Bird: The Complete Charlie Parker on Verve

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Bird: The Complete Charlie Parker On Verve
Charlie Parker's studio album

Publication
(s)

1990

Label (s) Mercury / Verve

Format (s)

10 CD

Genre (s)

jazz

running time

619: 10

occupation

production

Phil Schaap

Studio (s)

Rudy Van Gelder Studio, Hackensack , New Jersey

Template: Info box music album / maintenance / parameter error

Bird: The Complete Charlie Parker on Verve is a jazz album by Charlie Parker . The ten compact disc edition from 1990 contains all the recordings that the alto saxophonist had made for Norman Granz on the record label Mercury Records and that were later released on Granz's own label Verve Records , starting with repetitions with the Neal Hefti Orchestra in late 1947 up to his last recordings for the Cole Porter songbook ( I Love Paris ) on December 10, 1954. Parker's recordings under his own name are supplemented by three Jazz at the Philharmonic concerts in 1946, 1949 and 1952, in which Parker took part.

introduction

At the center of Edition Bird: The Complete Charlie Parker on Verve are Charlie Parker's various quintet and quartet formations, such as recordings with Dizzy Gillespie and Thelonious Monk ( Bloomdido ) in June 1950, a title with Coleman Hawkins in October ( ballad ), the Au Privave session with Miles Davis on January 17, 1951 and with Red Rodney ( Blues for Alice ) in August 1951; later his quartet recordings with pianists Al Haig and Hank Jones . In addition, there are his pieces influenced by Latin American music , which were then marketed under the title South of the Border , as well as the various productions with strings and big band recordings, etc. a. with Gil Evans and the Dave Lambert Singers .

The sessions in chronological order

1946: JATP

Parker's association with 27-year-old Norman Granz began as early as 1946 when he organized his first Jazz at the Philharmonic concerts; at the concert in January at the Los Angeles Philharmonic there was a meeting with his idol Lester Young ; he had just been released after spending 15 months in a prison camp of the army and was therefore in a terribly apathetic state at this concert and hardly noticed Bird. Young played confused and unimaginative. The result was the title Sweet Georgia Brown ; performing musicians were Dizzy Gillespie, Willie Smith and Al Killian . The tracks Blues for Norman , I Can't Get Started , O Lady Be Good and After You've Gone were recorded with Howard McGhee and Lester Young . The highlight of the January session was Parker's solo in Lady Be Good ; the pianist John Lewis said: “Bird turned 'Lady Be Good' into a blues. His solo made all the other musicians on stage look like old men ”. The audience in the Philharmonie went wild and danced in the corridors, which meant that those responsible forbade Granz to hold any further events there. Nevertheless, Granz kept the name Jazz at the Philharmonic .

In JATP blues and I Got Rhythm , which emerged in April 1946 at the Embassy Theater in Los Angeles, still pushed Coleman Hawkins added, so that the three most renowned saxophonists of that time jamming together. Trumpeter Buck Clayton , pianist Irving Ashby and drummer Buddy Rich also performed . Wilson / Goeman call this mixture of swing and bebop a unique and a rarity because of the informal encounter between jazz greats Parker, Hawkins and Young as well as Gillespie and Willie Smith.

In November 1948 - Parker was recording his last tracks for Savoy Records and playing at the Royal Roost  - he received a one-year recording contract with Mercury Records , a subsidiary of MGM , whose jazz producer was Norman Granz at the time.

1947: repetition

Charlie Parker, at the Three Deuces jazz club, New York, circa August 1947. Photo William P. Gottlieb

Parker's contract with Mercury coincided with the AFM's threat of strike on January 1, 1948; Granz therefore hastily organized two recording sessions with Parker. He had the saxophonist record repetition with the Neal Hefti Orchestra ; Parker's solo voice was probably inserted into the previously recorded recording. It was Granz's concept to present Parker in a more commercial concept than before; This also resulted in the big band recordings with the then popular Machito Orchestra, which celebrated success in the Palladium Ballroom , and the later string recordings. For the anthology The Jazz Scene , Granz had the saxophonist play The Bird , with a hastily thrown together group of Hank Jones , Ray Brown and Shelly Manne .

With the Machito Orchestra, Parker then recorded the Latin numbers No Noise , Okiedokie and Mango Mangue at the end of 1948 ; Parker, however, seemed more like an added attraction than an integral part of a well-established band.

1949: Visa

During the preparations for the Paris Jazz Festival, when Parker had to apply for a passport and visa, the compositions Cardboard , Visa and Passport were created . For Cardboard , Norman Granz brought in trombonist Tommy Turk, who, however, did not match Parker's music at all. Fortunately, the titles Visa , Segment and Passport were created without Turk.

Lester Leaps In

The third CD of the edition contains the complete JATP concert on September 18, 1949 in New York's Carnegie Hall , in which Roy Eldridge , Lester Young, Flip Phillips , Hank Jones, Ray Brown and Buddy Rich as well as Ella Fitzgerald on some titles . Once again, Granz managed to bring together the crème d la crème des jazz under the JATP flag. This is where the three musicians Eldridge, Young and Parker meet; The JATP spirit and the aura of the jam session is omnipresent in the long pieces, in which each of the participants gets their chance for a solo and is supported by the cheering calls of the other players. Finally, there was also the singer Ella Fitzgerald with her then successful titles Flyin 'Home , How High the Moon and Juan Tizols Perdido .

1949: Charlie Parker with Strings

A good two months after the Carnegie Hall concert, Parker's first recordings with string accompaniment - as well as Ray Brown and Buddy Rich - took place; by that time Parker's Mercury contract had been renewed on more favorable terms. However, this also meant that Granz 'ideas were increasingly incorporated into Parker's music productions, according to Parker biographers Wilson and Goeman. The authors Richard Cook and Brian Morton, however, contradict the popular idea of Parker's alleged discontent with these productions; Parker felt comfortable in the environment of "serious" artists and taken seriously as a musician. Even if the recordings “seem extremely clean, not to say“ clean ”, Bird's second chorus in Just Friends is a model of a successful solo progression”.

1950: Star Eyes

Parker with Red Rodney, ca.1947. Photo: Gottlieb .

On Christmas Eve 1949 Charlie Parker appeared again at Carnegie Hall , followed in February with his legendary recordings with Red Rodney ( Bird at St. Nick’s ), in which he introduced his new quintet; besides Rodney, Al Haig , Tommy Potter and Roy Haynes played with Parker. In the JATP framework, however, Granz preferred to present Parker with the familiar musicians from his “JATP stable”, such as Hank Jones, Ray Brown and Buddy Rich; So in the spring of 1950 the standards Star Eyes , I'm in the Mood for Love and Parkers Blues (Fast) were created , "they are very relaxed, clear-sounding pieces of a high standard with a very homogeneous rhythm section", say Wilson and Goeman. They emphasize, however, that the role of Buddy Rich, who appeared in five sessions with Bird in 1950 alone, is viewed more nuanced by some critics.

Bird & Diz

Buddy Rich

On June 6th, the legendary Bird and Diz session followed, with the opportunity to hear “giants of bebop”; the numerous alternate takes and broken tracks give the listener a good opportunity to study how Parker rethinks his solo from take to take every time , even if the melodic contours remain the same. While Buddy Rich was chosen by Granz, Parker asked the pianist Thelonious Monk , with whom he had never worked before and who at the time had difficulty getting opportunities to perform because of his uncompromising attitude. Bassist Curley Russell was already Birdland's house bassist ; he was playing with Dizzy Gillespie and Parker back in the days of 52nd Street jazz clubs . The result of the June session were typical bebop numbers and a ballad, the standard My Melancholy Baby . The music came about quite spontaneously as Parker forgot to bring the arrangements when he got into the studio.

In the late summer of 1950 the second string session took place, which was led by Joe Lippman ; all tracks are recorded with five violins, viola, cello, oboe, french horn and the rhythm section (Ray Brown / Buddy Rich and Bernie Leighton as pianist) and realize the idea of ​​Granz ', with the combination of bebop and classic string sound, new timbres and new ones Find statements. In August Parker performed with string accompaniment at the Apollo Theater , on September 16 at Carnegie Hall . Standards like What Is This Thing Called Love? , April in Paris and Easy to Love was then recorded by Granz.

Bird and Hawk

One of the highlights of 1950 was the recordings in October in a quartet or quintet line-up. Despite a repeated “rumbling” Buddy Rich, Celebrity shows Parker in a great passion for playing with a playing time of only one and a half minutes. An impression that continues when listening to the subsequent ballad , a themeless title, bluesy, soulful, with a remarkable dialogue between Parker's alto saxophone and Coleman Hawkins' tenor saxophone .

Afro-Cuban Jazz Suite

Although Parker was much less an expert on Latin American rhythms than Dizzy Gillespie, which was very popular at the time, the saxophonist experimented with these forms of playing. In December 1950 he recorded Chico O'Farrill's Afro-Cuban Jazz Suite with Machito's orchestra, in which the trumpeter Mario Bauzá also played . Parker's difficulties with O'Farrill's six-part work cannot be ignored,

1951: Au Privave

Photo by Miles Davis 1955, taken by Tom Palumbo

Among the highlights of the Verve edition are the recordings of two sessions Parker recorded in early 1951, initially published by Mercury under the title The Magnificent Charlie Parker . On the one hand there is Parker with an orchestra, with Miles Davis , as well as the rhythm group consisting of Walter Bishop junior , Teddy Kotick and Max Roach , the Parker-typical bebop titles such as Au Privave , She Rote , the KC Blues and again the hit star at the time Eyes played. Wilson and Goeman emphasized in the review of the Au Privave session that Parker's highlights fell in the time of the Savoy and DIAL sessions, but also in the Mercury / Verve time - despite health problems and personal strokes of fate - periods of musical triumph how this session lay. Cook and Morton particularly emphasize Parker's cheerful solos - contrasting with Davis' smooth playing.

The other recordings were made in a sextet two weeks later; Roy Haynes and two Latin percussionists played here instead of Roach. The atmosphere here is completely different; on March 12, 1951, the Parker composition My Little Blue Suede Shoes and some Latin numbers, such as Tico Tico , were written, but they show that Bird is not completely familiar with Latin rhythms. More Latin numbers then emerged at the next South of the Border session in January 1952.

Blues for Alice

On August 8, 1951, Parker got another opportunity to record as a quintet for Granz. His regular working group consisted of Duke Jordan , Tommy Potter and Max Roach; Granz replaced the rhythm team with musicians from the later Milt Jackson Quartet, namely John Lewis , Ray Brown and Kenny Clarke . They recorded the Blues for Alice , as well as the tracks Si Si , Swedish Schnapps and the Back Home Blues . The legendary Lover Man , which was so disastrous in 1946, was recorded again.

John Lewis, photograph by William P. Gottlieb, ca.1947

Half a year later (January 22, 1952) there were again big band recordings with string accompaniment, in which Parker improvised on titles such as Lover , Temptation , Autumn in New York and Stella by Starlight . The latter standard in particular is considered by Cook and Morton to be the masterpiece of this group of Birds; they highlight its tasteful solo construction. “The soft sound of the strings, Al Porcino's hot trumpet and Parker's rough alto saxophone rub against each other; Here, soulfulness, wit, madness, calculation, calculation, kitsch lie closely together, and to this day there are hardly any examples of a completely successful incorporation of strings in swinging jazz. "

Shortly after the string session, Parker recorded South of the Border again ; this time the trumpeter Benny Harris took part. On March 25th, more big band productions were made with arranger Joe Lippman when successful titles such as Night and Day or I Can't Get Started were recorded. In June 1952 there was a JATP concert with Parkers' participation, in which Bird met swing veterans Charlie Shavers , Benny Carter , Johnny Hodges ; the rhythm section consisted of Oscar Peterson , Ray Brown and JC Heard .

1953: Kim

Hank Jones

At the turn of the year 1953, Parker played some of his most successful bebop numbers from the Verve era in a quartet with Hank Jones, Teddy Kotick and Max Roach; The Song Is You , Laird Baird , Kim and Cosmic Rays , which Wilson / Goeman is undoubtedly the best piece of the session: “Parker plays one of his solos that are so full of gestures, full of ornamentation and his typical phrasing .” Cosmic Rays inspired Parker a breathtaking solo,

The orchestral pieces of May 22, 1953, which took place a week after the legendary Jazz at Massey Hall concert, are completely out of the ordinary. Gil Evans arranged with an octet with woodwinds, flute and french horn as well as musicians like u. a. Charles Mingus pieces in which Parker met the vocal ensemble Dave Lambert Singers , in which the young Annie Ross also played. After fifteen (partially aborted) takes, however, only 4 tracks like In the Still of the Night were made . According to Cook and Morton, Evans turned the recording session into a disaster.

Now's the time

The four titles that the saxophonist recorded with Al Haig, Percy Heath and Max Roach on August 4, 1953, I Remember You , Now's the Time , Confirmation and Chi Chi ( dedicated to Symphony Sid's girlfriend) are considered milestones in Parker's discography . The session is one of the final highlights of the late Charlie Parker; his work for Mercury / Verve ends with his recordings for the Cole Porter songbook.

In those last sessions for Mercury / Verve on March 31, 1954, when I Got a Kick Out of You , Just One of Those Things and My Heart Belongs to Daddy were recorded, Parker, who was already in bad health, had unmistakable problems with the instrument ( like I Got a Kick Out of You ). In December, however, the saxophonist seemed to show a certain vitality; I've Got You Under My Skin , the Love for Sale and I Love Paris popular at the time by Sarah Vaughan , with Walter Bishop, Billy Bauer on guitar and Art Taylor on drums were Parker's last recordings for Verve; just four months after that session, he was dead.

rating

Ekkehard Jost explains in his Social History of Jazz in the USA that Parker had so far mainly recorded his own compositions for Savoy and DIAL; for the recordings produced by Granz, however, he used a large part of material from the popular hit and musical productions of the time; this was indicative of the "domestication" of the bulky design principles of bebop. Much more serious than the reorientation in the thematic area was that Granz brought Parker together with musicians whom he often used in his JATP concerts, but who did not play bebop, like Tommy Turk. In the string recordings in particular, Jost saw "a tendency that runs through the history of jazz, the cultural expropriation of Afro-America through the deformation of its artistic forms of expression for the purpose of easier marketing within a world dominated by white values".

Cook and Morton praised the discographic accuracy of the edition and gave it the highest number of points in their The Penguin Guide to Jazz ; Scott Yanow does the same for Allmusic .

Editorial notes

Wilson and Goeman explain in their Charlie Parker biography the development of the various Mercury / Verve editions in the LP era. The first Verve edition - comprising eight LPs - organized Parker's Mercury recordings strictly according to cast; two LPs with big band productions ( Night & Day , April in Paris ), one LP with quartet recordings ( Now's He Time ), two with quintet recordings ( Bird & Diz, Swedish Schnapps ) and the LP Fiesta with quintet / Sextet line-ups and the LP Jazz Perennial (big band (sextet)). The following edition (also in 8 LPs), however, arranged the recordings exclusively chronologically and became the model for the Japanese Verve Edition (OOJM 3268/77), which appeared in a 10 LP cassette in 1984. The Verve Edition (837 141-2) from 1990, which was supplemented by numerous previously unreleased alternative takes and canceled pieces, is based on it .

The extensive material of the Mercury / Verve era was released in innumerable individual LPs and compilations; The following single issues are worth highlighting:

  • Bird and Pres - The '46 Concerts Jazz at the Philharmonic The JATP recordings with Parker, Lester Young and Coleman Hawkins
  • Charlie Parker (539757-2) - The album contains the first compilation of all quartet recordings from the 10-CD edition, starting with Now's the Time and ending with Visa , etc. a. containing on 5 alternate takes of Chi Chi .
  • Confirmation (527815-2) - The double CD offers a selection of the tracks from 1949 to 1953 in different line-ups.
  • Bird's Best Bop (527452-2) - The compilation focuses on the strongest bop titles such as Now's the Time , Confirmation , Swedish Schnapps , She Rote and Au Privave .
  • Swedisch Schnapps (849393-2) - The selection is based on the LP album of the same name and was expanded to include recordings from 1949/51 with Rodney / Davis / Dorham.
  • Now's the Time (815671-2) - Contains the two quartet sessions with Hank Jones, Percy Heath / T. Kotick and Max Roach, 1953/53.
  • Bird and Diz (521436-2) - The 1950s session with Dizzy Gillespie, Monk, Curley Russell and Buddy Rich.
  • South of the Border (527779-2) - The Latin American titles, u. a. with the Machito Orchestra, 1949–1952.
  • 1949 Jazz at the Philharmonic (519803-2)
  • The Cole Porter Songbook (823250-2)
  • Charlie Parker Jam Session (833564-2) from 1952
  • Bird - The Original Recordings (837176-2) A compilation of tracks from 1949 to 1952.

In 2016 the album The Unissued Takes was released , which contains previously unreleased titles from the years 1949 to 1952.

The titles

Bird: The Complete Charlie Parker on Verve , 1990 (Verve)

Disc: 1

  1. " Sweet Georgia Brown " - 9:32
  2. "Blues For Norman" - 8:37
  3. " I Can't Get Started " - 9:15 am
  4. " Lady Be Good " 11:05
  5. " After You've Gone " - 7:33
  6. " I Got Rhythm " - 12:54
  7. "Introductions By Norman Granz" - 2:16
  8. "JATP Blues" 10:56

Disc: 2

  1. "The Bird" - 4:44
  2. "Repetition" - 2:57
  3. "No Noise" (Parts I & II) - 5:53
  4. "No Noise" (Part III) - 2:55
  5. "Mango Mangue" - 2:53
  6. "Okiedoke" - 3:02
  7. "Cardboard" - 3:08
  8. "Visa" 3:58
  9. "Segment - Tune X" - 3:19
  10. "Diverse - Tune X" (alternate take) - 3:16
  11. "Passport - Tune Y" (12: bar blues) - 2:54
  12. "Passport - Tune Z" (32 bars) - 2:59
  • 1949 - Quartet with Hank Jones (1, February 10, 1949), with Neal Hefti Orchestra (2, 12/47), with Machito & his Orchestra (3-6, December 20, 1948), septet with Kenny Dorham, Al Haig , Tommy Turk (7-8, April 1949), quintet (excluding Turk) (9-12, May 5, 1949)

Disc: 3

  1. “The Opener” - 12:47
  2. “ Lester Leaps In ” - 12:14
  3. “ Embraceable You ” - 10:33
  4. “The Closer” - 10:57
  5. “'Ow - Introduction OF Ella Fitzgerald” -: 48
  6. “Flyin 'Home” - 5:31
  7. “ How High the Moon ” - 6:24 am
  8. “ Perdido ” - 8:34
  • 1949 - JATP Carnegie Hall - Bird & Prez (September 18, 1949) with Roy Eldridge, Tommy Turk, Flip Phillips, Hank Jones, Ray Brown, Buddy Rich and Ella Fitzgerald (only 5-8)

Disc: 4

  1. “Just Friends” - 3:30
  2. “Everything Happens to Me” - 3:15
  3. “ April In Paris ” - 3:06
  4. “ Summertime ” - 2:46
  5. “ I Didn't Know What Time It Was ” - 3:12
  6. “ If I Should Lose You ” - 2:46
  7. “Star Eyes” - 3:28
  8. “Blues (Fast)” - 2:45
  9. “ I'm In The Mood For Love ” - 2:50
  10. “Bloomdido” - 3:24
  11. “And Oscar For Treadwell” (Take 3 Alternate take - LP) - 3:20
  12. “To Oscar For Treadwell” (Take 4 Master) - 3:22
  13. “Mohawk” (Take 3 Alternate take - LP) - 3:38
  14. “Mohawk” (Take 6 (Take 4) Master) - 3:34
  15. “ My Melancholy Baby ” (Take 1) - 3:16
  16. “My Melancholy Baby” (Coda Rehearsal) -: 05
  17. “My Melancholy Baby” (Take 2 Master) - 3:23
  18. “Leap Frog” (Take 1 Incomplete) -: 27
  19. “Leap Frog” (Take 2 Incomplete) -: 18
  20. “Leap Frog” (Take 3 Incomplete) -: 40
  21. “Leap Frog” (Take 4 Incomplete) -: 18
  22. “Leap Frog” (Take 5 Alternate take) - 2:33
  23. “Leap Frog” (Take 6 Incomplete) -: 24
  24. “Leap Frog” (Take 7 Incomplete) -: 14
  25. “Leap Frog” (Take 8 (Take 4) Alternate take) - 2:02
  26. “Leap Frog” (Take 9 Alternate take) - 2:06
  27. “Leap Frog” (Take 10 Incomplete) -: 43
  28. “Leap Frog” (Take 11 (Take 6) Master) - 2:29
  29. “Relaxing With Lee” (Take 1 Incomplete) -: 35
  30. “Relaxing With Lee” (Take 2 Incomplete) - 1:08
  31. “Relaxing With Lee” (Take 3 False start) -: 08
  32. “Relaxing With Lee” (Take 4 (Take 2) Alternate take - LP) - 3:56
  33. “Relaxing With Lee” (Take 5 Incomplete) -: 25
  34. “Relaxing With Lee” (Take 6 (Take 3) Master) - 2:46
  • 1949/50: Bird with Strings (1-6, November 30, 1949), Charlie Parker Quartet with Hank Jones (7-9, March-April 1950), Bird & Diz , with Dizzy Gillespie and Thelonious Monk (10-34, June 6, 1950)

Disc: 5

  1. “ Dancing In The Dark ” - 2:19
  2. “Out Of Nowhere” - 3:06
  3. “ Laura ” (Take 1 Alternate take) - 2:57
  4. “Laura” (Take 2 Master) - 2:56
  5. “ East Of The Sun ” - 3:38
  6. “ They Can't Take That Away from Me ” - 3:17 am
  7. “Easy To Love” - 3:29
  8. “ I'm In The Mood For Love ” (Take 2 Master) - 3:33
  9. “I'm In The Mood For Love” (Take 3 Alternate take) - 3:27
  10. “ I'll Remember April ” (Take 1 Alternate take) - 3:09
  11. “I'll Remember April” (Take 2 False start) -: 10
  12. “I'll Remember April” (Take 3 (Take 2) Master) - 3:02
  13. “ What Is This Thing Called Love? ”- 2:54
  14. “April In Paris” - 3:12
  15. “Repetition” - 2:49
  16. “Easy To Love” - 2:25
  17. “Rocker” - 3:10
  18. “Celebrity” - 1:34
  19. “Ballad” - 2:55
  20. “Afro-Cuban Jazz Suite” - 5:11 pm
  • 1950: Charlie Parker with Strings (1-12 Studio (July 5, 1950), and 13-17 live Carnegie Hall (September 16, 1950)), quartet / quintet with Coleman Hawkins (18-19, October 1950), Parker with Machito & His Orchestra (December 20, December 21, 1950)

Disc: 6

  1. “Au Privave” (Take 2 Alternate take - LP) - 2:38
  2. “Au Privave” (Take 3 Master) - 2:43
  3. “She Rote” (Take 3 Alternate take - LP) - 3:09
  4. “She Rote” (Take 5 Master) - 3:06
  5. “KC Blues” - 3:24
  6. “Star Eyes” - 3:34
  7. “My Little Suede Shoes” - 3:03
  8. “Un Poquito De Tu Amor” - 2:40
  9. “Tico Tico” - 2:44
  10. “Fiesta” - 2:49
  11. “Why Do I Love You” (Take 2 Alternate take - LP) - 2:58
  12. “Why Do I Love You” (Take 6 Alternate take) - 2:58
  13. “Why Do I Love You” (Take 7 Master) - 3:05
  14. “Blues For Alice” - 2:46
  15. “Si Si” - 2:38
  16. “Swedish Schnapps” (Take 3 Alternate take - LP) - 3:13
  17. “Swedish Schnapps” (Take 4 Master) - 3:10
  18. “Back Home Blues” (Take 1 Alternate take - LP) - 2:35
  19. “Back Home Blues” (Take 2 Master) - 2:46
  20. “Loverman” - 3:21
  • 1951: Charlie Parker & his Orchestra (1-6, January 7, 1951) with Miles Davis, Walter Bishop, Jr., Teddy Kotick, Max Roach; Charlie Parkers Jazzers (7-13, March 12, 1951) with Walter Bishop, Jr., Teddy Kotick, Roy Haynes, Jose Mangual, Luis Miranda, quintet with Red Rodney, John Lewis, Ray Brown, Kenny Clarke (14-20, August 8, 1951)

Disc: 7

  1. “Temptation” - 3:31
  2. “Lover” - 3:06
  3. “ Autumn in New York ” - 3:29
  4. “ Stella By Starlight ” - 2:56
  5. “Mama Inez” - 2:50
  6. “ La Cucuracha ” (Take 1 Alternate take) - 3:24
  7. “La Cucuracha” (Take 2 Incomplete) -: 49
  8. “La Cucuracha” (Take 3 False start) -: 10
  9. “La Cucuracha” (Take 4 (Take 3) Master) - 2:43
  10. “Estrellita” (Take 2 Incomplete) - 1:57
  11. “Estrellita” (Take 4 Alternate take) - 2:46
  12. “Estrellita” (Take 5 False start) -: 04
  13. “Estrellita” (Take 6 (Take 5) Master) - 2:44
  14. “Begin The Beguine” - 3:12
  15. “La Paloma” - 2:39
  16. “ Night And Day ” - 2:50
  17. “ Almost Like Being in Love ” - 2:33
  18. "I Can't Get Started" - 3:08
  • 1952: Charlie Parker with Strings (1-4, January 22, 1952), South of the Border (January 5-15, 1952) with Benny Harris, Teddy Kotick, Max Roach, Jose Mangual, Luis Miranda; Charlie Parker Big Band (16-19, March 25, 1952)

Disc: 8

  1. “Jam Blues” - 14:42
  2. “What Is This Thing Called Love” - 3:41 pm
  3. “Ballad Medley” - 17:23
  4. “Funky Blues” - 13:27
  • 1952: JATP - Jam Session 1952 Hollywood with Charlie Shavers, Benny Carter, Johnny Hodges, Oscar Peterson, Barney Kessel, Ray Brown, JC Heard

Disc: 9

  1. “The Song Is You” - 2:56
  2. “Laird Baird” - 2:44
  3. “Kim” (Take 2 Alternate take - LP) - 2:58
  4. “Kim” (Take 4 Master) - 2:58
  5. “Cosmic Rays” (Take 2 Master) - 3:05
  6. “Cosmic Rays” (Take 5 Alternate take) - 3:16
  7. “ In The Still Of The Night ” (Take 1 False start) -: 32
  8. “In The Still Of The Night” (Take 2 Incomplete) -: 53
  9. “In The Still Of The Night” (Take 3 Alternate take) - 3:46
  10. “In The Still Of The Night” (Take 4 Alternate take) - 3:21
  11. “In The Still Of The Night” (Take 5 False start) -: 45
  12. “In The Still Of The Night” (Take 6 Alternate take) -3: 26
  13. “In The Still Of The Night” (Take 7 Master) - 3:22
  14. “Old Folks” (Take 1 Incomplete) -: 26
  15. “Old Folks” (Take 2 False start) -: 09
  16. “Old Folks” (Take 3 Alternate take) - 4:04
  17. “Old Folks” (Take 4 Incomplete - Bird Continues Playing Into Take 5 False start) -: 21
  18. “Old Folks” (Take 6 Alternate take) - 3:28
  19. “Old Folks” (Take 7 Incomplete) -: 26
  20. “Old Folks” (Take 8 Alternate take) - 3:39
  21. “Old Folks” (Take 9 Master) - 3:34
  22. “If I Love Again” - 2:31
  • 1952/1953: Charlie Parker Quartet with Hank Jones, Teddy Kotick, Max Roach (1-6, December 30, 1952), Charlie Parker & Orchestra with Gil Evans & Dave Lambert Singers (7-22, May 22, 1953)

Disc: 10

  1. “Chi Chi” (Take 1 Alternate take - LP) - 3:09
  2. “Chi Chi” (Take 2 False start) -: 27
  3. “Chi Chi” (Take 3 Alternate take) - 2:42
  4. “Chi Chi” (Take 4 Alternate take) - 2:37
  5. “Chi Chi” (Take 5 False start) -: 17
  6. “Chi Chi” (Take 6 Master) - 3:02
  7. “I Remember You” - 3:03
  8. “Now's The Time” - 3:01 am
  9. “Confirmation” (Take 1 False start) -: 14
  10. “Confirmation” (Take 2 False start) -: 09
  11. “Confirmation” (Take 5 False start) - 2:58
  12. “ I Get A Kick Out Of You ” (Take 1 Alternate take) - 4:55
  13. “I Get A Kick Out Of You” (Take 2 False start And Rehearsal) -: 32
  14. “I Get A Kick Out Of You” (Take 3 False start And Rehearsal) -: 16
  15. “I Get A Kick Out Of You” (Take 4 Incomplete) - 1:05
  16. “I Get A Kick Out Of You” (Take 5 False start) -: 17
  17. “I Get A Kick Out Of You” (Take 6 Incomplete) - 1:08
  18. “I Get A Kick Out Of You” (Take 7 Master) - 3:34
  19. “ Just One Of Those Things ” - 2:46
  20. “My Heart Belongs To Daddy” (Take 1 False start And Rehearsal) -: 36
  21. “My Heart Belongs To Daddy” (Take 2 Master) - 3:18
  22. “ I've Got You Under My Skin ” - 3:38
  23. “ Love For Sale ” (Take 1 False start) -: 17
  24. “Love For Sale” (Take 2 Alternate take) - 5:47
  25. “Love For Sale” (Take 3 Incomplete) - 1:03
  26. “Love For Sale” (Take 4 Alternate take) - 5:32
  27. “Love For Sale” (Take 5 Master) - 5:35
  28. “ I Love Paris ” (Take 2 Alternate take) - 5:07
  29. “I Love Paris” (Take 3 Master) - 5:07
  • 1953/1954: Charlie Parker Quartet / Quintet - Quartet with Al Haig, Percy Heath and Max Roach (1-11, August 4, 1953); Quintet with Walter Bishop, Jr., Jerome Darr (g), Teddy Kotick, Roy Haynes (12-22, March 31, 1954); Quintet with Walter Bishop, Jr., Billy Bauer, Teddy Kotick, Art Taylor (23-29, December 10, 1954)

Full cast list

Alto saxophone :

  • Charlie Parker (as)
  • Harry Terrill (as)
  • Johnny Hodges (as)
  • Sonny Salad (as)
  • Willie Smith (as)
  • Benny Carter (as)
  • Fred Skerritt (as)
  • Gene Johnson (as)
  • Murray Williams (as)
  • Toots Mondello (as)

Tenor saxophone :

  • Ben Webster (ts)
  • Coleman Hawkins (ts)
  • Flip phillips (ts)
  • Hank Ross (ts)
  • Sol Rabinowitz (ts)
  • Pete Mondello (ts)
  • Jose Madera (ts)

Baritone saxophone :

Trumpet :

  • Lou McGarity (trb)
  • Bill Harris (trb)
  • Tommy Turk (trb)
  • Bart Varsalona (bass trb)
  • Will Bradley (trb)

Singing :

  • Butch Birdsall (voc)
  • Dave Lambert (voc)
  • Jerry Parker (voc)
  • Annie Ross (voc)

Trumpet :

  • Dizzy Gillespie (tr)
  • Miles Davis (tr)
  • Doug Mettome (tr)
  • Roy Eldridge (tr)
  • Al Killian (tr)
  • Al Porcino (tr)
  • Al Stewart (tr)
  • Benny Harris (tr)
  • Charlie Shavers (tr)
  • Chris Griffin (tr)
  • Bernie Privin (tr)
  • Bobby Woodlen (tr)
  • Buck Clayton (tr)
  • Carl Poole (tr)
  • Howard McGhee (tr)
  • Ray Wetzel (tr)
  • Red Rodney (tr)
  • Paquito Davilla (tr)
  • Mario Bauzá (tr)
  • Jimmy Maxwell (tr)
  • Kenny Dorham (tr)
  • Harry "Sweets" Edison (tr)

Other reeds / wind instruments :

  • Hal McKusick (cl)
  • John LaPorta (cl)
  • Tommy Mace (oboe)
  • Eddie Brown (oboe)
  • Mitch Miller (oboe / English horn)
  • Junior Collins (French Horn)
  • Joseph Singer (French Horn)
  • Manny Thaler (Bassoon)
  • Type Drelinger (Reeds)

Guitar :

  • Art Ryerson (g)
  • Barney Kettle (g)
  • Freddie Green (g)
  • Jerome Darr (g)
  • Irving Ashby (g)

Piano :

  • Al Haig (p)
  • Arnold Ross (p)
  • Mel Powell (p)
  • Hank Jones (p)
  • Bernie Leighton (p)
  • John Lewis (p)
  • Lou Stein (p)
  • Stan Freeman (p)
  • Walter Bishop Jr. (p)
  • Ken Kersey (p)
  • René Hernández (p)
  • Tony Aless (p)
  • Oscar Peterson (p)

Bass :

  • Bob Haggart (b)
  • Charles Mingus (b)
  • Curley Russell (b)
  • Tommy potter (b)
  • Percy Heath (b)
  • Ray Brown (b)
  • Roberto Rodriguez (b)
  • Teddy Kotick (b)
  • Billy Hadnott (b)

Drums :

  • Buddy Rich (dr)
  • Don Lamond (dr)
  • JC Heard (dr)
  • Roy Haynes (dr)
  • Max Roach (dr)
  • Shelly Manne (dr)
  • Kenny Clarke (dr)
  • Lee young (dr)

Percussion :

  • Jose Mangual (Bongos)
  • Luis Miranda (Conga)
  • Rafael Miranda (Conga)
  • Chano Pozo (Conga)
  • Machito ( maracas )

Strings :

  • Dave Uchitel (viola)
  • Frank Brieff (viola)
  • Fred Ruzilla (viola)
  • Isadore Zir (viola)
  • Dave Uchitel (viola)
  • Nat Nathanson (viola)
  • Frank Miller (cello)
  • Maurice Brown (cello)
  • Joe Benaventi (cello)
  • Bronislaw Gimpel (viol)
  • Gene Orloff (viol)
  • Harry Katzman (viol)
  • Harry Melnikoff (viol)
  • Sid Harris (viol)
  • Sam Caplan (viol, cornet)
  • Samuel Rand (viol)
  • Stan Karpenia (viol)
  • Ted Blume (viol)
  • Zelly Smirnoff (viol)
  • Howard Kay (viol)
  • Max Hollander (viol)
  • Jack Zayde (viol)
  • Manny Fidler (viol)
  • Milton Lomask (viol)

Other :

  • Ubaldo Nieto (Timbeln)
  • Myor Rosen (harp)
  • Verlye Mills (harp)
  • Wallace McManus (harp)
  • Joe Lipman (bells, xylophone)

Arrangers, leaders :

  • Chico O'Farrill (Arranger / Head)
  • Gil Evans (Arranger / Head)
  • Jimmy Carroll (arranger / director)
  • Joe Lipman (arranger / leader)
  • Neal Hefti (arranger / head)
  • Phil Schaap (producer, liner notes)

literature

Notes and individual references

  1. ↑ These recordings were also released as single LP / CD Bird & Diz
  2. ^ Wilson / Goeman p. 95.
  3. ^ Ross Russell, p. 252.
  4. ↑ Wilson / Goeman, p. 110 f. The 78 record was then released under the title South of the Border .
  5. ↑ Ross Russell, p. 255 .; Wilson / Goeman, p. 109 ff.
  6. ↑ In the 1950s the LP was released as Charlie Parker 1949 Jazz at the Philharmonic and Bird and Prez 1949 Jazz at the Philharmonic , but without the Ella Fitzgerald title.
  7. ↑ in the original impatience , Cook / Morton 2001, p. 1151
  8. ↑ cit. after Wilson / Goeman p. 116.
  9. ↑ cit. after Wilson / Goeman, p. 137.
  10. ↑ under this title the recordings were released as a single LP by Verve in the 1950s .
  11. ^ Cook / Morton, p. 1151.
  12. ↑ Wilson / Goeman, p. 134, refer to the well-known cover photo that was taken in Birdland on February 13, 1950, when Parker and Gillespie met there at a benefit concert. But there is only part of the picture; it still showed Curley Russell on the left and in the background on the right the young, admiring looking John Coltrane .
  13. ^ Wilson / Goeman, p. 135.
  14. ^ Wilson / Goeman, pp. 142 f.
  15. ↑ “Ballade” was recorded for the film Improvisation by Norman Granz and Gjon Mili ; it was Hawkins and Parker's only studio meeting.
  16. ↑ Wilson / Goeman, p. 143. They also mention highlights of the suite such as Mambo I , in which Parker captivates with a gripping attack that peels out from a dense mass of interwoven saxophone and trumpet riffs, while the percussion group is in one Weise seething, which stands out favorably from the smooth, polished timing of (then) common rhythms.
  17. ^ Wilson / Goeman, p. 150.
  18. ↑ This came out as a single with Au Privave as the b-side and was a huge commercial success; similarly then the single release by Little Blue Suede Shoes ; Cook & Morton, p. 1151
  19. ↑ Wilson / Goeman allude to the death of his daughter Pree in 1954.
  20. ↑ cit. after Wilson / Goeman, p. 150. The Mercury titles appeared at the time under the number MG C-646.
  21. ↑ joyous in the original; This is how they write the “Au Privave” solos (two takes) are rapid-fire, joyous Bird, deliberately contrasting with Miles's soft touch; on the alternative, Parker really pushes the boat out and Miles cheekily responds with mimicry of the last couple of bars. The tune is now an influential bebop staple. Quotation Cook / Morton 2001, p. 1150.
  22. ^ Wilson / Goeman, p. 151.
  23. ↑ "Swedish Schnapps" was also the title of the single LP (MG C-513) that was released at the time and the later (extended) CD; Wilson / Goeman, p. 155 f.
  24. ^ Wilson / Goeman, p. 157 and Morton / Cook, p. 1151.
  25. ^ Cook / Morton, p. 1151.
  26. ↑ cit. after Wilson / Goeman, p. 160.
  27. ↑ Wilson / Goeman, p. 160. In their review of the title you mention the role of bassist Teddy Kotick, who anticipated much of what Paul Chambers and Scott LaFaro would later play in his solo .
  28. ↑ also appeared as a single LP (Verve 823 250-1), additionally with recordings from earlier times (1950/52) such as Easy to Love with string accompaniment or the swing classic Begin the Beguine from his South of the Border recordings .
  29. ↑ One of the late releases of Mercury / MGM is the album Bird Is Free - Live at Rockland Place (MGM 65 197, later part of CP 2-502); the concert recordings came to MGM in 1964 and were out of print for a long time; the concert recordings with titles such as Star Eyes, Sly Moongoose or Gerry Mulligans Rocker were not included in the Verve Edition. Wilson / Goeman, p. 161.
  30. ^ Wilson / Goeman, p. 133.
  31. ↑ Jost, p. 117 f.
  32. ↑ Allmusic
  33. ↑ Wilson / Goeman, p. 110 f.
  34. ↑ Doug Ramsey : Monday Recommendation: Charlie Parker