Charlie Parker: Charlie Parker & Friends - Jazz Reference
Charlie Parker & Friends - Jazz Reference
CD
CD (Compact Disc)
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- Label: Dreyfus, 1946-52
- Erscheinungstermin: 28.10.2004
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+ John Lewis, Kenny Dorham u. a.
During his short career, saxophonist Charlie Parker attracted highly talented partners, who were forever ready to show off his true worth and also to feed from his genius and thus personally progress. Among these friends, there were several trumpeters with contrasting fates. The first, and the one we encounter the most in this album, is the young twenty to twenty-five year old Miles Davis (tracks 2, 3, 5, 17 and 18), a regular member of Parker’s quintet from 1946 to 1948, a guest in 1951 and whose evolution can be traced. He was followed by Kenny Dorham (track 4) who made his first trip to Europe with Bird in 1949. In autumn of the same year, Dorham was replaced by the young Robert ‘Red’ Chudnick, known as Rodney (track 10). And in California, it was Howard McGhee’s turn to adapt his style to the new music (track 19). Dizzy Gillespie (tracks 15 and 16), on the other hand, must be classed separately as Parker’s equal and as an inventor of jazz to be called modern as from the early forties. The two giants of bebop piano, Thelonious Monk and Bud Powell (tracks 15, 16 and 18), also hold the same role, with the latter signing an exceptional solo in Cheryl. The other pianists included John Lewis, the sober creator of the introduction of Parker’s Mood (track 1), exacting and pointillist (tracks 1, 2 and 10) and the most faithful Duke Jordan (track 5) and Walter Bishop Jr. (tracks 9 and 17), the latter accompanying Parker until his last day in 1955. Al Haig (track 4) had followed the saxophonist from 1948 to 1950, whereas the rare Dodo Marmarosa (tracks 3 and 19) and the famous Erroll Garner (tracks 7 and 8) only met him on the odd occasion for some Californian recordings. Bird had a host of drummer friends, the first, historically, being Kenny Clarke, a determining stylist of bebop. In Blues For Alice (track 10), he teamed up with bassist Ray Brown to form one of the most swinging rhythmic tandems. But the great Max Roach (tracks 2, 4, 5, 6, 17 and 18) was more often present, whereas the young Roy Haynes (track 9) appeared the most adventurous and Buddy Rich (tracks 15 and 16) the most classical.
Other occasional friends, tenor saxophonists Lucky Thompson (track 3) and Wardell Gray (track 19), accomplished accomplices, pianist Oscar Peterson (tracks 11, 12 and 14), a fleeting soloist in a big band where a since-forgotten trombonist, Bill Harris, stood out. Yet J. J. Johnson (track 5) was the master of this instrument during the days of bebop. There were nevertheless fewer guitarists in Charlie Parker’s recorded works: Barney Kessel (track 19) was one the very best found next to Bird. Let’s pay him tribute.
Other occasional friends, tenor saxophonists Lucky Thompson (track 3) and Wardell Gray (track 19), accomplished accomplices, pianist Oscar Peterson (tracks 11, 12 and 14), a fleeting soloist in a big band where a since-forgotten trombonist, Bill Harris, stood out. Yet J. J. Johnson (track 5) was the master of this instrument during the days of bebop. There were nevertheless fewer guitarists in Charlie Parker’s recorded works: Barney Kessel (track 19) was one the very best found next to Bird. Let’s pay him tribute.
- Tracklisting
- Mitwirkende
Disk 1 von 1 (CD)
- 1 Parker's mood
- 2 Barbados
- 3 Yardbird suite
- 4 Segment
- 5 Bongo beep
- 6 Constellation
- 7 Cool blues
- 8 Bird's nest
- 9 My little suede shoes
- 10 Blues for Alice
- 11 Almost like being in love
- 12 What is this thing called love?
- 13 Stella by starlight
- 14 Night And Day
- 15 An Oscar for Treadwell
- 16 Leap frog
- 17 Au privave
- 18 Cherly
- 19 Cheers
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