![]() ![]() ![]() In 1939, Yardbird rejoined McShann and was placed in charge of the reed section. Once there, he joined Harlan Leonard’s Rockets and stayed for five months. Shortly afterwards, Parker returned to Kansas City to attend his father’s funeral. He washed dishes at a local food place where he met guitarist Biddy Fleet, the man who taught him about instrumental harmony. A year later, Parker traveled to Chicago and was a regular performer at a club on 55th street. In 1938, Parker joined the band of pianist Jay McShann, with whom he toured around Southwest Chicago and New York. The New York atmosphere greatly influenced Parker's musical style. In 1939, Parker visited New York for the first time, and he stayed for nearly a year working as a professional musician and often participating in jam sessions. Soon, Parker was playing with local bands until 1935, when he left school to pursue a music career.įrom 1935 to 1939, Parker worked in Kansas City with several local jazz and blues bands from which he developed his art. When he was 15, he showed a great interest in music and a love for the alto saxophone. His first contact with music came from school, where he played baritone horn with the school’s band. ![]() When Parker was still a child, his family moved to Kansas City, Missouri, where jazz, blues and gospel music were flourishing. This is the only reading of the tune in the entire Parker discography, either live or in the studio.The only child of Charles and Addie Parker, Charlie Parker was one of the most important and influential saxophonists and jazz players of the 1940’s. For the ballad medley Bird chose 'Dearly Beloved'. His playing, however, was truly exceptional. Bird and Oscar Peterson only recorded together on one other occasion, a Mabig band session that was also made for Norman Granz.ĭuring the time Jam Session was recorded, Parker was trying to stay away from heroin, but that accentuated his alcohol consumption, as shown in the photographs taken at the date, where he looked tired and had gained much weight. Barney Kessel had recorded with Parker in 1947 during the Dial session that produced among other titles the celebrated 'Relaxin' at Camarillo'. Bird and Flip Phillips had a long history of recording together, beginning with a Sarah Vaughan session for the Continental label in 1945 and a Red Norvo date for the Comet label that same year, as well as further studio dates and JATP live performances organized by Granz. He had participated with Benny Carter (and also with a third alto saxophonist, Willie Smith) on a taped 1946 AFRS radio show that constitutes their only other conjunct recording. Jam Session marks Charlie Parker's only recorded encounter with Charlie Shavers, Ben Webster or Johnny Hodges. ![]() It was originally divided onto two LPs, the first volume bearing a yellow cover, and the second one with the same David Stone Martin illustration but with a red cover. This 1952 date is the only one of the series featuring Charlie Parker. Very much in line with his 'Jazz at the Philharmonic' concerts, which were intended to recreate the magic of a spontaneous jam session in front of a massive audience, producer Norman Granz also brought together several first-rate jazz soloists in the studio in order create 'Jam Session' albums. ![]()
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