Charlie Parker - On Savoy: Charlie Parker & Miles Davis '2022

Artist	Charlie Parker Related artists
Album name	On Savoy: Charlie Parker & Miles Davis
Country
Date	2022
Genre	Jazz
Play time	43:54
Format / Bitrate	Stereo 1420 Kbps / 44.1 kHz MP3 320 Kbps
Media	CD
Size	209 MB
Price	Download $1.95

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Tracks list

Tracklist:

01. Half Nelson
02. Donna Lee
03. Milestones
04. Ah-Leu-Cha
05. Thriving From A Riff
06. Sipping At Bells
07. Barbados
08. Constellation
09. Chasin' The Bird
10. Buzzy
11. Steeplechase
12. Marmaduke
13. Little Willie Leaps
14. Cheryl
15. Groovin' High (Live At The Royal Roost, 1949 / 1)


Â moreBorn in Kansas City, KS, Charlie Parker 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 (with his ideas
coming out faster than his fingers could play them). 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.

Charlie Parker, 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 (and sometimes scared) 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.

Although Charlie Parker 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.

Unfortunately, Charlie Parker 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
(known as "Diz and Bird") traveled to Los Angeles and were met with a mixture of
hostility and indifference (except by younger musicians who listened closely),
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 (including
a classic version of "Oh, Lady Be Good" with Jazz at the Philharmonic), the lack
of drugs (which he combated by drinking an excess of liquor) 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.

But Charlie Parker, 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 (making it difficult for him to play in clubs) and he became
increasingly unreliable. Although he could still play at his best when he was
inspired (such as at the 1953 Massey Hall concert with Gillespie), 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.

Charlie Parker, 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 (Bird). Parker's influence, after the rise of John
Coltrane, has become more indirect than direct, but jazz would sound a great
deal different if Charlie Parker had not existed. The phrase "Bird Lives" (which
was scrawled as graffiti after his death) is still very true. ~ Scott Yanow