As a leader, Charlie Parker recorded for Savoy and Dial during 1945-1948 and then for Verve exclusively (at least in the studios) during 1949-1954. This remarkable ten-CD box set, which adds quite a bit of material to an earlier ten-LP set, contains all of these recordings plus Bird's earlier appearances with Jazz at the Philharmonic. The JATP jams are highlighted by Parker's perfect solo on "Oh Lady Be Good," a ferocious improvisation on "The Closer," and a solo on "Embraceable You" that tops his more famous studio recording. In addition, this box has all of the "Bird and Strings" sides, his meetings with Machito's Cuban orchestra, the 1950 session with Dizzy Gillespie and Thelonious Monk, small-group dates (including a 1951 meeting with Miles Davis), odd encounters with voices and studio bands, the famous "Jam Blues" with fellow altoists Johnny Hodges and Benny Carter, and his final recordings, a set of Cole Porter tunes. The fact-filled 34-page booklet is also indispensable. Highly recommended.
The Original Recordings of Charlie Parker is a compilation of 12 tracks recorded by Charlie Parker during his years with the Verve label. The CD isn't in chronological order or even comprehensive enough to deem it a "best of." That is not to say that this album doesn't contain some phenomenal recordings; it does. Bird features some of Parker's best, including "Now's the Time," "Blues for Alice," and "K.C. Blues" (the latter is a collaboration with Miles Davis). In addition to the 11 studio tracks, it also has a 12-minute live version of "Lester Leaps In" which features the tune's composer, Lester Young. Since most Charlie Parker fans will have these songs on other discs, they can probably skip this one. However, this is a decent place to start for those looking for an introduction to Parker or bebop.
Some of the other reviews for this album were dissapointing for me to read because this has been one of my favorite records since I bought it 3 years ago. It is recorded by tape when the technology was brand new. It is also edited so you hear nothing but Bird's solos and Melodys. However, he sounds absolutely incredible! Any Bird fanatic would agree. Charlie Parker fans aren't listening to him for the great recording quality, we're interested in what he's going to come up with next. Buy this album now, hear why people are still transfixed by his melodys. The shinning tracks are Visa, I Didn't Know What Time it Was and Embraceable You. Disregard everything anyone else says about this record; if you're into Bird just buy it. And contrary to what Mr. Texas said Bird definately soars. ~ Amazon
For over two decades, the Hi-Hat Club occupied a choice location among the jazz clubs of Boston’s South End district, at the corner of Columbus and Massachusetts Avenue. After the end of World War II, lesser luminaries took over the band-stand, and after a while entertainment practically stopped altogether. Dave Coleman, a jazz promoter, had taken over management of the club in 1949. Through Coleman’s personal initiative, the Hi-Hat enjoyed its most successful years, and by 1951 it was the only club featuring a consistent policy of presenting modern jazz.
Charlie Parker was a pioneer of many of the elements and characteristics that make up the 'classic' BeBop sound, forever pushing the boundaries of tempo, tonality and improvisation beyond the limitations of his time. His influence is only too clear today, and is no better demonstrated than in this spectacular tribute performance. Phil Woods, Red Rodney, Rufus Reid, Roy Haynes and Monte Alexander perform their own collective tribute to the great improviser and composer in this very special live concert from Cannes, 1990.
This second installment in the Classics Charlie Parker chronology contains quite a number of Bird's best-loved and most respected recordings. The first 12 tracks, recorded in New York for the Dial label in October and November of 1947, are all masterpieces of modern music, with the ballads, especially "Embraceable You," constituting some of Parker's very best recorded work. This is the classic 1947 quintet with Miles Davis, Duke Jordan, Tommy Potter, and Max Roach. Even if his personal life was characteristically chaotic, 1947 was a good year for Charlie Parker's music. It was in November 1947 that this band hit the road to play the El Sino Club on St. Antoine Boulevard in Detroit. Unfortunately, Bird got really snockered and couldn't perform, so the El Sino management canceled the gig. Bird ultimately destroyed his saxophone by throwing it out of a hotel window onto the street below. (A tragic and disturbing image!) Back in New York, the band – now a sextet with the addition of trombonist J.J. Johnson – made six more sides for Dial on December 17, 1947.