Charlie Parker

1. 52nd Street Theme

2. Shaw 'Nuff

3. Out of Nowhere

4. Hot House

5. This Time the Dream's on Me

6. Night in Tunisia

7. My Old Flame

8. 52nd Street Theme

9. Way You Look Tonight

10. Out of Nowhere

11. Chasin' the Bird

12. This Time the Dream's on Me

13. Dizzy Atmosphere

14. How High the Moon

15. 52nd Street Theme

16. I Didn't Know What Time It Was

17. Ornithology

18. Embraceable You

19. Visa

20. I Cover the Waterfront

See all 28 tracks on this disc

Charlie Parker,Charlie Parker,Prestige,Big Band,Bop,Jazz,Leader

Jazz

Music

jazz

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Average customer rating: Where have you been?? Dizzy Atmosphere Don't Overlook This Underrated Gem! Diz and Bird at Town Hall June 22, 1945; Genius Overcome Technical Short Comings

Town Hall, New York City, June 22, 1945 Dizzy Gillespie , and Charlie Parker Manufacturer: Uptown Jazz ProductGroup: Music Binding: Audio CD General | Latin Music | Styles | Music Bebop General | Bebop | Jazz | Styles | Music General | Jazz | Styles | Music Latin Jazz | Jazz | Styles | Music Vocal Jazz General | Vocal Jazz | Jazz | Styles | Music General | Vocal Pop | Pop | Styles | Music Similar Items: Thelonious Monk Quartet with John Coltrane at Carnegie Hall One Down, One Up: Live at the Half Note Complete Jazz at Massey Hall Live at the House of Tribes Without a Song: The 9/11 Concert ASIN: B0009Q0EQ0 Release Date: 2005-06-21

Tracks:

1. Intro
2. Bebop
3. A Night In Tunisia
4. Groovin' High
5. Salt Peanuts
6. Hot House
7. Fifty Second Street Theme

Amazon.com

Dizzy Gillespie and Charlie Parker first became aware of each other in 1940 when the former was playing in Cab Calloway's band and the latter with Jay McShann. Two years later they were both living in New York City and a real friendship developed. By 1945 they were recording and gigging together, culminating in this Town Hall concert on June 22, 1945. These recordings languished for sixty years as acetates that weren't even known to exist in their entirety. That this set captures these two formidable players in their ascendancy and with such clarity is a staggering find. Here, with host Symphony Sid announcing the songs (this would have been for his radio show, but apparently never ended up in his possessions), an important chapter in American music is now restored. By the end of the summer of '45 Gillespie and Parker went their separate ways, both emerging with their own bands and reaching new heights of commercial success. --David Greenberger

Customer Reviews:

Where have you been??.......2006-05-20

According to jazz gospel, jazz's Anno Domini is November 1945, when Charlie Parker and Dizzy Gillespie cut several sides including the incredible "Ko Ko". Before then, there was a recording ban that prevented the innovations of the Bebop musicians from being heard. (True, there were some Dizzy Gillespie-led sessions including Salt Peanuts, but they sold so badly that they don't count).

In this version of events, jazz music was totally turned on its head, and the New Testament era of jazz began. When Ko Ko came out in November of 1945, the technical brilliance of the new form of jazz blew everyone away, and the music was changed forever.

But in 2005, this version of events was slightly altered. Finding a complete, live performance of Charlie Parker and Dizzy Gillespi, a full five months before the Ko Ko session, is an astonishing coup. The source of the recording is still rather hazy, with some indications that the anonymous person hoarding them may yet have more to release in years to come. At any rate, this is an astonishing discovery, perhaps even slightly more astonishing than the Monk-Coltrane discovery in the same year.

Dont forget, this is BEFORE the widespread use of tape to record sound (tape was invented in Nazi Germany, and is largely a postwar thing). Also, discs only lasted three minutes a side back in 1945. So you have to imagine some engineers lurking in the Town Hall, with a battery of recording lathes and a pile of fragile lacquer discs, furiously changing discs every three minutes. And yes, they got every note of the concert. Incredibly, the discs were not separated from each other, nor did any of them break over the years! There must have been about twelve or thirteen sides altogether.

Now at last we can hear bebop from before November 1945. The concert is astonishing. I still can't get over Parker's solo on Salt Peanuts, which is really filled with the fresh energy of a newly discovered art form. Another highlight is Night in Tunisia. Both Parker and Gillespie are in terrific form. The crowd seems very appreciative; although the liner notes include a contemporary review which says of Dizzy's music, in effect, "too many notes"! Also, Parker arrives late for the first tune, Bebop; I wonder exactly what he was doing out back?

The sound quality is fantastic. It was far better than I expected. The first few bars of "Bebop" are a bit muddy; but aside from that the sound is the equal of the Royal Roosts, perhaps even slightly better.

So I would heartily encourage anyone to get this disc; whether you are totally new to jazz, or a crusty veteran. The music is very accessible. Music this good, and a discovery that is this historically important, should be heard by everyone!!!

Dizzy Atmosphere.......2006-04-28

Just when the listener thinks that Be Bop has been worn out and has little else to offer, we are presented with lost recordings that, once again, show what all of the fuss was about. This is Charlie Parker and Dizzy Gillespie at the top of their game, giving a seminar on flatted fifths and fast playing.

Don't Overlook This Underrated Gem!.......2006-04-14

The Gillespie-Parker Town Hall CD is easy to overlook next to Monk-Parker--but that would be a loss. For one thing, the listener to this CD is privy to on-going commentary and intros by legendary jazz and beebop deejay "Symphony Sid"--offering an inside peek at the birth of some innovative tunes. Evidently Parker was (characteristically) late for the show: Sid had given lots of verbal patter to the eager crowd; Parker comes in the auditorium mid-way through the first number; the group doesn't skip a beat! Sid proceeds to tell the audience the music is going to flow rapidly because you folks sure waited long enough, and flow it certainly does--Tunisia; Salt Peanuts--the musicians playing top quality to a very appreciative crowd. Recording quality is fine for the time and place. Highlight: drummer Sydney Catlett stays for an encore despite Sid telling him he's got to be somewhere else. An all-around entertaining and informative birth of beebops by the legends experience

Diz and Bird at Town Hall June 22, 1945; .......2006-03-03

I read a rave review of "this masterpiece" record in The New Yorker. I was underwhelmed compared to that review.
However, these are good early beebop performances and the accompanying notes and copies of contemporary reviews support a better understanding of what's going on. In particular, there are some very interesting comments re perceptions of what was going on that day at Town Hall in Leonard Feather's July 1945 Metronome review, which is reproduced.
There are three Gillespie classics: Beebop, A Night in Tunisia and Salt Peanuts running about seven minutes each. These are the longest early recordings of these numbers that I have heard.
Perhaps even more interesting would be the as yet unapproved release of the second half of the Concert with a program by a very young Errol Garner and Don Byas.

Genius Overcome Technical Short Comings.......2006-02-25

The only bad thing about this recording is that it was made with the Town Hall's standard audio system. Gillespie is way off mic. Too bad there was not a real audio engineer to mic the performance. If you are a stickler for hi fidelity this may disappoint you. However the sheer genius and energy of the performances overcome this technical shortfall. If you enjoy either Gillespie or Monk, this recording deserves a place in your collection.

Average customer rating: I don't quite get the reputation of this concert Best musicians of an era... performing together! The only hall you'll need What was Mingus on? Get This CD Instead of the OJC or Debut (20-bit) Versions

Complete Jazz at Massey Hall Charlie Parker Manufacturer: Jazz Factory ProductGroup: Music Binding: Audio CD Bebop General | Bebop | Jazz | Styles | Music General | Jazz | Styles | Music General | Live Albums | Jazz | Styles | Music Classic Big Band | Swing Jazz | Jazz | Styles | Music Contemporary Big Band | Swing Jazz | Jazz | Styles | Music Jazz | Imports | Stores | Music Similar Items: Town Hall, New York City, June 22, 1945 Never No Lament: The Blanton-Webster Band The Hot Fives & Sevens The Complete Birth of the Cool A Love Supreme ASIN: B0000A0DS4 Release Date: 2004-04-05

Tracks:

1. Perdido
2. Salt Peanuts
3. All the Things You Are
4. 52nd Street Theme
5. Drum Conversation - Max Roach
6. Cherokee
7. Enbraceable You
8. Hallelujah (Jubilee)
9. Sure Thing
10. Lullaby of Birdland
11. I've Got You Under My Skin
12. Wee (Allen's Alley)
13. Hot House
14. Night in Tunisia

Album Description

One of the most memorable live recordings in jazz history, featuring Dizzy Gillespie, Bud Powell, Charles Mingus and Max Roach. This phenomenal edition includes all of the original tracks recorded by The Quintet at Toronto's Massey Hall, without the Mingus, overdubbed bass added later. 24-bit remastered. The Jazz Factory. 2003.

Album Details

Digitally Remastered Edition of Parker's Landmark Performance at Toronto's Massey Hall. Includes Amazing Performances of "Salt Peanuts", "Embraceable You", "Lullabye of Birdland", "Perdido" and Many More.

Customer Reviews:

I don't quite get the reputation of this concert.......2006-12-28

Once again, disappointment strikes with "event" concerts, no matter what genre of music they're in. Previously I had the vinyl version with the overdubbing, and never thought maybe I didn't dig it because of the bass, which always did sound like it was in another room to me. Admittedly this way of hearing it *is* better, but this is still not a "recording to end all recordings" or anything close. I've heard that Bird and Diz, long having gone their separate ways, were barely speaking to each other on this night. It shows. There's little interplay, little of the joy of spontaneous creation so vital to jazz. Instead I hear a group of men who were paid to play this gig and are fulfilling a contract. Also Roach sounds stiff--unusual for him--and bangy in the quintet numbers. The Powell trio pieces fare better, and they are the highlight of the album, but for Parker and Dizzy there are far better recordings out there than this outing, with its long patches where they just quote to fill time or repeat simple phrases over and over. After listening to the recently unearthed Bird and Dizzy material from Town Hall in June of 1945, with a Salt Peanuts that simply has to be heard to be believed, the tiredness of this night becomes all the more apparent. This is one of those albums whose legend, I think, has superceded its musical content, and must be listened to again with cold, objective ears. I'm sure I'll get a lot of dissenting votes from the cultists, but so be it.

Best musicians of an era... performing together!.......2005-12-23

Everybody should thanks Mingus for taping this concert. It was an unique reunion of the greatest musicians of an era: Charlie "Bird" Parker, Dizzy Gillepsie, Bud Powell, Max Roach and Mingus himself. A memorable night in which they show the public(about 700 persons acording to the booklet) the magic of their music and their amazing musicianship.

Ironically, the problems started when Mingus decided to record the live session. He did a terrible job and the resulting mix almost eliminited the sound of his bass. So he dubbed it later, affecting the entire sound and pitch of the music. That's what you got when you purchase "Live at Massey Hall" A live performance must be a live performance. Overdubbing is not an option to me, it's like cheating. "Complete live at Massey Hall" is a gret product because it presents the concert as it was: The tracks appear in the order they were performed with a more natural sound. Beware, the sound quality of the CD is not not the best, but it's enough to identify the instruments and enjoy the wonderful performance of these great musicians.

What I can say about the concert? The tracks appear in the right order. If you listen the concert from the beginning to the end you can feel that the band is increasing their level, reaching the musical climax in "A Night in Tunisia": Incredible Charlie Parker saxo chops, Gillespie groundbreaking trumpet solo, Powell rythm section hot as hell, Mingus bass lines sounding loud and clear and Max Roach's drums section in perfect sinchronicity with the band. It's true that some of the tracks reach that musical peak and that a few of them sound erratic and chaotic, but still it's a great concert. My favorite themes are: Salt peanuts, Wee and Hot House.

Packaging of this edition please me a lot. As a graphic designer I can tell you that I prefer it to the standard version (the B&W cover) The liner notes included in this edition give details about the concert itself, the problems between musicians, and the conditions in which the concert was realized.

"Complete Jazz at Massey Hall" is a pefect oportunity to hear the best musicians of the bebop era performing together in an unforgetable, magic night.

The only hall you'll need.......2005-11-17

The recent hype about the discovery of the Diz-Bird concert at Town Hall in 1945 led me to compare it with their other two "live" recordings: the Carnegie Hall concert of 1947 and the Massey Hall concert of 1953. Give the nod to the Massey Hall date. The audio, though admittedly problematic, still has more "presence" than the other two dates; the solos are both more extended and more inspired; the overall level of musicianship is inarguably of a higher order (Bud Powell clearly blows away both Al Haig and John Lewis, the pianists on the other two recordings).

This edition is the closest you'll get to the original event--in terms of the programming as well as the original audio recording made by Mingus. Unlike the better-known Debut/OJC edition, this Spanish import dispenses with Mingus' later overdubbing of his bass part, has more "presence" in the treble frequencies (Roach's drum kit and the crowd ambiance are more noticeable along with slightly brighter horns), and contains 24 additional minutes of music. Any listener who first discovered Diz in the '60's (my situation) is likely to experience some eye-opening moments at hearing him on all three concert recordings with Bird. In his prime he clearly was at least the equal of Charlie Parker and very likely the greatest jazz trumpet player of all time.

Footnote: It's of particular interest to listen carefully to Bird's 4-bar break on "Night in Tunisia" on all three recordings. The 1947 Carnegie Hall date is simply unreal--a microcosmic moment of pure genius. On the Town Hall date he's fast and flashy but not as linguistically rich and complex; on the Massey Hall date he eschews pyrotechnics in favor of majestic statement.

What was Mingus on?.......2005-10-26

I can hear his bass perfectly well! This is possibly the most famous jazz concert EVER recorded - the Massey Hall concert has over the years gained an almost beatific reputation which sort of spoils you for the real thing.

The performance took place under a cloud, with Bird and Diz still refusing to speak to each other, and various members of the band skipping backstage every now and again to check out a big boxing match on TV!

Nevertheless the concert is a thing of beauty. I love especially Salt Peanuts and All the Things, as well as Dizzy's trumpet soloing on Night in Tunisia.

The old problem with this disc is that of sound. Charlie Mingus put the microphone under the stage, and was typically angry when he listened to the recording and thought his own bass was inaudible. He then ovrdubbed his bass on the released record.

Whatever the truth of that, this CD rereleases the entire concert (minus two permanently lost tracks) in a 24 bit remastered edition without Mingus' overdub. Hearing it, I wonder what Mingus was complaining about. True, the piano tracks are a little muffled, but the horn tracks (seven tracks) are loud and sharp, with tape hiss being perhaps the biggest problem. And yes, I can clearly hear the bass!

Full marks for this historical artefact.

Get This CD Instead of the OJC or Debut (20-bit) Versions.......2004-07-01

Other than excerpts available here on Amazon, I haven't actually heard either the Original Jazz Classics CD of this concert or the Debut 20-bit remastered version of it. Based solely on the description, however, I instead ordered THIS CD, and I am very glad I did. Here's why:

1. In addition to the 6 quintet tracks on the other CD's, THIS CD includes 8 additional tracks from the concert, including a 4-and-a-half-minute self-contained drum solo by Max Roach, and 6 great tracks by a trio of Powell, Mingus, and Roach (Cherokee, Embraceable You, Halleluja, Sure Thing, Lullaby of Birdland, and I've Got You Under My Skin). Also, according to the liner notes, all 14 tracks are in the order in which they were performed at the concert.

2. NONE OF MINGUS' OVERDUBBED BASS is included on THIS CD. You can still hear him, though, but much more naturally than he sounds on the overdubbed Original Jazz Classics excerpts I've heard here on Amazon.

3. According to the notes on this CD's case, the "original analogue masters have been digitally transferred at 24 bit resolution, processed using Sonic Solutions NoNoise technology and mastered to 16 bit for CD using prism SNS Noise Shaping." Whatever that means, the sound for the most part is great. Some of the tracks start a bit abruptly, and the sound on the 6 trio tracks is variable, but the sound quality of the 6 quintet tracks is phenomenal. Again, there is no Mingus overdubbing present, and--especially when Bird and Diz are playing--the sound has great clarity and presence. There is no real audible tape hiss except when only the rhythm section is playing and the levels are raised a bit. In general, the sound is far from perfect, but is pretty amazing given the time and circumstances of the original recording.

4. This CD is very nicely packaged and presented, including a 12-page pamphlet with extensive notes about and photos of the concert.

To sum up, not knowing what to expect from this import when I ordered it, I was very pleasantly surprised by the extremely high quality of both the sound and the packaging. I would highly recommend it, instead of or in addition to the other available CD's, for anyone who wants a more complete and accurate recording of the Massey Hall concert.

Average customer rating: best set out there? Tom Pethic Sounds Great Bravo Mr Kendall Charlie Parker: The Dictionary of Jazz

Charlie Parker: A Studio Chronicle 1940-1948 Charlie Parker Manufacturer: Jsp Records ProductGroup: Music Binding: Audio CD Bebop General | Bebop | Jazz | Styles | Music General | Jazz | Styles | Music Swing General | Swing Jazz | Jazz | Styles | Music Classic Big Band | Swing Jazz | Jazz | Styles | Music Contemporary Big Band | Swing Jazz | Jazz | Styles | Music Traditional Vocal Pop | Broadway & Vocalists | Styles | Music Similar Items: The Complete Verve Master Takes Town Hall, New York City, June 22, 1945 Complete Jazz at Massey Hall Go! The Hot Fives & Sevens ASIN: B0000AJ5SR Release Date: 2003-09-23

Tracks:

1. I Found A New Baby
2. Body And Soul
3. Honeysuckle Rose
4. Lady Be Good
5. Coquette
6. Moten Swing
7. Blues
8. Swingmatism
9. Hootie Blues
10. Dexter Blues
11. Lonely Boy Blues
12. Get Me On Your Mind
13. The Jumpin' Blues
14. Sepian Bounce
15. Cherokee
16. My Heart Tells Me
17. I've Found A New Baby
18. Body And Soul
19. Tiny's Tempo
20. I'll Always Love You Just The Same
21. Romance Without Finance
22. Red Cross
23. What's The Matter Now?
24. I Want Every Bit Of It
25. That's The Blues

Tracks:

1. 4-F Blues
2. G I Blues
3. Dream Of You
4. Seventh Avenue
5. Sorta Kinda
6. Ooh Ooh, My My, Ooh Ooh
7. Groovin' High
8. All The Things You Are
9. Dizzy Atmosphere
10. Salt Peanuts
11. Shaw Nuff
12. Lover Man
13. Hot House
14. Waht More Can A Woman Do?
15. I'd Rather Have A Memory Than A Dream
16. Mean To Me
17. Hallelujah
18. Get Happy
19. Slam Slam Bues
20. Congo Blues
21. Takin' Off
22. If I Had You
23. 20th Century Blues
24. The Street Beat

Tracks:

1. Warmin Up A Riff
2. Billie's Bounce
3. Now's The Time
4. Thriving From A Riff
5. Meandering
6. Ko Ko
7. Dizzy Boogie
8. Flat Foot Floogie
9. Poppity Pop
10. Slim's Jam
11. Diggin' Diz
12. Moose The Mooch
13. Yardbird Suite
14. Ornithology
15. The Famous Alto Break
16. Night In Tunisia
17. Max Is Making Wax
18. Lover Man
19. The Gypsy
20. Bebop
21. Blues 1 7 2
22. Yardbird Suite
23. Lullaby In Rhythm 1&2
24. Home Cooking 1
25. Home Cooking 2
26. Home Cooking 3

Tracks:

1. This Is Always
2. Dark Shadows
3. Bird's Nest
4. Cool Blues
5. Relaxin' At Camarillo
6. Cheers
7. Carvin' The Bird
8. Stupendous
9. Donna Lee
10. Chasin' The Bird
11. Cheryl
12. Buzzy
13. Milestones
14. Little Willie Leaps
15. Half Nelson
16. Sippin' At Bells
17. Dexterity
18. Bongo Bop
19. Dewey Square
20. The Hymn
21. Bird Of Paradise
22. Embraceable You
23. Bird Feathers
24. Klactoveedsedsteene
25. Scrapple From The Apple
26. My Old Flame

Tracks:

1. Out Of Nowhere
2. Don't Blame Me
3. Drifting On A Reed
4. Quasimodo
5. Charlie's Wig
6. Bongo Beep
7. Crazeology
8. How Deep Is The Ocean
9. The Bird
10. Repetition
11. Another Hair-Do
12. Bluebird
13. Klaunstance
14. Bird Gets The Worm
15. Barbados
16. Ah-Leu-Cha
17. Constellation
18. Parker's Mood
19. Perhaps
20. Marmaduke
21. Steeplechase
22. Merry-Go-Round
23. No Noise 1 & 2
24. Mango Mangue

Customer Reviews:

best set out there?.......2007-04-13

JSP is known throughout the music collector world for having the highest in sound quality (for a relatively small label devoted only to reissues, box sets etc). This set includes all of the master takes Bird appeared on on the Savoy, Dial, Guild, Bel-Tone, and Comet labels, during the years 1944-48, plus a disc containing most of his pre-bop recordings, including demos, some of which are very rare (though not very interesting in my opinion). The main stuff, '44-'48, is some of the most important music recorded ever, and consequently it's not hard to come by- what makes this set unique is the combination of price, quality, and completeness. This set can be compared with "The Complete Savoy & Dial Master Takes", which has only 3 discs and costs about $50. Granted, the sound quality on that professional reissue set is noticeably superior, but JSP is nearly there and like I said, better than MOST. You could also compare this set to the similarly-priced Proper box set, "Boss Bird", four discs covering the same ground, with highly inferior sound quality- and it's a little more expensive! For one who's never dug Charlie Parker, I'd get a single disc, like "The Legendary Dial Masters vol. 1" or even a general comp like his volume of the "Ken Burns' Jazz" series. If you find yourself a total Parker freak, the step after that would be "The Complete Savoy and Dial Studio Recordings" which coves the same ground, with highest quality of all, plus every known alternate take, demo, etc- 8 discs, $80, and increasingly harder to come by. OR, if you'd prefer to spend $25 to get pretty much the same thing (minus alt takes and a little sound), this box set will definitely do.

Tom Pethic.......2007-01-31

Bird was the greatest altoist, period. These are some rare sides with Bird with a vocalist...Bird Lives

Sounds Great.......2005-12-02

I own both the Complete Dial and Savoy recordings, and the sound on this set blows both of those away. As another reviewer pointed out, the first disc contains a bit of hiss, but other than that, this is the best sounding CP I have heard.

Combine that with the quality of Bird's playing on these tracks, and you can't beat it. There is such joy, emotion, and straight up fire in his playing it is easy to see how Bird burst on the scene and forever changed jazz (and for that matter American) music.

Bravo Mr Kendall.......2005-11-20

JSP, run by an eccentric British jazz fanatic called Ted Kendall, has a habit of turning out box sets of older jazz recordings that put the big companies to shame.

Having put out the best available set of Hot Fives, Kendall turns his attention to the second most important jazz recordings of all time - the Savoy and Dial sessions of Charlie Parker.

I am totally new to bebop, having cut my teeth on Coltrane and Miles Davis. This box set is like the New Testament of jazz - Charlie Parker and his compatriots had discovered a radically new way of playing jazz, bebop, in a series of low budget recordings that mark the Anno Domini of postwar music.

The centrepiece is the legendary Ko Ko session of November 1945 - with the war over, the ban on recording was lifted, and Parker could reveal his discoveries to the world. Ko Ko itself is possibly one of the three most important jazz cuts of all time (along with West End Blues and Body and Soul) - a dazzling improvisation entirely on chord changes, with no reference to the original melody ("Cherokee", by Paul Whiteman) at all!

JSP has seen fit to include excellent editions of all the Savoy and Dial master takes - that's right, ALL of them (although there has been some discussion over the fact that alternate takes have been substituted in some cases - presumably because Kendall prefers the alternates). The box also constitutes a studio archaeology - because fully two discs of the five contain material from BEFORE the epoch-making Ko Ko session. It includes, too, the notorious "Lover Man" session of 1946, when Parker was strung out, drunk out of his mind, and had to be held up to the mike - a slurred solo of genuine pain, unthinkable from the swing era.

This is the real deal - cheap, well packaged and well transferred - if you are starting out in bebop you cannot do better.

Charlie Parker: The Dictionary of Jazz.......2005-09-11

Charlie Parker was the most influential improvising soloists in jazz, and a central figure in the development of bop in the 1940s. A legendary figure in his own lifetime, he was idolized by those who worked with him, and he inspired a generation of jazz performers and composers.

Parker was born Aug. 20, 1920, in Kansas City, Mo., and came to music while in junior high school. In the late '30s he jobbed around the city, honing his technique and tone. He first recorded with the Jay McShann orchestra in between 1940 and 1942. The early 1940 radio transcriptions and the later commercial sessions for Decca show Parker pushing at the edges of the swing parameters with an explosive gift for unexpected phrasing and twists.

His progress over the next two years was striking but largely undocumented, due to a recording ban imposed by the musicians union. By the time he resumed recording in 1944-'45, his dazzling improvisations at breakneck tempos ("Ko Ko," "Donna Lee," "Shaw Nuff") astonished young jazz players as profoundly as they threatened veteran ones, thus setting the new against the old and triggering the first major internecine musical controversy in jazz history.

But the battle deepened into a cultural as well as a musical war as Parker's penchant for hard drugs and hard living further defined bebop as an outlaw music with an implied lifestyle that many chose to follow.

The definitive recordings of Parker's career were made for Savoy between 1945 and '48 ("Now's the Time," "Thriving Of A Riff," "Billie's Bounce"), and for Dial from 1946-'47 ("Ornithology," "A Night In Tunsia," "Lover Man," "Scrapple From The Apple"). They sold poorly but were as profoundly influential to young post war players as Armstrong's Hot Sevens and early big band sides had been to musicians of the '30s. Even during his most innovating period Parker remained something of a mystery figure to the general public. His picture never even appeared on Down Beat's cover during his lifetime.

The third major chapter of Parker's work began in 1948, when Norman Granz began recording him in different contexts with a view toward taking his music to a wider audience. By now his major innovations were over and his repertoire had narrowed to small number of staples. But an album with string accompaniment produced a mother lode of brilliant new Parker solos that would be his last major work. He died in 1955 at the age of 35 of a combination of drug related medical problems.

In 1955, Parker was elected by the Readers to the Down Beat Hall of Fame, just following his death.

The Studio Chronicle 1940-1948 is a five-disc box set from the British label JSP detailing what producer Ted Kendall considers to be THE essential studio recordings of saxophonist Charlie Parker. Included here are not only the innovative bebop sides that made Parker a living legend, but also the early Kansas City swing recordings he appeared on while playing with the Jay McShann Orchestra. The result is a studio history of Parker's development from a struggling farm kid turned musician to the most important figure in jazz history next to Louis Armstrong. Given that these recordings are widely available, the real attraction here is the faithful-to-the-original remastered sound, the historically enlightening liner notes, and the overarching critical aesthetic that these are the Bird cuts to check out. Also, given that the tracks are presented with few repeats on discs in chronological order makes this better listening than Atlantic's Complete Savoy and Dial Studio Recordings 1944-1948. Oddly though, the only place Kendall delineates what labels these tracks were originally released on - mostly Dial and Savoy - is in the track listing and there only by label numbers. Despite this confusing omission, Kendall has produced a superb collection that illuminates more than it overlooks.

This Truly dictionary of jazz in 5 CD's shows that CHARLIE PARKER'S MUSIC is magical music. It is irresistible music. Listen to it once and you will never stop.
His music sometimes begins to flow into your head, suddenly, during daily life. Once this happens, his music will sound in your head for good.

DRIFTING ON A REED...BIRD GETS THE WORM...LESTER LEAPS IN...

You just can't stop it.

Average customer rating: There are better "starter" collections of Charlier Parker; this is not "the" essential Charlie Parker Essential the deepest pocket tight The One and ONLY

The Essential Charlie Parker Charlie Parker Manufacturer: Polygram Records ProductGroup: Music Binding: Audio CD Bebop General | Bebop | Jazz | Styles | Music General | Jazz | Styles | Music Classic Big Band | Swing Jazz | Jazz | Styles | Music Contemporary Big Band | Swing Jazz | Jazz | Styles | Music Similar Items: The Very Best of John Coltrane Kind of Blue Birth of the Cool A Love Supreme Saxophone Colossus ASIN: B000001E03 Release Date: 1992-11-03

Tracks:

1. Now's The Time
2. If I Should Lose You
3. Mango Mangue
4. Bloomdido
5. Star Eyes
6. Confirmation (Master Take)
7. My Little Suede Shoes
8. Just Friends
9. Lover Man
10. I Got Rhythm
11. Repetition
12. K. C. Blues
13. Relaxing With Lee (Master Take)
14. April In Paris
15. Okiedoke
16. The Song Is You

Customer Reviews:

There are better "starter" collections of Charlier Parker; this is not "the" essential Charlie Parker.......2006-10-15

OK, the music, of course, rates 10 stars, for there is some great music here. But Polygram has labeled this "the" essential Charlie Parker, when it really isn't. This is music from the various record companies that Charlie Parker recorded for in the late 40's and early 50's under the producer Norman Granz, generally known as the Verve group of companies, eventually bought up by Polygram. Since it only contains Verve product it isn't really a representative sample of Charlie Parker's recordings.

A much better value for your money (if you want only one purchase of Charlie Parker material) is the box set by Proper Records called "Boss Bird." It's ASIN number B000069DWX (just paste this ASIN number in the search bar to find it). This is a 4 CD set, and you can usually find great used copies here at Amazon for around 15 dollars.

It contains four full CD's of music from throughout Bird's career: early recordings, the essential recordings for Savoy and Dial with Dizzy Gillespie and Miles Davis that made him famous, and a nice sample of the later Verve years. It's a terrific set, and well worth owning.

If you really want to keep your purchase down to less than 4 CD's, try the one-disc compilation that was part of the "Ken Burns Jazz" series. It's just a single CD, contains the great recordings from throughout Bird's career. Even cheaper is the Charlie Parker CD from the Ken Burns Jazz Collection, which his ASIN number B000050I3S; you can usually buy copies under 5 bucks here at Amazon.

As for this particular CD that I am reviewing here: there is some fine stuff, but they are being too tricky with the title, since it's just a slice of Parker's career. If you do want a "best of" album of the Verve years there is a two-CD sampler floating around Amazon that is a better deal.

Essential.......2005-08-20

As the title says, this is a great selection of the finest Charlie parker themes. A perfect introduction to anyone who wants to dig in Bird's music. Include classics like: Confirmation, KC Blues and Now's the time. The CD cover art is brilliant too, don't you think?

the deepest pocket.......2004-11-23

Many things have been written about Charlie's music, so I only want to make one point: the man's sense of timing was supernatural. There are plenty of very tight jazz musicians out there--tightness is a sine qua non of the genre--but he's so ON, I can imagine my own timing getting better from just listening to him.

tight.......2002-03-02

one of the First Albums by Charlie Parker that I Got&Needless to say I couldn't stop there.but this is a Great place to start just on the fact of Bird's Tone&Range.The Man was such a Musical Force.thinking of all the Great Talent that came from him is Incredible&Yet He had his own Musical Aura.truly One of a Kind.

The One and ONLY.......2002-02-27

Many Jazz saxophone players say they got Bird "figured out". Even 47 years after his death they still try to play like him.

Listening to Bird on this CD you just know that no one can figure Bird out, nobody played like him and nobody will.

The music here is from the late 40's early 50's. Miles Davis is no longer the sideman. The rhythm section is sometimes not quick enough to pick up on Bird's rhythmic changes - for Bird had a sense of rhythm I only heard in Armstrong's early solos.

The genious that overflowed from Bird is evident in his sound, rhythm, melodic invention and harmonic explorations. Listening to Bird has been one of life's pleasures for me, and this CD is no exception.
This is music that should be listened to by all music lovers, regardless of their favorite genre.

Average customer rating: Bebop heaven Tristano & Bird - Tiger Rag!

Complete Recordings of Charlie Parker with Lennie Tristano Charlie Parker , and Lennie Tristano Manufacturer: Definitive ProductGroup: Music Binding: Audio CD Bebop General | Bebop | Jazz | Styles | Music General | Jazz | Styles | Music Classic Big Band | Swing Jazz | Jazz | Styles | Music Contemporary Big Band | Swing Jazz | Jazz | Styles | Music Jazz | Imports | Stores | Music Similar Items: Lennie Tristano: His Life in Music (Jazz Perspectives) Jazz Visions: Lennie Tristano And His Legacy (Popular Music History) (Popular Music History) Complete Onyx Recordings Abstraction and Improvisation Live at the Confucius Restaurant 1955 ASIN: B000EQHINW Release Date: 2006-03-27

Tracks:

1. All of Me - Charlie Parker, Lennie Tristano
2. I Can't Believe That You're in Love with Me - Charlie Parker, Lennie Tristano
3. Ko Ko (Theme)
4. Hot House
5. I Surrender Dear
6. Fine and Dandy
7. Ko Ko (Theme)
8. On the Sunny Side of the Street into 52nd Street Theme
9. How Deep Is the Ocean?
10. Tiger Rag
11. 52nd Street Theme
12. 52nd Street Theme
13. Donna Lee
14. Everything I Have Is Yours
15. Fats Flats/Hot House
16. Tea for Two
17. Don't Blame Me
18. Groovin' High
19. Ko Ko into Anthropology
20. Overtime [Short Take] - The Metronome All-Stars
21. Overtime [Long Take] - The Metronome All-Stars
22. Victory Ball [Short Take 1 -Rare-] - The Metronome All-Stars
23. Victory Ball [Short Take 2] - The Metronome All-Stars
24. Victory Ball [Long Take] - The Metronome All-Stars

Album Description

A fascinating corpus including all their existing collaborations, in duo, combo and big band formats. Most of these recordings are extremely rare and have been long unavailable on CD. Featuring Dizzy Gillespie, Fats Navarro, Ray Brown, Max Roach...Jazz Factory. 2006.

Customer Reviews:

Bebop heaven.......2007-01-09

Yes, the king of hot and the father of cool jamming together. The audio quality is what you would expect for 1947-1951. Tristano is a bit solo shy is seems, but the way he accompanies Parker is nothing short of genius. It is obvious these men had a great respect for each other's different interpretation of swing. Well worth any serious jazz fan's dollar.

Tristano & Bird - Tiger Rag!.......2006-07-31

This album chronicles the sadly few recorded encounters between two titans of 1940s jazz, Charlie Parker and Lennie Tristano. Despite the sometimes-reticence of Tristano to solo in the presence of Bird, much of the album is remarkable for the complete musical sympathy these two great musicians bring out in each other.

The first two tracks on the album are actually the last time Tristano played with Bird, an August 1951 session at Tristano's home. They chronicle the only known recorded performance by Bird of "I Can't Believe That You're in Love With Me," and the only complete performance by him of "All of Me." These tracks were used by Clint Eastwood in his filmed biography of Bird, but in that instance Tristano's chording was replaced by a digitally-applied rhythm section. Much to the disappointment of Tristano fans, Lennie does not solo at all, but merely comps behind Bird, but the chords he feeds him are quite different from those Bird usually had on record. (Of Bird's other pianists, Tristano rightly commented that "Most of the kids who played piano for Bird and played in his style, they always used the same chord progression...The right chord structure is not behind him." Exceptions to this rule, of course, were the great Al Haig (Bird's favorite pianist), Bud Powell and Thelonious Monk, none of whom recorded or played with him often enough. As good as the others were, they simply were not on the same musical wavelength as Bird.

The remainder of the album includes the famous 1949 Metronome All-Star session and three wonderful 1947 radio broadcasts. The Metronome tracks were previously issued on RCA Bluebird's "Complete Dizzy Gillespie" set, but here the sound is warmer, less shrill, the bass full and rich, and there is yet another alternate take of "Victory Ball" not previously issued. The airchecks are in miraculously good condition, and come from a time when the "Boppers" were still at "war" with the Dixieland musicians, known as "Moldy Figs." In each of the first two broadcasts, jazz critic Barry Ulanov represented the Boppers, Rudi Blesh the Moldy Figs. The "Figs" are not represented here but, to be fair to them, their number included two of the very greatest improvisers of the era, trumpeter Wild Bill Davison and clarinetist Edmond Hall, so their music could not have been nearly as anachronistic as the media-created "duel" would lead you to believe.

In the first encounter, the Boppers and Figs each chose their own material. The group of Dizzy, Bird, John LaPorta, Tristano, Billy Bauer, Ray Brown and Max Roach (talk about All-Stars!!) play their hearts out on "Hot House," "I Surrender Dear" and "Fine and Dandy." In the second, the Figs required the Boppers to play old standards, "On the Sunny Side of the Street," "How Deep is the Ocean?," and, wonder of wonders, "Tiger Rag"! You cannot imagine, without hearing it, how this group tears into Nick LaRocca's old chestnut - top speed, engines revved up to full ahead, no holds barred. Both Bird and Tristano contribute their absolute hottest solos in this track. Listeners calling in chose the Boppers as winners of this contest - small wonder. I doubt there has ever been a "Tiger Rag" like this in the entire history of recording.

As part of their "celebration," the Boppers were brought back on November 8 for a concert all by themselves, but the results are not quite as synergistic. Dizzy, Brown and Roach were unavailable; their replacements, Fats Navarro, Tommy Potter and Buddy Rich, play their hearts out, and Allen Eager is added on tenor sax for the occasion (as is Sarah Vaughan, who gets to sing one number, "Everything I Have is Yours"), but in this case the musicians are given solo spotlights rather than ensemble improvisations. Still, it IS Lennie with Bird, and Navarro is his usual brilliant self.

Highly recommended to all lovers of great jazz.

Average customer rating: A must have for jazz lovers! Charlie Parker with Strings: The Master Takes Good Idea- bad execution "Some of my best friends prefer Classical to Jazz",but.. Massive extension to Bird's repertoire

Charlie Parker with Strings: The Master Takes Charlie Parker with Strings Manufacturer: Polygram Records ProductGroup: Music Binding: Audio CD Bebop General | Bebop | Jazz | Styles | Music General | Jazz | Styles | Music Classic Big Band | Swing Jazz | Jazz | Styles | Music Contemporary Big Band | Swing Jazz | Jazz | Styles | Music Orchestral Jazz | Jazz | Styles | Music Similar Items: The Cole Porter Songbook Clifford Brown With Strings Charlie Parker: A Studio Chronicle 1940-1948 The Essential Charlie Parker Birth of the Cool ASIN: B0000046WK Release Date: 1995-01-24

Tracks:

1. Just Friends
2. Everything Happens To Me
3. April In Paris
4. Summertime
5. I Didn't Know What Time It Was
6. If I Should Lose You
7. Dancing In The Dark
8. Out Of Nowhere
9. Laura
10. East Of The Sun (And West Of The Moon)
11. They Can't Take That Away From Me
12. Easy To Love
13. I'm In The Mood For Love
14. I'll Remember April
15. What Is This Thing Called Love?
16. April In Paris
17. Repetition
18. Easy To Love
19. Rocker
20. Temptation
21. Lover
22. Autumn In New York
23. Stella By Starlight
24. Repetition

Amazon.com essential recording

Charlie Parker welcomed the opportunity to record standards with a small string ensemble in 1949, and the results are stunning, his liquid alto soaring over the tuneful and only occasionally stiff arrangements. Along the way, he invests tunes like "I Didn't Know What Time It Was" and "Laura" with a unique blend of bluesy realism and mercurial improvisation. The CD adds live versions from a Carnegie Hall concert, and there are also two brilliant versions of Neal Hefti's "Repetition." The 1947 version has Bird flying spontaneously over the dense orchestration of horns, strings, and Latin percussion. --Stuart Broomer

Customer Reviews:

A must have for jazz lovers!.......2007-02-21

I understand that Parker was criticized for doing this record, but I think it is wonderful... first heard it on WBGO 88.3 FM in Newark NJ (also on the internet). Support jazz and jazz radio!

Charlie Parker with Strings: The Master Takes.......2007-01-09

Absolutely mesmerizing! It's a wonderful marriage of classical music and jazz. It's Parker at his peak!

Good Idea- bad execution.......2006-06-14

I had been wanting this collection for quite awhile, thought a strings backing would be interesting, a nice juxtaposition...This recording is barely listenable...the string arrangements are pretentious, overwrought, and what one would imagine hearing in a 1940's/50's hollywood melodrama fraught with a bad script and acting.....It coulda worked if the string arrangements had been subtle, straight background for some decent pop tunes...this is really bad. Because Bird's playing is great, someone ought to rerecord the background...

"Some of my best friends prefer Classical to Jazz",but.........2005-11-30

I like Classical music,but I prefer Jazz.And whenever I want to
"rub it in" to my "Classical friends", I suggest they check out this album.Bird sounds incredible;the Classical musicians sound
old.

Massive extension to Bird's repertoire.......2005-10-20

This album is very important in that it shows Bird's ability to lead a large ensemble, albeit an ensemble playing relatively standard arrangements, and it demonstrates Bird's unparalleled ability with improvisation, unmatched to this day. Since this orchestra was not really pushing Bird to further heights via reharmonizations, comping chords or frantic solos, Bird had to create his improvisations all on his own, without a Dizzy or Bud Powell to play off of. And this he does with alarming precision, as the first bars of 'Just Friends' will attest to- he probably suggests 7 or 8 chord changes within 10 seconds and over essentially a 3 chord opening sequence.

Bird himself was overjoyed to work with a string ensemble, as he felt that it would lend credibility to his status as a serious musician, even though by the time this was recorded he has already produced works that would put him easily in the top 5 of 20th century musicians along with Stravinsky and Louis Armstrong. As amazing as Bird was, it's important to note that he really only worked within two song forms, blues and popular song standards like 'Cherokee' and 'How High the Moon', which he put his own indelible stamp upon. It is for this reason that I find this album so important beyond just enjoying the music, as it demonstrates a massive extension to Bird's repertoire, which before this was limited primarily to smaller groups, not including his sideman work with Jay McShann and Billy Eckstein. Had he lived longer, he would have undoubtedly ventured into modern classical music, as he was hoping to collaborate with Edgar Varese through formal instruction.

I think I was most surprised upon hearing this album for the first time that it was considered a sell-out commercial farce upon its release. Yeah- you could really see today's commercial music populous being interested in this album. This is complex, harrowing music and is romantic as all hell. Anyone could appreciate this if given the chance.

Average customer rating: Charlie Parker's #1 Record in his short 35 year legacy!

20th Century Masters - The Millennium Collection: The Best of Charlie Parker Charlie Parker Manufacturer: Verve ProductGroup: Music Binding: Audio CD Bebop General | Bebop | Jazz | Styles | Music General | Jazz | Styles | Music Classic Big Band | Swing Jazz | Jazz | Styles | Music Contemporary Big Band | Swing Jazz | Jazz | Styles | Music CDs $7 - $10 | Jazz General | Jazz | Today's Deals in Music | Formats | Music CDs $7 - $10 | Bebop | Jazz | Today's Deals in Music | Formats | Music All Bargain Titles | Bebop | Jazz | Today's Deals in Music | Formats | Music Verve | Verve Music Group | Specialty Stores | Music 4-for-3 Jazz | 4-for-3 Music | Stores | Music 4-for-3 Pop | 4-for-3 Music | Stores | Music 4-for-3 All Music | 4-for-3 Music | Stores | Music Similar Items: Kind of Blue The Essential Charlie Parker The Very Best of John Coltrane Charlie Parker: A Studio Chronicle 1940-1948 Thelonious Monk with John Coltrane ASIN: B0002M5T5M Release Date: 2004-08-24

Tracks:

1. The Bird
2. Repetition
3. Just Friends
4. Bloomdido
5. K.C. Blues
6. Star Eyes
7. She Rote
8. My Little Suede Shoes
9. Loverman
10. Autumn In New York
11. Now's The Time
12. Confirmation

Customer Reviews:

Charlie Parker's #1 Record in his short 35 year legacy! .......2006-02-12

Charlie Parker will always be the greatest saxaphone player who ever lived. This CD is a fine example of why he is regarded as the best(and always will be). This the REAL DEAL people, the REAL DEAL. In 2004, Charlie Parker became one of the many stars to get a compilation in the 20th Century Masters The Millenium Collection CDs. Read on for further details.

The Millenium Collections (except for Johnny Cash and George Jones volume 1) are always great. They remaster the tracks 24.bit so the sound is awesome. Charlie Parker's compilation is cool, just like he was.

In this CD, you get several tracks you can't find easily. Among them are Autumn In New York and the underrated gem Just Friends. Both of which (in my view) are true hits. It's a shame they haven't included these 2 tracks of The Bird on other Best-ofs.

Charlie Parker has recorded on several record labels such as Dial, His Masters Voice, Savoy and more. In 1959, 4 years after his death, Verve remastered them and started releasing Charlie Parker vinyls on the Verve label. This CD is a fine example only it sounds a heck of a lot better! And when you're looking for the best-sounding Charlie Parker CD out there, this CD takes the cake. You can tell just by listening to Amazon.com Music Samplers.

Overall this CD is highly reccommended! If you liked this one, here are some others you may like:

The Complete Charlie Parker: 1950
The Essential Charlie Parker
Charlie Parker Ken Burns JAZZ Collection

All of those are classic Parker CDs. But in terms of sound and finding the CD that will appeal to the casual and hard core fans alike, this one is the one to pick.

Highlights for me: 'K.C. Blues' and 'Just Friends'. BEST CHARLIE PARKER CD OUT IN THE MARKET!

Charlie Parker (August 29, 1920-March 12, 1955). Enjoy!!!

Average customer rating: Great Box! Excellent overview of Charlie Parker's career A Proper introduction to Bird Comprehensive and Interesting This is the one ...

Boss Bird Charlie Parker Manufacturer: Proper UK Boxed Sets ProductGroup: Music Binding: Audio CD Bebop General | Bebop | Jazz | Styles | Music General | Jazz | Styles | Music Bargain Box Sets | Jazz General | Jazz | Today's Deals in Music | Formats | Music All Bargain Titles | Jazz General | Jazz | Today's Deals in Music | Formats | Music General | Jazz | Indie Music | Stores | Music Bebop | Jazz | Indie Music | Stores | Music Jazz | Imports | Stores | Music Similar Items: The Lester Young Story The Bebop Years Giant Steps The Very Best of John Coltrane Somethin' Else ASIN: B000069DWX Release Date: 2002-07-15

Tracks:

1. Tiny's Tempo
2. I'll Always Love You Just The Same
3. Romance Without Finance
4. Red Cross
5. Billie's Bounce
6. Warming Up A Riff
7. Now's The Time
8. Thriving On A Riff
9. Ko-Ko
10. Moose The Mooche
11. Yardbird Suite
12. Ornithology
13. A Night In Tunisia
14. Max Is Making Wax
15. Loverman
16. The Gypsy
17. Bebop
18. This Is Always
19. Dark Shadows
20. Bird's Nest
21. Hot Blues
22. Cool Blues
23. Relaxin' At Camarillo
24. Cheers
25. Carvin' The Bird
26. Stupendous

Tracks:

1. Donna Lee
2. Chasin' The Bird
3. Cheryl
4. Buzzy
5. Dexterity
6. Bongo Bop
7. Dewey Square
8. The Hymn
9. Bird Of Paradise
10. Embraceable You
11. Bird Of Paradise
12. Klactoveesedstene
13. Scrapple From The Apple
14. My Old Flame
15. Out Of Nowhere
16. Don't Blame Me
17. Drifting On A Reed
18. Quasimodo
19. Charlie's Wig
20. Bongo Beep
21. Crazeology
22. How Deep Is The Ocean
23. Another Hair-Do
24. Bluebird
25. Klaunstance
26. Bird Gets The Worm

Tracks:

1. Barbados
2. Ah-Leu-Cha
3. Constellation
4. Parker's Mood
5. Perhaps
6. Marmaduke
7. Steeplechase
8. Merry-Go-Round
9. The Bird
10. Repetition
11. No Noise, Pts 1 & 2
12. Mango Mangue
13. Okiedoke
14. Cardboard
15. Visa 2:58
16. Segment
17. Passport
18. Passport
19. Just Friends
20. Everything Happens To Me
21. April In Paris
22. Summertime
23. I Didn't Know What Time It Was
24. If I Should Lose You
25. Star Eyes

Tracks:

1. Blues (Fast)
2. I'm In The Mood For Love
3. Dancing In The Dark
4. Out Of Nowhere
5. Laura
6. East Of The Sun
7. They Can't Take That Away From Me
8. Easy To Love
9. I'm In The Mood For Love
10. I'll Remember April
11. Au Privave
12. She Rote
13. K.C. Blues
14. Star Eyes
15. My Little Suede Shoes
16. Un Poquito De Tu Amor
17. Tico Tico
18. Fiesta
19. Why Do I Love You?
20. Blues For Alice
21. Si Si
22. Swedish Schnapps
23. Back Home Blues
24. Loverman

Album Description

Most of Charlie Parker's studio recordings from 1944-1951 for the Savoy, Dial and Verve labels are featured in this 4 CD box. Just some of the cast includes Erroll Garner, Barney Kessel, Miles Davis, Max Roach, and Hank Jones. 101 tracks. 4 standard jewel cases in a hardcover slipcase. 2002.

Album Details

Four CD Box Set featuring Most of Charlie Parker's Studio Recordings from 1944-51 for the Savoy, Dial and Verve Labels, Making this One of the Most Comprehensive Collections of his Work Ever Assembled.

Customer Reviews:

Great Box!.......2007-02-21

Proper Records has drawn together an impressive array of tracks from most of Parker's studio recordings from 1944 to 1951, when Bird was working for the Savoy, Dial and Verve labels. This set contains a 48 page illustrated booklet with information on the present recordings, as well as generous biographical material. Each disc comes packaged in an individual cardboard sleeve, nestled in the box with the booklet. The sound quality is sufficient while the material is extensive, making this a great boxed set at a great price.

DISC ONE

TRACKS 1 to 4: "The Grimes Quintette" recorded on September 15, 1944 with the following personnel: Charlie Parker (alto saxophone), Clyde Hart (piano), Tiny Grimes (guitar, vocals), Jimmy Butts (bass, vocals), and Harold "Doc" West (drums).
TRACKS 5 to 9: "Charlie Parker's Reboppers" recorded on November 26, 1945 with the following personnel: Charlie Parker (alto sax), Miles Davis (trumpet), Dizzy Gillespie (trumpet, piano), Argonne Thornton (piano), Curley Russell (bass) and Max Roach (drums).
TRACKS 10 to 13: "Charlie Parker Septet" recorded on March 28, 1946 with the following personnel: Charlie Parker (alto sax), Miles Davis (trumpet), Lucky Thompson (tenor sax), Dodo Marmarosa (piano), Arvin Garrison (guitar), Vic McMillan (bass) and Roy Porter (drums).
TRACKS 14 to 17: "Charlie Parker Quartet" recorded on July 29, 1946 date with the following personnel: Charlie Parker (alto sax), Howard McGhee (trumpet), Jimmy Bunn (piano), Bob Kesterton (bass) and Roy Porter (drums).
TRACKS 18 to 22: "Charlie Parker Quartet" recorded on February 19, 1947 with the following personnel: Charlie Parker (alto sax), Erroll Garner (piano), Red Callender (bass), Harold "Doc" West (drums), Earl Coleman (vocals).
TRACKS 23 to 26: "Charlie Parker's New Stars" recorded on February 26, 1947 with the following personnel: Charlie Parker (alto sax), Howard McGhee (trumpet), Wardell Gray (tenor sax), Dodo Marmarosa (piano), Barney Kessel (guitar), Red Callender (bass) and Don Lamond (drums).

DISC TWO

TRACKS 1 to 4: "Charlie Parker's All Stars" recorded on May 8, 1947 with the following personnel: Charlie Parker (alto sax), Miles Davis (trumpet), Bud Powell (piano), Tommy Potter (bass) and Max Roach (drums).
TRACKS 5 to 10: "Charlie Parker Quintet" recorded on October 28, 1947 with the following personnel: Charlie Parker (alto sax), Duke Jordan (piano), Tommy Potter (bass) and Max Roach (drums).
TRACKS 11 to 16: "Charlie Parker Quintet" recorded on November 4, 1947 with the following personnel: Charlie Parker (alto sax), Miles Davis (trumpet), Duke Jordan (piano), Tommy Potter (bass) and Max Roach (drums).
TRACKS 17 to 22: "Charlie Parker Sextet" recorded on December 17, 1947 with the following personnel: Charlie Parker (alto sax), Jay Jay Johnson (trombone), Miles Davis (trumpet), Duke Jordan (piano), Tommy Potter (bass) and Max Roach (drums).
TRACKS 23 to 26: "Charlie Parker's All Stars" recorded on December 21, 1947 with the following personnel: Charlie Parker (alto sax), Miles Davis (trumpet), Duke Jordan (piano), Tommy Potter (bass) and Max Roach (drums).

DISC THREE

TRACKS 1 to 3: "Charlie Parker's All Stars" recorded on September 18, 1948 with the following personnel: Charlie Parker (alto sax), Miles Davis (trumpet), John Lewis (piano), Curley Russell (bass) and Max Roach (drums). TRACK 4: Miles Davis sits out for this one, same session.
TRACKS 5 to 8: "Charlie Parker's All Stars" recorded on September 24, 1948 with the following personnel: Charlie Parker (alto sax), Miles Davis (trumpet), John Lewis (piano), Curley Russell (bass) and Max Roach (drums).
TRACK 9: "Charlie Parker Quartet" recorded on December 1 and 2, 1948 with the following personnel: Charlie Parker (alto sax), Hank Jones (piano), Ray Brown (bass) and Shelly Manne (drums).
TRACK 10: "Charlie Parker with Neal Hefti Orchestra" recorded on December 1 and 2, 1948 with the following musicians: Charlie Parker - Murray Williams - Sonny Salad (alto sax), Al Porcino - Doug Mettome - Ray Wetzel (trumpets), Bill Harris (trombone), Bart Varsalona (bass trombone), Vinnie Jacobs (French horn), John La Porta (clarinet), Pete Mondello - Flip Phillips (tenor sax), Manny Albam (baritone sax), Gene Orloff (concert master), Sam Caplan - Manny Fidler - Sid Harris - Harry Katzman - Zelly Smirnoff (violin), Nat Nathanson - Fred Ruzilla (viola), Joe Benaventi (cello), Tony Aless (piano), Curley Russell (bass), Shelly Manne (drums), Diego Iborra (percussion) and Neal Hefti (arranger and conductor).
TRACKS 11 to 14: "Charlie Parker with Machito and His Orchestra" recorded on December 20, 1948 with the following personnel: "Charlie Parker (alto sax), Mario Bauza - Paquito Cavilla - Bob Woodlen (trumpets), Gene Johnson - Freddie Skerritt (alto sax), Jose Madera - Flip Phillips (tenor sax), Leslie Johnakins (baritone sax), Rene Hernandez (piano), Roberto Rodriguez (bass), Jose Manguel (bongos), Luis Miranda (conga), Umbaldo Nieto (timbales), and Machito (maracas).
TRACKS 15 and 19: "Charlie Parker and His Orchestra" recorded in March of 1949 with the following personnel: Charlie Parker (alto sax), Renny Dorham (trumpet), Tommy Turk (trombone), Al Haig (piano), Tommy Potter (bass), Max Roach (drums) and Carlos Vidal (conga).
TRACKS 20 to 25: "Charlie Parker with Strings" recorded November 30, 1949 with the following personnel: Charlie Parker (alto sax), Mitch Miller (oboe, maybe English horn), Bronislaw Gimpel - Max Hollander - Milt Lomask (violin), Frank Brieff (viola), Frank Miller (cello), Myor Rosen (harp), Stan Freeman (piano), Ray Brown (bass), Buddy Rich (drums) and Jimmy Carroll (arranger and conductor).
TRACK 26: "Charlie Parker Quartet" recorded in March or April of 1950 with the following personnel: Charlie Parker (alto sax), Hank Jones (piano), Ray Brown (bass) and Buddy Rich (drums).

DISC FOUR

TRACKS 1 and 2 are the same as the ending personnel on DISC THREE.
TRACKS 2 to 10: "Charlie Parker with Strings" recorded in the summer of 1950 with the following personnel: Charlie Parker (alto sax), Joseph Singer ( French horn), Eddie Brown (oboe), Sam Caplan (violin, concert master), Howard Kay - Harry Melnikoff - Sam Rand - Zelly Smirnoff (violin), Isadore Zir (viola), Maurice Brown (cello), Verley Mills (harp), Bernie Leighton (piano), Ray Brown (bass), Buddy Rich (drums) and Joe Lipman (arranger and conductor).
TRACKS 11 to 14: "Charlie Parker and His Orchestra" recorded on January 17, 1951 with the following personnel: Charlie Parker (alto sax), Miles Davis (trumpet), Walter Bishop (piano), Teddy Kotick (bass) and Max Roach (drums).
TRACKS 15 to 19: "Charlie Parker's Jazzers" recorded on March 12, 1951 with the following personnel: Charlie Parker (alto sax), Walter Bishop (piano), Teddy Kotick (bass), Roy Haynes (drums), Luis Miranda (conga) and Jose Manguel (bongo).
TRACKS 20 to 24: "Charlie Parker Quintet" recorded on August 8, 1951 with the following personnel: Charlie Parker (alto sax), Red Rodney (trumpet), John Lewis (piano), Ray Brown (bass) and Kenny Clarke (drums).

Excellent overview of Charlie Parker's career.......2006-10-23

This is the probably the best value available right now for those seeking a single, affordable overview of Bird's entire career. This includes the highlights of his Savoy, Dial and Verve studio recordings, and the sound and presentation is first-rate.

There are a lot of great packages of Bird's work on the market right now, and so you can choose a lot of different ways to put together a Bird collection. But if you want a single, broad overview at a very reasonable price, this is highly recommended.

A Proper introduction to Bird.......2006-03-16

One of the nice things about these Proper sets is that they can get you into music you might otherwise pass up. I had always been left a little cold by Bird. I kept reading "genius", and none of the recordings I heard spoke to me in that way. I think the problem for me was, Bird was so influential that virtually everyone who followed tried to play like him. This had the retroactive effect of making Bird sound like everyone else. But with these four CD's, you eventually stop listening for the genius, and start listening to Bird. Then, the real Charlie Parker emerges. This is an essential collection, and as with most of the Proper boxes, the sound is very good and the price is right.

Comprehensive and Interesting.......2005-04-11

As the above reviewers have pointed out, this is a great addition to your collection: low price, good quality reproduction, good selection. On playing them chronologically, one sees the growing sophistication of Bird's phrasing and the increasing repetition. The earliest cut comes from 1944 and as with most of the tunes, it's a 12 bar blues. Here, Bird is aggressive, fresh and incredibly swinging. It is interesting to contrast the '44 bird with that of the Jay McShan days where his phrasing was simpler but no less swinging. Then come the Miles Davis quintet sides: still fresh, inventive and swinging. However, one can start to notice the reacurence of pet phrases. To me, the Davis solos are just as interesting and less repetitive. The repetition is most evident on those tunes that are based on the 12 bar blues. Bird's solos almost become a "draw it by the numbers" construct, especially as the end of the decade nears. For each four bar portion of the blues there are a collection of stock phrases to choose from and the listener can almost anticipate them. It must have been horrible to be so talented, so brilliant, so accomplished technically, so complete stylistically and to basically run out of interesting things to do (other than drugs).

This is the one ..........2002-08-22

This has almost all of Bird's studio work on four CDs without any hard-to-hear live recordings or annoying partial takes. With masters from Savoy, Dial and Verve, it covers more ground than either the Rino collection or the Savoy and Dial box, which has 8 discs and costs five times as much. It doesn't have every tune you can imagine, for instance with 101 tracks there wasn't room for one version of Confirmation. And there are times when it would be nice to listen to Bird puzzle his way through all the takes of Parker's Mood. But this box gives you four great CDs that each play over 70 minutes and showcase a stage in the career of the greatest improvisor in modern jazz. Even if you own the other collections, this one is worth buying. This is the Parker set I will listen too again and again, and I'm so happy it has finally been put together in this form. The book is weak -- full of trivia and short in insight -- but at this price I won't complain (any further.)

Average customer rating: but the sound! Excellent single-disc collection Fly with The Bird! good godfrey, clean this up! great music, horrible sound

Ken Burns JAZZ Collection: Charlie Parker Charlie Parker Manufacturer: Polygram Records ProductGroup: Music Binding: Audio CD Bebop General | Bebop | Jazz | Styles | Music General | Jazz | Styles | Music Classic Big Band | Swing Jazz | Jazz | Styles | Music Contemporary Big Band | Swing Jazz | Jazz | Styles | Music Similar Items: Ken Burns JAZZ Collection: Dizzy Gillespie Ken Burns JAZZ Collection: John Coltrane Ken Burns JAZZ Collection: Thelonious Monk Ken Burns JAZZ Collection: Count Basie Ken Burns JAZZ Collection: Duke Ellington ASIN: B000050I3S Release Date: 2000-11-07

Tracks:

1. Sepian Bounce (with Jay McShann & His Orchestra)
2. Salt Peanuts
3. Hot House
4. KoKo
5. Anthropology
6. Now's The Time
7. Ornithology
8. Yardbird Suite
9. Lover Man
10. Relaxin' At Camarillo
11. Embraceable You
12. Scrapple Form The Apple
13. Parker's Mood
14. Just Friends
15. Star Eyes
16. Confirmation

Amazon.com

Charlie Parker is one of the legendary figures of jazz, a musician whose troubled life and creative genius have inspired works like Clint Eastwood's film Bird. As this collection demonstrates, though, the legend could never be larger than the art. Parker was simply one of the two or three greatest improvisers ever to play jazz. He created solos of unmatched harmonic and rhythmic subtlety at tempos few musicians could even negotiate. This selection provides a unique single-CD introduction to Parker's work, touching on his earliest recordings with the blues-based Kansas City band of Jay McShann and the early collaborations with Dizzy Gillespie that marked the dawn of bop. The period of Parker's greatest creativity was brief, and it spanned several record companies--Savoy, Dial, and Verve--all of them represented here. Among the masterpieces are the slow blues of "Parker's Mood" and the stunning "Just Friends," with Parker's liquid alto cascading brilliantly over a small string section. --Stuart Broomer

Customer Reviews:

but the sound!.......2007-06-16

Wonderful selection of tracks, but the reviewers who commented on the sound quality are correct, it's unbearable. LOUD hissing. I have 35 year old Parker LPs that sound better. I was swayed to buy it by the many positive reviews. I was wrong, the sound guys were right.

Excellent single-disc collection.......2006-10-22

It would be a shame to go through life with only one CD of Charlie Parker music, but an even greater shame to own none. So if you're standing on the brink of deciding whether to buy this, get it! As of this writing it appears to be the single best and broadest overview of Parker's work available on a single disc. (Though if you want to spend a bit more, get the 4-disc set "Boss Bird" on Proper Records, here at Amazon).

This disc is a fine overview of Bird's career, going all the way back to his days with the Jay McShann in Kansas City and extending into the end of his career in the early 50's. It also contains one of the single most moving and poignant recordings in the history of jazz, "Lover Man," recorded in LA when he was so strung out on booze and drugs he coud hardly move, much less play.

There are some complaints here about sound quality; from what I can tell this CD is up to the standards of 40's and 50's jazz recordings -- this is what you get. If they apply more sound reduction, you end up losing the music.

Again, a great place to start.

Fly with The Bird!.......2005-08-23

Here's a good introduction to the music of the amazing Charlie Parker. It begins with a recording Parker made as a member of Jay McShann's orchestra then continues through his all-too-brief career with some essential recordings he made for Savoy, Dial and various labels produced by Norman Granz (which were later reissued on the Verve label).
No individual CD can contain all of Parker's most important recordings but this one scans The Bird's years as a recording artist better than any other single-CD collection.
If you're looking for one CD that will introduce you to the artistry of a true American musical genius, this is the one to get.

good godfrey, clean this up!.......2004-12-29

I don't know much about how they remaster and transfer music to CD's, but it sounds as if the originals were used to sweep up the studio floor and then transferred to CD. Horrible, horrible quality made me eject this CD four songs in, I just can't listen to it, so now it sits on my shelf collecting dust. It's a great collection from a true genious, but Ken Burns should be ashamed to put his name on this disc sounding the way it does. I've heard hisses and pops, but my old records sound way better than this :-(

great music, horrible sound.......2003-01-26

Ken Burns and company have assembled some classic Parker takes, but the sound quality is dismal. Yes, we know these recordings were made before the advent of tape, etc.--I don't think most people interested in Parker recordings are looking for pristine studio sound, but this is a disgrace. I have many C.P. recordings, including lots of old Verve and Savoy issues on LP--none of them sound as bad as this CD. Not just surface noise, but actual musical distortion that could have been mitigated with today's technology. I was suckered into this one by the Burns affiliation, since I had enjoyed the TV jazz series. Not a fraction of the care put into that effort was expended on the CD. There is so much Parker out there today put out with more care; I would look to the Dial and Savoy sessions, for example.

Average customer rating: Diz 'n Bird dazzle One of The Best Live Jazz Albums 2 Concerts For The Price Of One...But Not Complete Blistering, Inspiring, Untouchable: Best Bird/Diz Concert This is it!

Diz 'N Bird at Carnegie Hall Charlie Parker & Dizzy Gillespie Manufacturer: Blue Note Records ProductGroup: Music Binding: Audio CD Bebop General | Bebop | Jazz | Styles | Music General | Jazz | Styles | Music Bebop | Live Albums | Jazz | Styles | Music General | Live Albums | Jazz | Styles | Music Blue Note Records | Amazon.com Label Stores | Stores | Music General | Jazz | Indie Music | Stores | Music Bebop | Jazz | Indie Music | Stores | Music Similar Items: Town Hall, New York City, June 22, 1945 Thelonious Monk Quartet with John Coltrane at Carnegie Hall Complete Jazz at Massey Hall Jazz at Massey Hall Charlie Parker: A Studio Chronicle 1940-1948 ASIN: B000005H9I Release Date: 1997-06-17

Tracks:

1. A Night In Tunisia
2. Dizzy Atmosphere
3. Groovin' High
4. Confirmation
5. Koko
6. Cool Breeze
7. Relaxin' At Camarillo
8. One Bass Hit
9. Nearness
10. Salt Peanuts
11. Cubano-Be Cubano-Bop
12. Hot House
13. Toccata For Trumpet
14. Opp-Pop-A-Da
15. Things To Come

Album Description

This historic September 29, 1947, concert reunited Dizzy Gillespie and Charlie Parker for five stunning performances and captures 11 selections by Dizzy's big band at the peak of its powers. Released in scattered form over the years, the complete releasable material from this important concert is brought together on CD for the first time with the best possible sound.

Customer Reviews:

Diz 'n Bird dazzle.......2007-03-25

I purchased this CD to play as part of a Black History unit on musical styles through the ages. This CD fit in perfectly and was enjoyed by my students. Any time I can introduce something from the past into a lesson so the students can see how it links to the present I am happy. This definitely happened here.

One of The Best Live Jazz Albums.......2006-07-24

I would rate this as one of the top 5 live jazz albums of all time. Bird and Diz are only together for the first five tunes, but don't let that deter you. They really tear it up on every song and Bird's amazing solo on "Confirmation" is probably the highlight. The remainder of the tracks is Dizzy Gillespie with his big band and while those songs aren't as exciting as the ones he does with Charlie Parker, they are still excellent. So if you're a jazz fan and you don't own this, get it. It belongs in every jazz fan's collection.

2 Concerts For The Price Of One...But Not Complete .......2005-12-23

The CD is somewhat misstated to gain notoriety but who cares with great music..The 1st 5 tracks are the reunion of Diz n Bird at Carnegie Hall (1947)and the remainder the big band set..The liner notes clearly mentions that Ella Fitzgerald was singing on 6 selections omitted here as well as other selections either unrecorded properly or intentionally omitted.

Blistering, Inspiring, Untouchable: Best Bird/Diz Concert.......2005-11-02

Don't let the recent discovery and hype surrounding the 1945 Gillespie-Parker Town Hall concert discourage you from picking up the 1947 Carnegie Hall concert. The audio quality isn't markedly inferior to either the Town Hall or Massey Hall dates, and the playing by Bird and Diz is not only worlds apart from the 1945 encounter but in some instances is superior to the later, Massey Hall performance.

Listen carefully to Bird's four-bar break on "Night in Tunisia," which Martin Williams analyzed in "The Jazz Tradition." Bird alters the meter and tempo ever so slightly, an aerialist who communicates the sense of being suspended in time and space, yet suddenly becoming reanimated just in time for the first beat of the chorus. It's very likely the most melodically-rhythmically complex four bars of improvised music every recorded, deserving a place right alongside Louis Armstrong's famous cadenza at the start of "West End Blues." You won't hear anything near this level of complexity on the Town Hall session, recorded two years earlier, let alone on any non-Parker performance. (Side-by-side comparisons of Bird's break with that of numerous other "name" saxophone players at the same juncture on the same tune inevitably is a disservice to the "pretenders." Listen, for example, to Lou Donaldson with Clifford Brown on "Art Blakey at Birdland, Vol. 1." Embarrassingly awful jive--merely meaningless motion.)

The remainder of the recording gives ample evidence of the heat and mastery of Bird as well as Diz (their unison ensembles defy credibility even today). And even though Bird gets more playing time in the small-group setting, there's enough heard from Diz to bolster the case of any listener who wishes to maintain that he was superior to Parker as an improviser (an argument I still have with some musicians).

Ignore the reviews that complain about the sound quality or the limited number of tunes featuring Bird. This contains some of the most exciting and significant Bird and Diz on record--if your ears are up to the challenge.

This is it!.......2005-08-21

I think that the quintet tracks on this album, which over the years have been released in a variety of forms and coupled with a variety of other material, are among the greatest jazz performances of all time. In particular, the playing and improvising in Night in Tunisia is at the highest level and, I would argue, Parker's entrance in Groovin' High is the greatest two bars of jazz in existence. I don't think it much matters what else is on the CD.

Jazz Music:

1. Christmas Record
2. Classic Pianos
3. Come Touch the Sun
4. Concert in Argentina [Live]
5. Concorde
6. Dakota: Now That I Found You!
7. Dorothy Romps: A Piano Retrospective (1953-1979)
8. Emil Richards with the Jazz Knights
9. Every Little Moment
10. G Force

Jazz Music

jazz music