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Zootsuit spit-and-polish, like beboppers of the forties and fifties on the sleeves of Hatch's record albums, Ward Wardell is leaning against a black hearse, his face cold and blank.
The swing-orientated numbers (a hard-driving Cottontail stood out) rubbed shoulders with a cool-headed Walkin' (courtesy of Miles Davis), then reclined through a luscious Willow Weep For Me, upping the tempo considerably for a brace of Bird'n'Diz hard beboppers, including a prickly Hot House, followed by a twin-muted, crystal-crafted Loverman.
More discussion of the work of Parker and Gillespie may be expected by interested readers, but Owens has rendered a valuable service in discussing the larger history of bebop, including the current crop of beboppers, among them trumpeter Wynton Marsalis and pianist Michel Petruccioni, who was born in France in 1962 and whose "fertile musical imagination regularly generates lengthy solos of high-energy bebop" (p.