Favorite Charlie Parker solo, your opinion.
Ma Bell
>Just curious if anybody would like to share there opinion of thir
>their favorite Parker solo. I have heard a number of his recordings
>but there is alot more for me to hear but in my opinion my favorite
>comes from the AT Storeyville (live) album. Bird`s improvising on
>Moose the Mooche (I belive he takes at least 5 choruses is my personal
>favorite. I would enjoy any other opinions and if you feel like it
>why. ?
My favorite is the one in Billie's Bounce (all the albums I've heard have the
same recording of this song on it). I like it because there is only one
double-time lick; just a lot of tasty playing. (And it's one of the easier
ones in the Omnibook.)
--
"Ma Bell"
Thomas Ford Brown
In article <19940130.21130...@delphi.com> RICH TYNER <mccoy...@delphi.com> writes:
>Just curious if anybody would like to share there opinion of thir
>their favorite Parker solo. I have heard a number of his recordings
>why. ?
"Parker's Mood". Why ask why?
RICH TYNER
their favorite Parker solo. I have heard a number of his recordings
comes from the AT Storeyville (live) album. Bird`s improvising on
Moose the Mooche (I belive he takes at least 5 choruses is my personal
Mark Henteleff
>In <19940130.21130...@delphi.com> RICH TYNER <mccoy...@delphi.com> writes:
>
>>Just curious if anybody would like to share there opinion of thir
>>their favorite Parker solo. I have heard a number of his recordings
>>but there is alot more for me to hear but in my opinion my favorite
>>comes from the AT Storeyville (live) album. Bird`s improvising on
>>Moose the Mooche (I belive he takes at least 5 choruses is my personal
>>favorite. I would enjoy any other opinions and if you feel like it
>>why. ?
I like the one on *My Old Flame* from the Dial sessions. Sends a
chill up my spine whenever i hear the solo...plus it's a wonderful
tune.
Mark H.
Luke M Kaven
I put this solo on while I was reading your note so I could refer to it.
"Moose the Mooche" is, of course, an extremely clever melody over the
chords of "I Got Rhythm". Bird plays this on March 10, 1953 with
personnel of Red Garland on piano, Bernie Griggs on bass, and Roy
Haynes on drums. Nice to hear Red Garland with Bird -- a nice treat.
Bird plays relaxed and clean on this solo. A lot of trademark patterns
that he used on these changes. Notice the quote from "High Society"
that he uses often in this context. Bird is -- as always -- a lesson in
compositional and thematic unity here; he never loses his initial idea.
I have many many many personal favorite solo performances by Bird. I
will pick a couple to talk about.
In the early 80's, there were occasional releases under the "Parktec"
label. Dr. Claude Donkke (a dermatologist, I believe) claims to have
been hording some five hundred tapes of rare Parker performances. He
is one like Benedetti who used to go to lengths to record Bird. On
Parktec 4627, Donkke releases some very interesting tracks. Among these
is a performance of "Dance of the Infidels" which was performed with
Bud Powell (who was the composer) on piano. Bird absolutely slays me
on this solo -- its a dark, urgent and poignant solo that has always
stood out for me as examplary. Quotes include Stravinsky's "Petrouchka,"
"I Love You Truly," "The Song is You". Unfortunately, there are neither
dates nor personnel...I can tell that Powell is playing piano, but I
am not sure about the rest. That narrows things down, since Powell
and Parker recorded together appallingly seldom. If anyone can give
me data on this session, I would much appreciate it. Possibilities
include Brooklyn Academy of Music, Griswolde Auditorium, Renaissance
Ballroom, and Maple Leaf Auditorium.
[Donkke prints a copy of a note he received from Bird:
"doc, You'll knocked me over man! Took down my _Lover_ sound
good and feeling my main men will be wantin all your records
from me and the boys! Will be digging you next Thursday
night with some good ribs and some chicken we can hear your
best Yardbird records! Be cool cat! Bird"]
Also like Bird's solo on "All The Things You Are" from the 1949
Carnegie Hall concert with Al Haig, Tommy Potter, Red Rodney,
and Roy Haynes (whom Symphony Sid incorrectly introduces as Joe Haynes).
Another all-time favorite of mine is the March 31, 1951 date at
Birdland with Dizzy, Tommy Potter, Bud Powell, and Roy Haynes. Bird's
performances on "Blue and Boogie" and "Anthropology" are stellar. The
solo from "Anthropology" (the fastest on record) is transcribed in the
_Charlie Parker Omnibook_ (where many of the patterns he commonly used
on "Rhythm" changes can be seen in print).
I'm also particularly fond of a version of "Groovin' High" whose
transcription appears in _Charlie Parker -- A Jazz Master_ published
by MCA music. The date and personnel I can't come up with from any
of the vinyl disks where I have it. There is also a fine version of
"Hot House" from the same date.
There are so many others. I think all the studio sessions including
alternate takes are examplary. I have purposely left out the discussion
of his studio sessions since they are more generally known. I have also
not been able to afford to purchase the Benedetti recordings, so I am
unable to discuss those. At least I have something left to look forward
to!
Regards to fellow Charlier Parker fans! -- Luke
J. Steven Snyder
that. one of my personal favorites, though, is "Warming Up on a Riff."
this is on the savoy master takes double cd set. it's not really a song,
but the players warming up for KoKo - being taped by the studio engineers,
unbeknownst to the musicians.
This is pure bird, the "pied piper" as someone described him once. he
just flies all over the horn, all over the changes. you just can't
describe it, how awesome he plays.
steve
(no quotes)
William A Savage
the Savoy Sessions. You may want to listen to Parker play "A Night in
Tunsia", the solo break he takes is tremendous. You may also want to
here Parker play "Just Friends" with strings.
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
,-/- __ _ _ | Bill Savage
(_/ / ) // // | 1060 Morewood Av.
/ ) /--< o // // | Box #1361 Rm #714
-/-' /___/_<_</_</_ | (412) 862-3301
------------------------------------------------
MAJOR: Electrical/Computer Engr.
------------------------------------------------
OUOTES:
"A lot of guys played fast. Rapid! But they didn't
play the notes that Charlie Parker played... Bird
has some notes in his melodies, the lines that he
wrote, that are deep notes... deep as anything
Beethoven ever wrote."
-Dizzy Gillespie
"Life is a wisp and I like it crisp, crystal, and
refreshing to the point, instantaneously revealing
all there is away with pretension, just see intent-
ion and the music of life is yours."
-Chick Corea
"A musician, if he's a messenger, is like a child
who hasn't been handled too many times by man, hasn't
had to many fingerprints across his brain. That's
why music is so much heavier than anything you ever
felt."
-Jimi Hendrix
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
nathan wolfson
jason <jwa...@mentor.cc.purdue.edu> wrote:
>In article <CKI2y...@mentor.cc.purdue.edu> be...@expert.cc.purdue.edu
Ty) writes:
>>In article <19940130.21130...@delphi.com>, RICH TYNER <mccoy
yn...@delphi.com> writes:
>>> Just curious if anybody would like to share there opinion of thir
>>> their favorite Parker solo. I have heard a number of his recordings
>>> but there is alot more for me to hear but in my opinion my favorite
>>> comes from the AT Storeyville (live) album. Bird`s improvising on
>>> Moose the Mooche (I belive he takes at least 5 choruses is my persona
>>> favorite. I would enjoy any other opinions and if you feel like it
>>> why. ?
>>
>>A lot of you are going to think I'm crazy, but I really dig his solo on
>>"Lover Man". I read somewhere (probably on this group) that Bird was
>>really strung out during this session, but I just think this solo is
>>brilliant... these incredibly emotional and soulful licks pour out of
>>his saxaphone effortlessly.
>>
>>Ty
>>
>
>Yeah, in his the movie, Bird, There is a scene in it where after Bird pl
ys
>Loverman, one of the people in the recording studio comments on his play
ng
>(in a complementary way, of course) and Bird proceeds to throw his horn
>through the glass window where the guy is. I think that Loverman _is_ on
of
>his best cuts considering his physical state at the time.
>
>Jason
So we're talking about the Dial "Lover Man" *not* the Verve version
recorded five years later on which Bird's tone is VERY sweet and his
solo is VERY sure and gradually more transcendent. I can see where this
later version might be one's favorite Parker solo... but I'd be
(only slightly, I suppose) surprised if the Dial version (recorded right
before Bird's collapse in CA) is really the one you're discussing.
Nathan Wolfson
wolf...@axe.humboldt.edu
Ty
A lot of you are going to think I'm crazy, but I really dig his solo on
Ty
>
> So we're talking about the Dial "Lover Man" *not* the Verve version
> recorded five years later on which Bird's tone is VERY sweet and his
> solo is VERY sure and gradually more transcendent. I can see where this
> later version might be one's favorite Parker solo... but I'd be
> (only slightly, I suppose) surprised if the Dial version (recorded right
> before Bird's collapse in CA) is really the one you're discussing.
>
> Nathan Wolfson
> wolf...@axe.humboldt.edu
Ah! Yes! Finally someone deciphers the Lover Man secret! I sort of figured
that there was more than one version! The version I was originally referring
to was the Verve. I believe Red Rodney plays trumpet on this one, I can't
think who else without looking at the label.
Thanks for the input.
Ty
jason
Yeah, in his the movie, Bird, There is a scene in it where after Bird plays
Loverman, one of the people in the recording studio comments on his playing
(in a complementary way, of course) and Bird proceeds to throw his horn
through the glass window where the guy is. I think that Loverman _is_ one of
Dale A. Smoak
I like the Dial recording of "Embraceable You". It's one of the great
ballad solos because of the way Bird handles thematic improvising. The
alternate take is different and almost as good.
I also like the live "Perdido" from the Massey Hall concert. Bird opens it
tentatively, as though testing the limits of the plastic horn he was
playing, but he soon projects a jousting air.
-Dale
lv0...@albnyvms.bitnet
I agree. "Warming up on a riff" has to be one of his best. The way he plays
is just perfect. He takes you musically where you think no one can go and make
it sound any good at all, yet instead he finishes off his phrases beautifully,
like "falling down the stairs and landing on his feet" as Edward Van Halen has
said about his own playing. Parker was just a phenomonal musician.
>
daniel f etter
on pills. Are these actually available anywhere? I recall from what I read
a few years ago that they were all pulled and Bird insisted they never be
released.
Also, from what I read, the scene in the Clint Eastwood movie isn't true
to life - i.e. no sax through window. He had to be held up to even keep his
sax on the mic.
As for favorite solos...damn if I can pick one. But, as I mentioned here
sometime before, a version he did of Out of Nowhere which was released on
Everest records in 1959 was one of the sweetest recordings ever made. I lost
my copy of this album and I'd love to hear from anyone who has it.
Dan
Frank Lepkowski
>Someone mentioned the infamous recordings that Bird made while totally out
>on pills. Are these actually available anywhere? I recall from what I read
>a few years ago that they were all pulled and Bird insisted they never be
>released.
He definitely didn't want them released, but didn't have much choice in
the matter. They are available both on the Dial Masters v. 1 and
Complete Dial Sessions set, on Stash. "The Gypsy," "Max is Making Wax,"
"Bebop" and "Lover Man"--did anything else come from that ill-fated
session? Think that's it.
Frank Lepkowski
Oakland University
Remi Ronfard x4512
people hate those albums with strings, but I love that one
(Phill Shaap would play it at least once a week in his
Charlie PArker, when I was in New York).
Rémi.
--
Remi RONFARD, COMPUTERVISION, rron...@cvbnet.cv.com, (617) 275-18-00 ext 4512
Luke M Kaven
>In article <CKIpo...@mentor.cc.purdue.edu>,
>jason <jwa...@mentor.cc.purdue.edu> wrote:
>>In article <CKI2y...@mentor.cc.purdue.edu> be...@expert.cc.purdue.edu
>Ty) writes:
>>>In article <19940130.21130...@delphi.com>, RICH TYNER <mccoy
>yn...@delphi.com> writes:
>>>
>>>A lot of you are going to think I'm crazy, but I really dig his solo on
>>>"Lover Man". I read somewhere (probably on this group) that Bird was
>>>really strung out during this session, but I just think this solo is
>>>brilliant... these incredibly emotional and soulful licks pour out of
>>>his saxaphone effortlessly.
[edited]
>So we're talking about the Dial "Lover Man" *not* the Verve version
>recorded five years later on which Bird's tone is VERY sweet and his
>solo is VERY sure and gradually more transcendent. I can see where this
>later version might be one's favorite Parker solo... but I'd be
>(only slightly, I suppose) surprised if the Dial version (recorded right
>before Bird's collapse in CA) is really the one you're discussing.
>Nathan Wolfson
>wolf...@axe.humboldt.edu
BTW, Charles Mingus named this as his favorite Bird solo for its really
visceral emotional quality.
Larry Lewicki
say - Parker's Mood (I love a slow blues like this)
followed by Koko - there is something about the
Cherokee changes that I like - these are both
on the Savoy sessions. Followed by (and this
is a toss up) either How Deep is The Ocean or
Embracable You from the Dial sessions (Parker
was a great ballad player). I can't just choose
one!
L^2
---
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Larry Lewicki | National Semiconductor |Opinions are mine and in no |
l...@galaxy.nsc.com | Santa Clara, CA |way represent National Semi.|
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
John
The original (studio) Koko has always left me with my mouth hanging open, not
only for the virtuosity but for the fertility of ideas.
John
Jill Emily Solek
beautiful--both of them (Dial sessions Disc Three).
Admittedly Charlie's interpretation of ballads weren't great.
Listen to these once or twice and see what YOU think.
--
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