Oleo (composition) (English Wikipedia)

Analysis of information sources in references of the Wikipedia article "Oleo (composition)" in English language version.

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Gioia, Ted (2021). The Jazz Standards: A Guide to the Repertoire. Oxford University Press. p. 348. ISBN 978-0-19-008717-3 – via Google Books.
Rice, Timothy; Wilson, Dave (21 January 2019). Gateways to Understanding Music. Routledge. ISBN 978-1-315-17613-0. Retrieved 30 October 2024 – via Google Books. In the 1940s and 1950s, musicians playing bebop and other later styles of jazz wrote songs based on the AABA refrain that became standards in their own rights, such as "Anthropology" (also known as "Thriving on a Riff") by Charlie Parker, "Oleo" by Sonny Rollins, and "Rhythm-a-ning" by Thelonious Monk.
Hellmer, Jeffrey L.; Lawn, Richard J. (2005). Jazz Theory and Practice: For Performers, Arrangers and Composers. University of Texas at Austin: Alfred Music. pp. 215–216. ISBN 0-88284-722-8 – via Google Books.
Tymoczko, Dmitri (2011). "Bill Evans' 'Oleo'". A Geometry of Music: Harmony and Counterpoint in the Extended Common Practice. New York: Oxford University Press. p. 378. ISBN 978-0-19-533667-2.
Yurochko, Bob (2001) [1993]. "Hard Bop". A Short History of Jazz. Chicago, IL: Rowman & Littlefield. p. 146. ISBN 978-0-8304-1595-3 – via Google Books. His [Rollins'] tunes "Oleo," "Airegin," "Doxy," "St. Thomas," and "Pent-up House" are favorites of jazz musicians everywhere.

Dueck, Byron (2013). "Jazz Endings, Aesthetic Discourse, and Musical Publics". Black Music Research Journal. 33 (1): 91–115. doi:10.5406/blacmusiresej.33.1.0091. ISSN 0276-3605. JSTOR 10.5406/blacmusiresej.33.1.0091. Retrieved 30 October 2024. One [piece performed] was a Charlie Parker blues arrangement, the other a version of Sonny Rollins's 'Oleo.' The chosen repertory seemed to pay homage to a particularly iconic version of jazz: bebop as an innovative African-American practice.
Schiff, David (2012). ""Cotton Tail": Rhythm". The Ellington Century (1 ed.). University of California Press. pp. 57–58. doi:10.1525/j.ctt1pphrg (inactive 1 November 2024). ISBN 978-0-520-24587-7. JSTOR 10.1525/j.ctt1pphrg.7. Retrieved 30 October 2024. Contrafacts apply this strategy to popular tunes, but a distinction may be drawn between a contrafact that is a new popular tune, such as "Meet the Flintstones," and jazz heads like [...] Sonny Rollins's "Oleo," [...] all based on 'I Got Rhythm.'{{cite book}}: CS1 maint: DOI inactive as of November 2024 (link)

Dueck, Byron (2013). "Jazz Endings, Aesthetic Discourse, and Musical Publics". Black Music Research Journal. 33 (1): 91–115. doi:10.5406/blacmusiresej.33.1.0091. ISSN 0276-3605. JSTOR 10.5406/blacmusiresej.33.1.0091. Retrieved 30 October 2024. One [piece performed] was a Charlie Parker blues arrangement, the other a version of Sonny Rollins's 'Oleo.' The chosen repertory seemed to pay homage to a particularly iconic version of jazz: bebop as an innovative African-American practice.
Schiff, David (2012). ""Cotton Tail": Rhythm". The Ellington Century (1 ed.). University of California Press. pp. 57–58. doi:10.1525/j.ctt1pphrg (inactive 1 November 2024). ISBN 978-0-520-24587-7. JSTOR 10.1525/j.ctt1pphrg.7. Retrieved 30 October 2024. Contrafacts apply this strategy to popular tunes, but a distinction may be drawn between a contrafact that is a new popular tune, such as "Meet the Flintstones," and jazz heads like [...] Sonny Rollins's "Oleo," [...] all based on 'I Got Rhythm.'{{cite book}}: CS1 maint: DOI inactive as of November 2024 (link)

Dueck, Byron (2013). "Jazz Endings, Aesthetic Discourse, and Musical Publics". Black Music Research Journal. 33 (1): 91–115. doi:10.5406/blacmusiresej.33.1.0091. ISSN 0276-3605. JSTOR 10.5406/blacmusiresej.33.1.0091. Retrieved 30 October 2024. One [piece performed] was a Charlie Parker blues arrangement, the other a version of Sonny Rollins's 'Oleo.' The chosen repertory seemed to pay homage to a particularly iconic version of jazz: bebop as an innovative African-American practice.