Tom and others have written about Jazz phrasing. In my experience, this is often a difficult concept to get across to people.
So I have compiled a little extract from my Bossa Nova.(Flute Sonata). Sometimes it is easier to understand when you see it written down.
In the 1st extract there is just the raw notes.It sounds ok, in fact it illustrates the point that Baroque and Bebop are closer than many think.
The 2nd extract includes the more typical Jazz phrasing. It has more rhythmical kick. It sounds less restrained, more passionate, more improvised.
Notice that the slurs are not where a classical composer would put them. This gives a more rhythmic kick to the solo. Also note the that the accents come in quirky unpredictable parts of the bar.(Thanks Charlie Parker).
Thanks for posting this, Joaz. This is a very clear example of exactly what I was talking about. This should help a lot of people.
This isnt intended to be the last, only, and authorative word on the thorny issue of Jazz phrasing. More like a beginners guide, to get people started.
When you know how Jazz phrasing sounds, the tongue ,tongue, slur, tongue slur etc, model makes perfect sense. However if you are a Piano player,or none-wind instrument player, I have found that this concept can go over peoples heads, without sinking in.
If your model for phrasing, comes from Bach, etc it is something of a shock to see how Jazz musicians phrase even 16ths.
Although if you have ever deeply studied Beethoven, it might not be so surprising, especially the displaced accents.