Analysis of information sources in references of the Wikipedia article "Oleo (composition)" in English language version.
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.
His [Rollins'] tunes "Oleo," "Airegin," "Doxy," "St. Thomas," and "Pent-up House" are favorites of jazz musicians everywhere.
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.
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 July 2025 (link)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.
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 July 2025 (link)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.