Charlie Parker - Charlie Parker - A Selection '2022

Artist	Charlie Parker Related artists
Album name	Charlie Parker - A Selection
Country
Date	2022
Genre	Jazz
Play time	2:49:28
Format / Bitrate	FLAC Stereo 1081 Kbps / 44.1 kHz MP3 320 Kbps
Media	CD
Size	607.42 Mb
Price	$4.95

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Play List

					Quality CD 16-bit \| 44,1 kHz CD 16-bit \| 44,1 kHz
					Quality CD 16-bit \| 44,1 kHz CD 16-bit \| 44,1 kHz
	1. Tracklist:
	2. 01. Visa
	3. 02. Almost Like Being In Love
	4. 03. Passport
	5. 04. Tico Tico
	6. Master Take)
	7. 06. What Is This Thing Called Love?
	8. Alternaet Take)
	9. 08. Summertime
	10. 09. April In Paris
	11. 10. I'm In The Mood For Love
	12. 11. I Can't Get Started
	13. 12. Repetition
	14. 13. Visa
	15. 14. The Bird
	16. 15. Segment - Tune X
	17. Master)
	18. Master Take)
	19. 18. Ballade
	20. 19. Blues For Alice
	21. 20. Stella By Starlight
	22. 1946)
	23. 22. Blues
	24. 23. Laird Baird
	25. Master Take)
	26. 25. Tico Tico
	27. Master Take)
	28. 27. Lover
	29. 1949)
	30. 29. My Melancholy Baby
	31. 1949)
	32. 31. If I Love Again
	33. 32. Cardboard
	34. 33. K.C. Blues
	35. 34. Lover Man
	36. 35. Swedish Schnapps
	37. 36. Funky Blues
	38. 37. Begin The Beguine
	39. 38. East Of The Sun
	40. 39. If I Should Lose You
	41. 40. Back Home Blues
	42. 41. Un Poquito De Tu Amor
	43. 42. Night And Day
	44. 43. What Is This Thing Called Love?
	45. 44. Tune Z
	46. 45. Passport - Tune Y
	47. 46. Why Do I Love You
	48. 47. Okiedoke
	49. 48. Chi-Chi
	50. Alternate Take)
	51. 50. My Little Suede Shoes
	52. moreBorn in Kansas City, KS, grew up in Kansas City, MO. He first played baritone horn before switching to alto. Parker was so enamored of the rich Kansas City music scene that he dropped out of school when he was 14, even though his musicianship at that point was questionable . After a few humiliations at jam sessions, Bird worked hard woodshedding over one summer, building up his technique and mastery of the fundamentals. By 1937, when he first joined Jay McShann's Orchestra, he was already a long way toward becoming a major player
	53. , who was early on influenced by Lester Young and the sound of Buster Smith, visited New York for the first time in 1939, working as a dishwasher at one point so he could hear Art Tatum play on a nightly basis. He made his recording debut with Jay McShann in 1940, creating remarkable solos with a small group from McShann's orchestra on "Oh, Lady Be Good" and "Honeysuckle Rose." When the McShann big band arrived in New York in 1941, Parker had short solos on a few of their studio blues records, and his broadcasts with the orchestra greatly impressed other musicians who had never heard his ideas before. Parker, who had met and jammed with Dizzy Gillespie for the first time in 1940, had a short stint with Noble Sissle's band in 1942, played tenor with Earl Hines' sadly unrecorded bop band of 1943, and spent a few months in 1944 with Billy Eckstine's orchestra, leaving before that group made their first records. Gillespie was also in the Hines and Eckstine big bands, and the duo became a team starting in late 1944
	54. Although recorded with Tiny Grimes' combo in 1944, it was his collaborations with Dizzy Gillespie in 1945 that startled the jazz world. To hear the two virtuosos play rapid unisons on such new songs as "Groovin' High," "Dizzy Atmosphere," "Shaw 'Nuff," "Salt Peanuts," and "Hot House," and then launch into fiery and unpredictable solos could be an upsetting experience for listeners much more familiar with Glenn Miller and Benny Goodman. Although the new music was evolutionary rather than revolutionary, the recording strike of 1943-1944 resulted in bebop arriving fully formed on records, seemingly out of nowhere
	55. Unfortunately, was a heroin addict ever since he was a teenager, and some other musicians who idolized Bird foolishly took up drugs in the hope that it would elevate their playing to his level. When Gillespie and Parker traveled to Los Angeles and were met with a mixture of hostility and indifference , they decided to return to New York. Impulsively, Parker cashed in his ticket, ended up staying in L.A., and, after some recordings and performances , the lack of drugs resulted in a mental breakdown and six months of confinement at the Camarillo State Hospital. Released in January 1947, Parker soon headed back to New York and engaged in some of the most rewarding playing of his career, leading a quintet that included Miles Davis, Duke Jordan, Tommy Potter, and Max Roach. Parker, who recorded simultaneously for the Savoy and Dial labels, was in peak form during the 1947-1951 period, visiting Europe in 1949 and 1950, and realizing a lifelong dream to record with strings starting in 1949 when he switched to Norman Granz's Verve label
	56. But , due to his drug addiction and chance-taking personality, enjoyed playing with fire too much. In 1951, his cabaret license was revoked in New York and he became increasingly unreliable. Although he could still play at his best when he was inspired , Bird was heading downhill. In 1954, he twice attempted suicide before spending time in Bellevue. His health, shaken by a very full if brief life of excesses, gradually declined, and when he died in March 1955 at the age of 34, he could have passed for 64
	57. , who was a legendary figure during his lifetime, has if anything grown in stature since his death. Virtually all of his studio recordings are available on CD along with a countless number of radio broadcasts and club appearances. Clint Eastwood put together a well-intentioned if simplified movie about aspects of his life . Parker's influence, after the rise of John Coltrane, has become more indirect than direct, but jazz would sound a great deal different if had not existed. The phrase "Bird Lives" is still very true. ~ Scott Yanow