**** ....when we look at jazz, unless we accept the premise that it encompasses more than bebop and hard bop, then there is no need for further discussion. ****
I refuse to acknowledge that comment for reasons that should be quite apparent.
Frogman, there were two Dizzy Gillespie's; one was a sort of musical ambassador who presented what that audience expected; a "bebop" entertainer. There was also another musician who was more serious about "his" music, meaning music he was creating as time went by. I have much more of "Dizzy" than just the beginning, he never quit being serious about creating new music that was linear with modern jazz, but not completely off the track; try this as one example;
https://www.youtube.com/watch?v=oj1j4mN7OT0
He reworks this tune in numerous boss ways, the same as "Night In Tunisia" is reworked.
Here he is on the ambassador track doing what he was famous for doing.
https://www.youtube.com/watch?v=A5tRGMHfKrE
Miles went completely out of the bounds of what could be called jazz, but since it was Miles doing it, his new fans called it jazz, but his original fans didn't agree. I can't corroborate this because I talked to some of his original fans who were mentioned in his book. What we laughed and talked about personally, they would not admit publicly, but Miles trolley jumped the jazz track.
We have too many fundamental disagreements in regard to the music to begin a comparison of those two; consequently we'll have to debate something else.
Enjoy the music.
PS I never heard Lee Morgan on "Blue Train" before now, it was all just part of the music, but now Lee Morgan is all I hear.