 By 1950, bebop musicians such as Clifford Brown and Sonny Stitt began to smooth out the rhythmic eccentricities of early bebop.Instead of using jagged phrasing to create rhythmic interest, as the early boppers had, these musicians constructed their improvised lines out of long strings of eighth notes and simply accented certain notes in the line to create rhythmic variety.The early 1950s also saw some smoothing in Charlie Parker's style.