No surprise then that the music quickly became the music of choice for the radical intellectuals of the Paris Left Bank (Jean-Paul Sartre, Jean Genet, Simone de Beauvoir. In many ways, he was the Jimi Hendrix of his day.
Charlie Parker, "The Yardbird" or just plain "Bird", was the improvisational genius who took the music to its greatest heights, signposting the way for Miles Davis, John Coltrane and the great jazz that followed. Thelonious Monk was at the heart of its radicalism Dizzy Gillespie was central to its harmonic development and Kenny Clarke and Max Roach were at the root of its rhythmic sophistication. A new music was born that became the touchstone for the future of jazz.
#Charlie parker complete savoy dial master takes rar free
More established performers like Lester Young, Coleman Hawkins, Ben Webster, Roy Eldridge would sit in when free from their paid gigs uptown. Minton’s Playhouse soon became a beacon for up and coming performers who wanted to taste the new freedom in music that bebop offered.
But this was 1942 and a generation before that. This battle, lived out here in jazz would be soon repeated in the development of rock music – you only have to think of John Lennon and Paul McCartney’s refusal to record the inane “How Do You Do It” and their insistence that they could write something at least as good – “Please, Please Me” – to pinpoint the moment when rock music began to move away from the “professional” writers of "Tin Pan Alley” towards the freedom of musicians to write and perform their own music that would lead to the achievements of Jimi Hendrix and all those that have followed. Newcomers would complain that the music was “weird” and “unlistenable” and the reply from the beboppers was: “If you don’t like it, don’t listen to it!” Perhaps more fundamentally it was a demand for musicians to be able to freely improvise and to freely intellectualise about their music. These sessions, were a deliberate protest against the restrictions of the Swing era in which the arranger was all important what became bebop started as a demand for individual musicians to be able to experiment and express themselves more fully and more individually and ended up as a fully fledged new music. In jam sessions at Minton´s Playhouse, a club in Harlem, he joined trumpeter Dizzy Gillespie (John Birks Gillespie), pianist Thelonious Monk, drummers Kenny Clarke and Max Roach and guitarist Charlie Christian in working out the language of a new music - bebop. In 1939, at the age of nineteen, he had set out on the road via a stint in the horn section with the Jay McShann Orchestra and within a few years he had arrived in New York where the key players in the development of bebop were coming together. He grew up musically in the Kansas City clubs where improvisational skills were tested in the kind of head to head contests that rappers take part in today. However, this Savoy Jazz collection of the master takes from these sessions avoids these pitfalls and is strongly recommended.Ĭharlie Parker came out of the same vibrant Kansas City jazz scene that had produced Count Basie and Lester Young in the ‘thirties. Budget compilations come and go recording quality varies many sets contain numerous takes of the same tracks. Red Callendar, Tommy Potter, Nelson Boyd (bass)ĭespite his seminal position in the development of jazz, sourcing a meaningful selection of Charlie Parker's groundbreaking recorded output for the Savoy and Dial labels is not as straightforward as it should be. Recorded 1944 – 1948, various locations mainly Hollywood or New Yorkĭodo Marmarosa, Errol Garner, Bud Powell, John Lewis, Duke Jordan (piano)
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