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4 x CD |
| 14.101 Ft
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| 1. CD tartalma: |
| 1. | Charlie Parker Interview
Remembers family, high school band, early gigs 1 and 2.
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| 2. | Variations: Honeysuckle Rose/Body and Soul
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| 3. | I Got Rhythm
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| 4. | I Found A New Baby
Jay McShann
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| 5. | Body And Soul
Jay McShann
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| 6. | Moten Swing
Jay McShann
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| 7. | Coquette
Jay McShann
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| 8. | Oh Lady Be Good
Jay McShann
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| 9. | Wichita
BluesJay Mcshann
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| 10. | Honeysuckle
RoseJay McShann
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| 11. | Max Roach Interview
Meeting Bird Cherokee 1943
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| 12. | Cherokee
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| 13. | St. Louis Mood
Jay McShann
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| 14. | I Got it Bad
Jay McShann [Al Hibbler on Vocals]
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| 15. | I'm Forever Blowing Bubbles
Jay McShann
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| 16. | Hootie Blues
Jay McShann [Walter Brown on Vocals]
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| 17. | Swingmatism
Jay Mcshann
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| 18. | Theme: Love Don't Get You Nothin'
Jay McShann
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| 19. | Cherokee
Efferge Ware on Guitar
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| 20. | My Heart Tells Me
Efferge Ware on Guitar
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| 21. | I Found A New Baby
Efferge Ware on Guitar
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| 22. | Body And Soul 2
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| 2. CD tartalma: |
| 0. | Williams
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| 0. | Williams
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| 1. | Sweet Georgia Brown
Dizzy Gillespie
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| 2. | I Got Rhythm
Dizzy Gillespie
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| 3. | Max Roach Interview
Musicians Coming To New York
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| 4. | Boogie Woogie
Billy Eckstine
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| 5. | Shoe Shine Swing
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| 6. | Body And Soul 3
Charlie Parker & Ramey
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| 7. | Embraceable You
Charlie Parker & Hazel Scott
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| 8. | Charlie Parker
InterviewRubberlegs Williams
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| 9. | That's The Blues
Rubberlegs Williams
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| 10. | Charlie Parker Interview
Clyde Hart All-Stars 1945
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| 11. | Dream of
YouClyde Hart All-Stars 1945
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| 12. | 7th Avenue
Clyde Hart All-Stars 1945
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| 13. | Charlie Parker Speaks
The Earl Hines / Billy Eckstine Bands
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| 14. | Charlie Parker Speaks
The Song Mop Mop
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| 15. | Mop Mop [Excerpt]
Coleman Hawkins
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| 16. | Theme: Round Midnight
Cootie Williams
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| 17. | 711 [Roll 'Em]
Cootie Williams
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| 18. | Cootie Williams Speaks
Introduction
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| 19. | Do Nothin' Till You Hear From Me
Cootie Williams
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| 20. | Don't Blame Me
Cootie Williams
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| 21. | Perdido
Cootie Williams
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| 22. | Night Cap
Cootie Williams
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| 23. | Saturday Night
Cootie Williams
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| 24. | MC Announcement
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| 25. | Floogie Boo
Cootie Williams
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| 26. | MC Announcement
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| 27. | St. Louis Blues
Cootie Williams
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| 28. | Max Roach Speaks &
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| 29. | Sweet Georgia Brown 2
Charlie Parker / Dizzy Gillespie
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| 30. | Lover, Come Back To Me &
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| 3. CD tartalma: |
| 1. | Teddy Edwards Speaks -West Coast Music Scene
Mid 40's
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| 2. | Dizzy Gillespie's Rebop Six
Intro
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| 3. | Shaw
'NuffDizzy Gillespie's Rebop Six
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| 4. | MC Announcement
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| 5. | Groovin' High
Dizzy Gillespie's Rebop Six
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| 6. | MC Announcement
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| 7. | Dizzy Atmosphere
Dizzy Gillespie's Rebop Six
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| 8. | Milt Jackson Speaks
West Coast Music Scene Mid 40's
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| 9. | Salt Peanuts
Dizzy Gillespie's Rebop Six
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| 10. | Diggin' Diz
Dizzy Gillespie
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| 11. | Roy Porter Speaks -The West Coast Club Scene 1
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| 12. | Teddy Edwards Speaks
Charlie Parker Playing With Maggie
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| 13. | Howard McGhee Discusses His History
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| 14. | Jam Session
Announcement
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| 15. | Tea For Two
Benny Carter
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| 16. | Body And Soul-Willie Smith [Jam Session
Medley]
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| 17. | Cherokee [Jam Session
Medley]
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| 18. | Teddy Edwards Speaks
Maggie Charlie Parker's First Dial Date
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| 19. | Roy Porter Speaks
First Dial Session
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| 20. | Roy Porter Speaks
Second Dial Session
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| 21. | Lover Man
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| 22. | Max Is Makin' Wax [aka Chance it]
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| 23. | The Gypsy
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| 24. | Bebop
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| 25. | Roy Porter Speaks
Second Dial Session Continued
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| 26. | Teddy Edwards Speaks
After Charlie Parker's Collapse
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| 27. | Howard McGhee Remembers Charlie Parker
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| 28. | Lullaby In Rhythm Pt. 1
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| 29. | Lullaby In Rhythm Pt. 2
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| 30. | Homecooking 1
Lullaby In Rhythm
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| 31. | Homecooking 2
CherokeeCharlie Parker
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| 32. | Homecooking 3
I Got Rhythm
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| 4. CD tartalma: |
| 1. | Earl Coleman Speaks
This Is Always / Dark Shadows Pt. 1
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| 2. | This Is Always
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| 3. | Dark Shadows
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| 4. | Earl Coleman Speaks
This Is Always / Dark Shadows Pt. 2
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| 5. | Roy Porter Speaks
The Hi-De-Ho Club 1947
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| 6. | Dee Dee's Dance
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| 7. | Roy Porter Speaks-Maggie Playing At Fast Tempos
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| 8. | Earl Coleman Speaks
Maggie
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| 9. | Milt Jackson Speaks
Meeting Maggie
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| 10. | Introduction
Ko KoBarry Ulanov's All-Stars
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| 11. | Hot House
Barry Ulanov's All-Stars
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| 12. | Fine And Dandy
Barry Ulanov's All-Stars
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| 13. | Introduction to
KokoBarry Ulanov's All-Stars
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| 14. | On The Sunny Side Of The Street Barry Ulanov's All-Stars
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| 15. | How Deep Is the Ocean
Barry Ulanov's All-Stars
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| 16. | Tiger Rag
Barry Ulanov's All-Stars
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| 17. | Theme: 52nd Street Theme
Barry Ulanov's All-Stars
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| 18. | Intro: 52nd Street Theme
Barry Ulanov's All-Stars
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| 19. | Donna Lee
Barry Ulanov's All-Stars
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| 20. | Theme: Koko
Barry Ulanov's All-Stars
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Jazz
Charlie Parker
Jay McShann, Dizzy Gillespie, Benny Goodman, Billy Eckstine, Erroll Garner, Hazel Scott, Rubberlegs Williams, Cootie Williams, Teddy Edwards, Milt Jackson, Roy Porter, Howard McGhee, Earl Coleman, Barry Ulanov
Selected recordings and interviews
Charlie Parker - Bird in Time: 1940-1947" is a unique four disc set produced by Bebop Jazz Historian Michael D. Anderson. This set chronicles the early developmental stages of the career of the artist from 1940 to the fall of 1947. This includes his performances in the Jay McShann band, his work as a sideman, collaborations with trumpeter Dizzy Gillespie, as well as his leadership of various groups.
In addition to select recordings, the four disc set includes unique interviews by Mr. Anderson with artists who performed with Charlie Parker, or "Bird" as they knew him, describing in detail their experiences with him during this period of time. These interviews provide, for the first time, a glimpse into the creative process that was engaged in making these song tracks. This is a "must have" for serious Charlie Parker music collectors.
4 CD set with two 32-page booklets with extensive liner notes and track information by Michael D. Anderson.
Charlie Parker
Active Decades: '30s, '40s and '50s
Born: Aug 29, 1920 in Kansas City, KS
Died: Mar 12, 1955 in New York, NY
Genre: Jazz
Styles: Big Band, Bop
One of a handful of musicians who can be said to have permanently changed jazz, Charlie Parker was arguably the greatest saxophonist of all time. He could play remarkably fast lines that, if slowed down to half speed, would reveal that every note made sense. "Bird," along with his contemporaries Dizzy Gillespie and Bud Powell, is considered a founder of bebop; in reality he was an intuitive player who simply was expressing himself. Rather than basing his improvisations closely on the melody as was done in swing, he was a master of chordal improvising, creating new melodies that were based on the structure of a song. In fact, Bird wrote several future standards (such as "Anthropology," "Ornithology," "Scrapple from the Apple," and "Ko Ko," along with such blues numbers as "Now's the Time" and "Parker's Mood") that "borrowed" and modernized the chord structures of older tunes. Parker's remarkable technique, fairly original sound, and ability to come up with harmonically advanced phrases that could be both logical and whimsical were highly influential. By 1950, it was impossible to play "modern jazz" with credibility without closely studying Charlie Parker.
Born in Kansas City, KS, Charlie Parker grew up in Kansas City, MO. He first played baritone horn before switching to alto. Parker was so enamored of the rich Kansas City music scene that he dropped out of school when he was 14, even though his musicianship at that point was questionable (with his ideas coming out faster than his fingers could play them). After a few humiliations at jam sessions, Bird worked hard woodshedding over one summer, building up his technique and mastery of the fundamentals. By 1937, when he first joined Jay McShann's Orchestra, he was already a long way toward becoming a major player.
Charlie Parker, who was early on influenced by Lester Young and the sound of Buster Smith, visited New York for the first time in 1939, working as a dishwasher at one point so he could hear Art Tatum play on a nightly basis. He made his recording debut with Jay McShann in 1940, creating remarkable solos with a small group from McShann's orchestra on "Oh, Lady Be Good" and "Honeysuckle Rose." When the McShann big band arrived in New York in 1941, Parker had short solos on a few of their studio blues records, and his broadcasts with the orchestra greatly impressed (and sometimes scared) other musicians who had never heard his ideas before. Parker, who had met and jammed with Dizzy Gillespie for the first time in 1940, had a short stint with Noble Sissle's band in 1942, played tenor with Earl Hines' sadly unrecorded bop band of 1943, and spent a few months in 1944 with Billy Eckstine's orchestra, leaving before that group made their first records. Gillespie was also in the Hines and Eckstine big bands, and the duo became a team starting in late 1944.
Although Charlie Parker recorded with Tiny Grimes' combo in 1944, it was his collaborations with Dizzy Gillespie in 1945 that startled the jazz world. To hear the two virtuosos play rapid unisons on such new songs as "Groovin' High," "Dizzy Atmosphere," "Shaw 'Nuff," "Salt Peanuts," and "Hot House," and then launch into fiery and unpredictable solos could be an upsetting experience for listeners much more familiar with Glenn Miller and Benny Goodman. Although the new music was evolutionary rather than revolutionary, the recording strike of 1943-1944 resulted in bebop arriving fully formed on records, seemingly out of nowhere.
Unfortunately, Charlie Parker was a heroin addict ever since he was a teenager, and some other musicians who idolized Bird foolishly took up drugs in the hope that it would elevate their playing to his level. When Gillespie and Parker (known as "Diz and Bird") traveled to Los Angeles and were met with a mixture of hostility and indifference (except by younger musicians who listened closely), they decided to return to New York. Impulsively, Parker cashed in his ticket, ended up staying in L.A., and, after some recordings and performances (including a classic version of "Oh, Lady Be Good" with Jazz at the Philharmonic), the lack of drugs (which he combated by drinking an excess of liquor) resulted in a mental breakdown and six months of confinement at the Camarillo State Hospital. Released in January 1947, Parker soon headed back to New York and engaged in some of the most rewarding playing of his career, leading a quintet that included Miles Davis, Duke Jordan, Tommy Potter, and Max Roach. Parker, who recorded simultaneously for the Savoy and Dial labels, was in peak form during the 1947-1951 period, visiting Europe in 1949 and 1950, and realizing a lifelong dream to record with strings starting in 1949 when he switched to Norman Granz's Verve label.
But Charlie Parker, due to his drug addiction and chance-taking personality, enjoyed playing with fire too much. In 1951, his cabaret license was revoked in New York (making it difficult for him to play in clubs) and he became increasingly unreliable. Although he could still play at his best when he was inspired (such as at the 1953 Massey Hall concert with Gillespie), Bird was heading downhill. In 1954, he twice attempted suicide before spending time in Bellevue. His health, shaken by a very full if brief life of excesses, gradually declined, and when he died in March 1955 at the age of 34, he could have passed for 64.
Charlie Parker, who was a legendary figure during his lifetime, has if anything grown in stature since his death. Virtually all of his studio recordings are available on CD along with a countless number of radio broadcasts and club appearances. Clint Eastwood put together a well-intentioned if simplified movie about aspects of his life (Bird). Parker's influence, after the rise of John Coltrane, has become more indirect than direct, but jazz would sound a great deal different if Charlie Parker had not existed. The phrase "Bird Lives" (which was scrawled as graffiti after his death) is still very true.
---Scott Yanow, All Music Guide |
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