Charlie parker cd in Jazz Instrumental Music

"The Complete Savoy and Dial Master Takes" (10/01/2005) Jazz Instrument Parker, Charlie, Savoy Jazz (USA)Personnel: Charlie Parker (alto saxophone); Earl Coleman (vocals); Wardell Gray, Lucky Thompson (tenor saxophone); Miles Davis, Dizzy Gillespie, Howard McGhee (trumpet); J.J. Johnson (trombone); Clyde Hart, Sadik Hakim, George Handy, Jimmy Bunn, Erroll Garner, Dodo Marmarosa, Bud Powell, John Lewis, Duke Jordan (piano); Tiny Grimes, Arvin Garrison, Barney Kessel (guitar); Jimmy Butts, Curly Russell, Red Callender, Tommy Potter, Nelson Boyd, Ray Brown, Vic McMillan, Robert Kesterton (bass); Harold "Doc" West, Max Roach, Stan Levey, Roy Porter, Don Lamond, Max Roach (drums). Producers: Teddy Reig, Buck Ram, Ross Russell. Recorded between 1944 & 1948. Includes liner notes by Stanley Crouch. All tracks have been digitally remastered. Through the miracle of high-resolution digital transfer and mastering technology, Bird enthusiasts can now get an earful of the shape of Charlie Parker's musical accomplishments for Savoy and Dial in the 1940s. Available as a three-disc box set, the alto saxophonist is recorded in various configurations as performer and bandleader with such mainstream jazz greats as trumpeters Dizzy Gillespie and Miles Davis, pianists Bud Powell and Erroll Garner, drummer Max Roach, trombonist J.J. Johnson, and bassist Ray Brown, to name but a few. Charlie Parker draws on his pungent roots and rhythms of the Kansas City jazz scene on "Parker's Mood" and makes a deep statement of the existence of the blues in the jazz tradition. His freedom and rapid-fire sax lines on "Yardbird Suite" serve to confirm his excellence in crafting polished improvisations and solos. One of Parker's strongest compositions, "Orinithology," is pure, unadulterated bebop, and the unique sound of Parker's alto saxophone is clearly articulated through smoothly executed phrasings and cutting, focused energy. Parker picks up the tenor saxophone with the Miles Davis All-Stars on such great songs as "Milestones" and "Sippin' at Bell's." Overall, Bird audiophiles, jazz educators, and historians should be prepared to be impressed. This collection is arguably Bird's most important recording studio work. ~ Paula Edelstein

"Verve Jazz Masters 28: Charlie Parker Plays Standards" (10/18/1994) Jazz Instrument Parker, Charlie, Verve (USA)Full title: Verve Masters 28: Charlie Parker Plays Standards. Personnel includes: Charlie Parker (alto saxophone); Ella Fitzgerald, (vocals); Willie Smith (alto saxophone); Lester Young, Coleman Hawkins, Flip Phillips (tenor saxophone); Danny Bank (baritone saxophone); Roy Eldridge, Buck Clayton (trumpet); Tommy Turk (trombone); Verley Mills (harp); Walter Bishop, Stan Freeman, Oscar Peterson, Walter Bishop Jr., Al Haig, Tony Aless, Ken Kersey, Bernie Leighton, Hank Jones (piano); Billy Bauer, Freddie Green, Irving Asby (guitar); Teddy Kotick, Ray Brown, Percy Heath, Billy Hadnott, Charles Mingus (bass); Arthur Taylor, Buddy Rich, Don Lamond, Roy Haynes, Max Roach (drums); Jose Mangual (bongos); Luis Miranda (congas). The Dave Lambert Singers include: Dave Lambert, Butch Birdsall, Jerry Parker, Annie Ross (vocals). Includes liner notes by Harvey Pekar. Digitally remastered by Phil Schaap. Recording information: Carnegie Hall, New York, NY (04/22/1946-12/10/1954); Fine Sound Studios, New York, NY (04/22/1946-12/10/1954); Fulton Recording Studio, New York, NY (04/22/1946-12/10/1954); Mercury Studios, New York, NY (04/22/1946-12/10/1954); New York, NY (04/22/1946-12/10/1954). Standards made up one third of the trinity of Bird's repertoire, along with his own serpentine reworkings of the blues and originals consisting of new melodic statements over the chord progressions of his favorite standards. The emphasis here is on the first category, focusing on the kind of Broadway tunes jazz musicians have been remaking since the '20s. As with most of Verve's Parker compilations, STANDARDS' material is drawn from various kinds of recording sessions, presenting a cross-section of Parker's approach to standards. More accurately, the set is a cross-section of producer Norman Granz's ideas for recording the altoist in the early '50s. Not that Bird was an unwilling participant. In Harvey Pekar's liner notes, Parker is quoted as saying: "I was looking for new ways of saying things musically...I asked for strings as far back as 1941." There are, in fact, four recordings with strings here (including a live "Easy to Love"), one with the Dave Lambert Singers (pretty goofy), three extended jams from JAZZ AT THE PHILHARMONIC, and a handful of small group sessions-some with Latin percussion.

"Jazz 'Round Midnight: Charlie Parker" (03/19/1991) Jazz Instrument Parker, Charlie, Verve (USA)Personnel includes: Charlie Parker (alto saxophone); Murry Williams, Harry Terrill, Toots Mondello (alto saxophone); Flip Phillips, Hank Ross, Coleman Hawkins, Lester Young (tenor saxophone); Danny Bank, Stan Webb (baritone saxophone); Al Porchino, Jimmy Maxwell, Carl Poole, Bernie Privin, Chris Griffin, Dizzy Gillespie, Red Rodney, Roy Eldridge (trumpet); Bill Harris, Lou McGarity, Bart Varsalona, Will Bradley, Tommy Turk (trombone); Hank Jones, Stan Freeman, Oscar Peterson, Lou Stein, Bernie Leighton, Thelonious Monk, John Lewis (piano); Freddie Green, Art Ryerson (guitar); Ray Brown, Rob Haggart, Curley Russell (bass); Buddy Rich, Don Lamond, Kenny Clarke (drums). Includes liner notes by Philippe Carles. Digitally remastered by Phil Schaap and Tom Ruff (Polygram Studios). Verve has subsequently released better-documented and more purposeful reissues of its extensive Charlie Parker archive than JAZZ ROUND MIDNIGHT. Nevertheless, this CD provides an interesting cross-section of some of the alto master's work in the last six years of his life. There are three kinds of sessions here: quartet or quintet sessions with a variety of bebop and swing-era sidemen, tunes from the CHARLIE PARKER WITH STRINGS sessions (nine out of the 16 tracks here), and one cut with the saxophonist fronting a big band. Aside from the common period, the disc's unifying theme appears to be "Bird Takes on the Standards." Indeed, the emphasis is on the midtempo interpretation of material by such composers as Gershwin, Rogers and Hart, and Vernon Duke. Many of these tunes have come to be associated with bop in general-and Parker in particular-"Star Eyes," "Lover Man," "Out of Nowhere," "Embraceable You," and "Stella by Starlight." Bird is in good company on the six small-group sessions, with a rhythm section of Hank Jones, Ray Brown, and Buddy Rich. Dizzy, Monk, Red Rodney, John Lewis, and Kenny Clarke also make appearances.

"The Jazz Giants Play Charlie Parker: Yardbird Suite" (11/09/1999) Jazz Instrument Various Artists, Prestige RecordsProducers include: Lester Koenig, Lew Futterman, Ed Michel, Orrin Keepnews, Norman Granz. Compilation producer: Eric Miller. Recorded between August 1956 and August 1990. Includes liner notes by Zan Stewart. Digitally remastered by Joe Farantino (1999, Fantasy Studios, Berkeley, California). As much of a musical maverick as Charlie Parker was when he burst onto the jazz scene in the mid-'40s, his compositions have stood the test of time; several have even entered the realm of jazz standards. This Jazz Giants collection brings together 12 selections from the Bird songbook as performed by a wide range of jazz stylists. Some have a strong Bird influence in their presentation (Sonny Criss, Jackie McLean, Joe Pass, Hampton Hawes, Phineas Newborn Jr., and Harold Land), while others come from a stronger swing background, like Oscar Peterson and Clark Terry. Still others like Red Garland, Art Pepper, Joe Farrell, and Jack McDuff show an appreciation of Parker, but come up with their own spin on his classic lines. The title "jazz giants" is no mere hyperbole, as the lineup of backing musicians includes John Coltrane, Donald Byrd, Tal Farlow, George Benson, Red Holloway, Philly Joe Jones, Barney Kessel, Shelly Manne, and Wes Montgomery. But most importantly, the music on here swings. Every last track is joyously played by artists who get inside these tunes and make some exciting jazz that extends the legacy of Bird's greatest compositional moments in ways that turn the most taciturn amongst us into finger-snapping boppers. A good thing, indeed. ~ Cub Koda

"Ken Burns Jazz" (11/07/2000) Jazz Instrument Parker, Charlie, Verve (USA)Personnel includes: Charlie Parker (alto saxophone); Dizzy Gillespie (vocals, trumpet, piano); John Jackson (alto saxophone); Fred Culliver, Bob Mabane, Lucky Thompson, Wardell Gray (tenor saxophone); Buddy Anderson, Bob Merrill, Orville Minor, Miles Davis, Howard McGhee (trumpet); Lawrence Anderson, Taswell Baird (trombone); Mitch Miller (oboe); Jay McShann, Al Haig, Sadik Hakim, Dodo Marmarosa, Jimmy Bunn, Duke Jordan, John Lewis, Walter Bishop Jr. (piano); Lucky Enois, Alvin Garrison, Barney Kessel (guitar); Gene Ramey, Curley Russell, Victor McMillan, Bob Kesterson, Red Callender, Tommy Potter, Ray Brown, Percy Heath (bass); Doc West, Sid Catlett, Max Roach, Roy Porter, Don Lamond, Buddy Rich (drums). Compilation producers: Richard Seidel, Ben Young. Recorded between 1942 and 1953. Includes liner notes by Carl Woideck. Digitally remastered by Kevin Reeves (Universal Mastering Studios-East). This is part of the Verve Records Ken Burns JAZZ series. Personnel: Charlie Parker (alto saxophone); Dizzy Gillespie (vocals, trumpet, piano); Lucky Enois, Barney Kessel (guitar); Arv Garrison (electric guitar); Myor Rosen (harp); Bronislaw Gimpel, Milton Lomask, Max Hollander (violin); Frank Brieff (viola); Frank Miller (cello); Mitch Miller (oboe); John Jackson (alto saxophone); Bob Mabane, Fred Culliver, Wardell Gray (tenor saxophone); Orville Minor, Howard McGhee, Buddy Anderson, Miles Davis, Bob Merrill (trumpet); Taswell Baird, Lawrence Anderson (trombone); John Lewis, Dodo Marmarosa, Duke Jordan, Jimmy Bunn, Al Haig, Sadik Hakim, Stan Freeman, Walter Bishop, Jr. (piano); Don Lamond, Harold "Doc" West, Max Roach, Roy Porter, Big Sid Catlett, Buddy Rich (drums). Liner Note Authors: Zefa; Peter Keepnews. Recording information: 07/02/1942-07/30/1953. Photographer: Frank Driggs. Arrangers: Jimmy Carroll; William Scott . With cooperation from the Verve and Columbia Legacy catalogs, the Ken Burns Jazz series on CD individually spotlights the musical excellence of 22 jazz originators whose careers and influence are explored in Burns' PBS documentary Jazz. Even though alto saxophonist Charlie Parker didn't record as much material as other legends in this series, it's still impossible on a single disc to achieve a thorough picture of Bird's influence. However, you can't go wrong with "Ko-Ko," "Ornithology," "Anthropology," "Now's the Time," "Lover Man," and "Yardbird Suite," all classic Parker mid- to late-'40s bebop sides on Savoy and Dial. Also highlighted are "Just Friends" from the controversial release with strings, and early performances as a member of Dizzy Gillespie's All Star Quintet and Jay McShann's Orchestra. While it's impossible to sum up the history of Parker on a single disc and aficionados will find nothing new, the highlights here keep the novice listener interested enough to continue searching out more material. ~ Al Campbell

"Now's the Time [Savoy Jazz]" (02/14/2006) Jazz Instrument Parker, Charlie, Savoy Jazz (USA)Personnel: Charlie Parker (alto saxophone); Charlie Parker; Duke Jordan, John Richard Lewis, Argonne Thornton (piano); Dizzy Gillespie (trumpet, piano); Miles Davis (trumpet); Bud Powell (piano); Max Roach (drums). Liner Note Author: Bill Milkowski. Recording information: Harry Smith Studios, New York, NY (11/26/1945-09/24/1948); United Sound Studios, Detroit, MI (11/26/1945-09/24/1948); WOR STudios, New York, NY (11/26/1945-09/24/1948). Charlie Parker fanatics will debate the merits of his various recordings until blue in the face, but nearly everyone is in agreement about the monumental importance of his Savoy sides. NOW'S THE TIME: THE REVOLUTIONARY CHARLIE PARKER collects some of the best of those sides in one 17-track package, making for a lovely sampling of the jazz great's genius. The "revolutionary" of the album's title is no overstatement. Along with Dizzy Gillespie, Miles Davis, Max Roach, and others, Parker was busy permanently redefining the entire landscape of jazz with a complex, frenetic music called bebop. Some of the best examples of the style--"Koko," Billie's Bounce," and "Donna Lee," among others--are here, and sound just as fresh and vital as they did on their release in 1945.

"Bird After Dark" (10/01/2005) Jazz Instrument Parker, Charlie, Savoy Jazz (USA)Personnel: Charlie Parker (alto saxophone); Sarah Vaughan, Earl Coleman (vocals); Claude McLin (tenor saxophone); Dizzy Gillespie, Miles Davis, Kenny Dorham (trumpet); J.J. Johnson (trombone); Milt Jackson (vibraphone); Clyde Hart, Erroll Garner, Duke Jordan, Al Haig, Chris Anderson (piano); George Freeman, Remo Palmieri (guitar); Slam Stewart, Curly Russell, Red Callendar, Tommy Potter (bass); Cozy Cole, Harold "Doc" West, Max Roach, Joe Harris (drums). Producers: Teddy Reig, Ross Russell. Compilation producer: Orrin Keepnews. Recorded between 1945 & 1950. Includes liner notes by Zan Stewart. All tracks have been digitally remastered. Bird After Dark combines tracks off several of alto saxophonist Charlie Parker's various Savoy label sessions, including Newly Discovered Sides and Bird at the Roost: The Savoy Years, Vol. 1. Given that these albums go in and out of print, this budget compilation seems like an acceptable addition to Parker's catalog -- though diehards will still want to seek out the original albums. ~ Matt Collar

"The Charlie Parker Story [Savoy Jazz] [Remaster]" (10/01/2005) Jazz Instrument Parker, Charlie, Savoy Jazz (USA)Personnel: Charlie Parker (alto saxophone); Dizzy Gillespie (trumpet, piano); Miles Davis (trumpet); Sadik Hakim (piano); Curley Russell (bass); Max Roach (drums). Recorded on November 26, 1945. Originally released on Savoy (MG 12079). Includes original liner notes by John Mehegan. "The Greatest Recording Session Made In Modern Jazz History In Its Entirety!" screams the subtitle in the original liner notes to this posthumous Savoy collection of digitally remastered Parker tracks. The point may be debatable, since the notes go on to detail how on the afternoon of November 26, 1945, "Parker was having trouble with his horn...it is obvious that Bird was unable to correct what was a reed problem...Miles was not playing well...Bud was constantly disappearing with Miles..." In addition, the sound quality varies from tune to tune. With these drawbacks, and the fact that the original sequencing and selection of songs is reproduced in full, it is clear that this reissue is aimed at the hard-core aficionado. Five versions of "Billie's Bounce" are presented, including an interrupted "short take." Likewise the band's four attempts at "Now's The Time," two of which were false starts, are included. In other words, it's not a great date, but if you're a serious fan or student of the music, you can check out how the officially released takes stack up compared to the ones that were originally consigned to the Savoy vaults.

"The Cole Porter Songbook" (04/16/1991) Jazz Instrument Parker, Charlie, Verve (USA)Personnel includes: Charlie Parker (alto saxophone); Joe Lippman, Gil Evans (conductor); Benny Carter, Johnny Hodges (alto saxophone); Ben Webster, Flip Phillips (tenor saxophone); Charlie Shavers (trumpet); Junior Collins (French horn); Bill Harris, Lou McGarity (trombone); Edwin C. Brown (oboe); Sam Caplan, Howard Kay, Harry Meinikoff, Sam Rand, Zelly Smirnoff (violin); Isadore Zor (viola); Maurice Brown (cello); Verley Mills (harp); Bernie Leighton, Walter Bishop, Oscar Peterson (piano); Freddie Green, Barney Kessell (guitar); Charles Mingus, Ray Brown, Teddy Kotick (bass); Max Roach, Buddy Rich, Don Lamond, Roy Haynes, Art Taylor (drums); Jose Mangual (bongos); Luis Miranda (congas); Dave Lambert Singers. Recorded between 1950 and 1954. Includes liner notes by Gary Giddins. Digitally remastered by Dennis Drake and Andrew Nicholas (Polygram Tape Facility). Bird takes Porter's songs and extends them to glorious heights. A fine reissue. ~ Ron Wynn

"South of the Border: The Verve Latin-Jazz Sides" (07/25/1995) Jazz Instrument Parker, Charlie, Verve (USA)Personnel: Charlie Parker (alto saxophone); Benny Harris (trumpet); Walter Bishop, Jr. (piano); Teddy Kotick (bass); Roy Haynes, Max Roach (drums). Machito & His Afro-Cuban Orchestra includes: Machito (maracas); Chico O'Farrill (conductor); Gene Johnson, Fred Skerritt (alto saxophone); Jose Madera, Flip Phillips, Sol Rabinowitz (tenor saxophone); Leslie Johnakins (baritone saxophone); Mario Bauza (trumpet, clarinet); Paquito Davilla, Harry "Sweets" Edison, Al Stewart, Bobby Woodlen (trumpet); Rene Hernandez (piano, bass); Roberto Rodriguez (bass); Buddy Rich (drums); Jose Mangual (bongos); Luis Miranda, Chano Pozo (congas); Ubaldo Nieto (timbales). Compilation producer: Michael Lang. Recorded in New York between December 20, 1948 and January 23, 1952. Includes liner notes by Henry Martin. Personnel: Charlie Parker (alto saxophone); Gene Johnson , Fred Skerritt (alto saxophone); Flip Phillips, Sol Rabinowitz, Jose Madera (tenor saxophone); Leslie Johnakins (baritone saxophone); Al Stewart, Paquito Davilla, Harry "Sweets" Edison, Bobby Woodlen, Mario Bauz , Benny Harris (trumpet); Ren? Hern ndez, Walter Bishop, Jr. (piano); Max Roach, Roy Haynes (drums); Luis Miranda , Chano Pozo (congas); Jose Mangual (bongos); Machito (maracas); Ubaldo Nieto (timbales). Liner Note Author: Henry Martin. Recording information: New York, NY (01/??/1948-01/23/1952). Illustrator: David Stone Martin. Photographer: William Claxton. Unknown Contributor Role: Machito & His Afro-Cubans. Arrangers: Chico O'Farrill; Mario Bauz . This Verve CD pulls together recordings from 1949-52 that were originally scattered across a handful of 10" LPs. Seven of the tunes here come from the original SOUTH OF THE BORDER 10," which featured a typical Parker ensemble of the period (Walter Bishop, Jr., piano; Teddy Kotick, bass; Roy Haynes or Max Roach, drums) augmented by Latin percussionists Jose Mangual and Luis Miranda. The three opening cuts feature Bird blowing through arrangements played by Machito and His Afro-Cuban Orchestra (originally released on MACHITO JAZZ WITH FLIP AND BIRD); Machito and orchestra return for the extended "Afro-Cuban Jazz Suite" composed by Chico O'Farill. The small group recordings sound like small group Bird recordings without the driving tempos, ornate melodic structure or reliance on either blues or "I Got Rhythm" chord changes. On "No Noise (Part 1)", one of the shorter Machito tunes, it's particularly interesting to hear Parker stretch out over the simple two-chord vamp. The "Afro-Cuban Jazz Suite" includes solos by Bird but was not written with the altoist in mind. Rather, O'Farill wrote the piece as an extended jazz composition with occasional soloists; Parker was called in during the session to replace Harry "Sweets" Edison.

"The Complete Verve Master Takes [Box]" (10/21/2003) Jazz Instrument Parker, Charlie, Verve (USA)Personnel includes: Charlie Parker (alto saxophone); Gil Evans (arranger, conductor); Flip Phillips (tenor saxophone); Red Rodney, Miles Davis, Kenny Dorham, Dizzy Gillespie (trumpet); Tommy Turk (trombone); Mitch Miller (oboe); Oscar Peterson, Walter Bishop, Jr., Al Haig, Hank Jones, John Lewis, Thelonious Monk (piano); Billy Bauer, Freddie Green (guitar); Ray Brown, Percy Heath, Teddy Kotick, Charles Mingus, Tommy Potter, Curly Russell (bass); Arthur Taylor, Kenny Clarke, Roy Haynes, Shelly Manne, Buddy Rich, Max Roach (drums); Dave Lambert Singers. Producer: Norman Granz. Compilation producer: Bryan Koniarz. Recorded between 1947 & 1954. Includes liner notes by Phil Schaap. Along with a complete duplication of the 24 performances included in Complete Verve Masters with Strings, which was issued a year earlier than this set, there are 50 other master takes here produced by Norman Granz, ranging from a 1947 Carnegie Hall date to Parker's last in 1954. Many of the cuts come from 1950-1952. Half of the 1949 sessions are string dates; the rest come from sessions with Kenny Dorham, Tommy Turk, Al Haig, Tommy Potter, and Carlos Vidal. The most rewarding performances are a reunion of sorts with Dizzy Gillespie and Thelonious Monk, along with Curly Russell and Buddy Rich, from April 1950. These tracks are nearly seminal versions of "Mohawk," "Leapfrog," and "Relaxin' with Lee," along with fine reads of "Bloomdido," "An Oscar for Treadwell," and "My Melancholy Baby." Four other cuts come from a brief reunion with Miles Davis and Max Roach in January of 1951 with Teddy Kotick and Walter Bishop, Jr. rounding out the band, and include smokingly hot versions of "Au Privave," "She Rote," and "K.C Blues." Other musicians who appear here are Oscar Peterson, Red Rodney, Kenny Clarke, John Lewis, and Billy Bauer, among dozens of others. The package is beautiful in a decorated, painted silver metal box that the CDs fold out of, but the booklet -- like Universal's Joni Mitchell set -- falls apart because of bogus stitching. There is undoubtedly great music here, although it would have worked better as a double set to respect those who were righteous enough to buy the strings disc. ~ Thom Jurek While it is a great thing to have all of the Charlie Parker master takes of his Verve period on one disc, including a complete duplication of Complete Verve Masters with Strings, which was issued a year earlier, it seems more than excessive and more and more like Universal's stock motive: to get the loyal listener to buy the same product over and over again. While those who oversee these projects can claim "historical accuracy" as a motive, it will stink of false rhetoric. First, the argument that the "with strings" sessions should have been given an entire disc apart from everything else is in a way bogus, as they were part of a seminal continuum that charted Parker's development and decline. They should never have been separated out in the first place. But completists no doubt bought them, and now are expected to buy them again just to get a "true" historical package. This is simply cynical marketing by Universal. Not considering the 24 "with strings" performances, there are 50 other master takes here produced by Norman Granz, ranging from a 1947 Carnegie Hall date to Parker's last in 1954. Many of the cuts here come from 1950-1952. Half of the 1949 sessions are string dates; the rest come from sessions with Kenny Dorham, Tommy Turk, Al Haig, Tommy Potter, and Carlos Vidal. The most rewarding performances here are a reunion of sorts with Dizzy Gillespie and Thelonious Monk, along with Curly Russell and Buddy Rich, from April 1950. These tracks are nearly seminal versions of "Mohawk," "Leapfrog," and "Relaxin' with Lee," along with fine reads of "Bloomdido," "An Oscar for Treadwell," and "My Melancholy Baby." Four other cuts come from a brief reunion with Miles Davis and Max Roach in January of 1951 with Teddy Kotick and Walter Bishop, Jr. rounding out the band and include smokingly hot versions of "Au Privave," "She Rote," and "K.C Blues." Other m