| 1. Move |
| 2. Ornithology |
| 3. 'Round Midnight |
| 4. Wahoo |
| 5. Street Beat |
| 6. Cool Blues/52nd Street Theme |
| 7. Bongo Bop [Take A] |
| 8. Bongo Bop [Take B] |
| 9. Charlie's Wig (Birdfeathers) [Take E] |
| 10. Crazeology [Take D] |
| 11. Drifting on a Reed [Take E] |
Editorial Reviews
Amazon.com essential recording
Much of this CD comes from a 1950 radio broadcast from Birdland on which Charlie Parker is joined by trumpeter Fats Navarro and pianist Bud Powell, two bop musicians almost as brilliant and certainly as tormented as Parker himself. Together they prod Bird to the limits, especially on a nine-minute version of "Street Beat." It's a rare glimpse of bop at its absolute creative peak, as tense, anarchic, and explosive as jazz could ever be. The CD also includes a few of the Dial studio recordings, with excellent support from a young Miles Davis and trombonist J.J. Johnson. --Stuart Broomer
Some of the studio tracks offer more than one take, always pleasurable and instructive with Parker, who never played the same solo twice and whose improvisation went beyond improvisation to become spontaneous composition, just as memorable as anything anyone ever sweated and agonized over, thirty bars in thirty hours, in written notation. These studio tracks come from 1946-1947, Bird's peak, in most people's estimation.
The live tracks, recorded at the Rockland in Harlem in 1952 at a benefit concert for an imprisoned American Communist are a bit lighter, but still exhilarating. The sound is poor, but alto picks up well under the worst of conditions (people yelling, junk banging around) and with bad equipment (don't know what they were using, but it sure wasnt' those good acetates they were using for the recently released Uptown Jazz Town Hall concert). Bird, of course, played well in bad conditions (such as smoky club dates) and all real Parker fans get used to bad recordings.
These issues have been re-released since in somewhat better sound, but I do believe that this disc would sufficiently prove, to a neophyte, the second half of Miles' dictum: "jazz history? four words: Louis Armstrong Charlie Parker".
Much of this CD comes from a 1950 radio broadcast from Birdland on which Charlie Parker is joined by trumpeter Fats Navarro and pianist Bud Powell, two bop musicians almost as brilliant and certainly as tormented as Parker himself. Together they prod Bird to the limits, especially on a nine-minute version of "Street Beat." It's a rare glimpse of bop at its absolute creative peak, as tense, anarchic, and explosive as jazz could ever be. The CD also includes a few of the Dial studio recordings, with excellent support from a young Miles Davis and trombonist J.J. Johnson. --Stuart Broomer
Bebop and Bird, Vol. 2,Charlie Parker,Rhino / Wea,Big Band,Bop,Jazz,Jazz Music
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Bebop & Bird, Vol. 2
Charlie Parker Manufacturer: Rhino / Wea ProductGroup: Music Binding: Audio CD  Bebop General
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ASIN: B0000032CC Release Date: 1990-10-25 |
Tracks:
- The Gypsy (Take A)
- Cool Blues (Take C)
- Cool Blues (Take D)
- Relaxin' At Camarillo (Take C)
- Relaxin' At Camarillo (Take E)
- Cheers (Take D)
- Carvin' The Bird (Take B)
- Moose The Mooche
- This Time The Dream's On Me
- Star Eyes
- My Little Suede Shoes
- Sly Mongoose
- Lester Leaps In
- Cool Blues
- Rocker
- Laura
Customer Reviews:
A reasonable introduction if you can find it cheap.......2006-10-27
Some of the studio tracks offer more than one take, always pleasurable and instructive with Parker, who never played the same solo twice and whose improvisation went beyond improvisation to become spontaneous composition, just as memorable as anything anyone ever sweated and agonized over, thirty bars in thirty hours, in written notation. These studio tracks come from 1946-1947, Bird's peak, in most people's estimation.
The live tracks, recorded at the Rockland in Harlem in 1952 at a benefit concert for an imprisoned American Communist are a bit lighter, but still exhilarating. The sound is poor, but alto picks up well under the worst of conditions (people yelling, junk banging around) and with bad equipment (don't know what they were using, but it sure wasnt' those good acetates they were using for the recently released Uptown Jazz Town Hall concert). Bird, of course, played well in bad conditions (such as smoky club dates) and all real Parker fans get used to bad recordings.
These issues have been re-released since in somewhat better sound, but I do believe that this disc would sufficiently prove, to a neophyte, the second half of Miles' dictum: "jazz history? four words: Louis Armstrong Charlie Parker".
sweet charlie parker.......2000-02-08
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