of jazz while retaining a firm grounding in jazz tradition.

He quickly established himself as a key post-Charlie Christian jazz guitarist ... Kessel was known for his innovative work in the guitar trio setting ... Kessel was also a member of the Oscar Peterson Trio with Ray Brown for a year, leaving in 1953. The guitar chair was called the hardest gig in show business since Peterson often liked to play at breakneck tempos.

Christian was an important early performer on the electric guitar and a key figure in the development of bebop and cool jazz. He gained national exposure as a member of the Benny Goodman Sextet and Orchestra from August 1939 to June 1941.

Christian's solos are frequently described as "horn-like", and in that sense he was more influenced by horn players such as Lester Young and Herschel Evans[11]

The influence he had on "Dizzy" Gillespie, Charlie Parker, Thelonious Monk and Don Byas can be heard on their early bop recordings "Blue 'N' Boogie" and "Salt Peanuts". Other musicians, such as the trumpeter Miles Davis, cited Christian as an early influence.

Christian was an important contributor to the music that became known as bop, or bebop. Some of the participants in those early after-hours affairs at Minton's Playhouse, where bebop was born, credit Christian with the name bebop, citing his humming of phrases as the onomatopoetic origin of the term.

He [Kenny] has cited jazz guitarists Charlie Christian and Django Reinhardt as influences

From 1957 to 1959, Burrell occupied the former chair of Charlie Christian in Benny Goodman's band. Since his New York debut Burrell has had a prolific recording career, and critics have cited The Cats with John Coltrane in 1957, Midnight Blue with Stanley Turrentine in 1963, and Guitar Forms with arranger Gil Evans in 1965 as particular highlights.[1][2][3]