One of the most memorable live recordings in jazz history, featuring Dizzy Gillespie, Bud Powell, Charles Mingus and Max Roach. The fantastic reissue contains all tracks recorded at the concert (fourteen), and has no bass over-dubbing which was added by Charles Mingus on the original issue.
This is a compilation of some of Bird's very best work, for Dial Records, from 2/46 - 12/47. Content-wise, it is very close to "The Complete Dial Sessions 1946-47", but minus all the outtakes (and at about half the price). If you just want to listen to the music rather than analyze and compare, buy this one. Much of Bird's work has been recompiled and reissued. This release, and "Complete", mentioned above, are probably the best selections from the Dial material. ~ Amazon
That is, really, the "complete jam sessions" plays by Parker and Baker. The CD contains the jam session with the Babasin All Stars, in the Trade Winds Club, Inglewood, California: it is: "Indiana", "Liza", "They didn't Belive Me" and "The Squirrel", with, Sony Criss (a.s.), Russ Freman ( on # 1) or Al Haig (p), Harry Babasin (b) and Laurence Marable (d). Well, all known. But this recording (or C.D.) includes three themes MORE (with the "breaks"). The themes are: "Ornithology" (2:52); "Barbados" (3:49) and "Cool Blues" (5:36). The recording was in live in the University of Oregon the day, november 5, 1953. Here the group is formed by Baker, Parker, Jimmy Rowles, Carson Smith and Shelly Manne. I don't know (and don't found) these themes in other recordings of Baker or Parker. In Spain this C.D. is edited by "disconforme sl", or "definitive" for other countries.The price in Spain of this CD is, more or less, 6 euros. Naturaly, the "last"( 3 themes more) circumstance does this CD,ESSENTIAL in the discography of Paker or Baker. ~ Amazon
A reissue of the original 1952 Clef recording session, this is one of the few instances in Charlie Parker's later career where he played with something other than a small bebop group. Under contract at the time to Clef's Norman Granz, Parker was encouraged by the label to make recordings that took him out of his familiar settings and put him in with string arrangements, Latin rhythms, and larger band formats. This recording is the result of one of these experiments. Though Joe Lipman's arrangements are stellar, the musicians assembled for the sessions are an odd mix of pop-oriented big-band players and improvisers.
The genius of Bird and strings is hard to describe – an edgey aproach that really goes far past most other "jazz with strings" projects, not a ballad-driven one, but a tensely strained one that brings out some of Parker's best soloing, almost in a moody soundtrack-type way. The tracks are a lot freer and less bop-driven than some of Bird's normal work, and it's incredible to hear him soloing with such complexity — even more proof of the genius he clearly exhibited in relation to his contemporaries.
The Kansas City alto saxophonist Charlie Parker, who was to post-second-world-war jazz what Louis Armstrong had been to its first wave, is as likely to be remembered today for his heroin habit and early death than for his exquisite and melodically stunning improvising. If that era's jazz is like journalism, Parker was its acutely observant war reporter, who kept coming back from the front of his own exploding world with new stories to tell.