Charlie Parker. K.C. Blues
Альбом: 1 пласт.
Размер: 12" (гигант)
Запись: 1949-1954 гг.
Тип записи: стерео
Оборотов в мин.: 33
Состояние (диск/конверт): очень хорошее / очень хорошее
Производство: Чехословакия
Фирма: Supraphon
Side 1
1. SEGMENT/Parker
2. MOHAWK/Parker
3. LEAP FROG/Parker
4. K.C.BLUES /Parker
5. SHE ROTE/Parker
6. LOVER MAN /Davis — Ramirez — Sherman
Side 2
7. I'LL REMEMBER APRIL /Raye — de Paul — Johnston
8. NIGHT AND DAY/Porter
9. I CAN'T GET STARTED/Duke
10. CONFIRMATION/Parker
11. NOW'S THE TIME/Parker
12. LOVE FOR SALE/Porter
PERSONNEL:
1/ Kenny Dorham, trumpet; Charlie Parker, alto sax; Al Haig, piano; Tommy Potter, bass; Max Roach, drums (May 5, 1949)
2/3 Dizzy Gillespie, trumpet; Charlie Parker, alto sax; Thelonious Monk, piano; Curly Russell, bass Buddy Rich, drums (June 6, 1950)
4/5 Miles Davis, trumpet; Charlie Parker, alto sax; Walter Bishop Jr., piano; Teddy Kotick, bass; Max Roach, drums (January 17, 1951)
6/ Red Rodney, trumpet; Charlie Parker, alto sax; John Lewis, piano; Ray Brown, bass; Kenny Clarke, drums (August 8, 1951)
7/ Charlie Parker, alto sax, with String Orchestra & Bernie Leighton rhythm group (Bernie Leighton, piano; Ray Brown, bass; Buddy Rich, drums); arranged and conducted by Joe Lipman (January 1952)
8/9 Jimmy Maxwell, Carl Poole, Al Porcino, Bernie Previn, trumpets; Bill Harris, Lou McGarity, Bart Varsalona, trombones; Charlie Parker, Harry Terrill; Muray Williams, Flip Philips, Hank Ross, Danny Bank, saxes; Oscar Peterson, piano; Freddie Green, guitar; Ray Brown, bass; Don Lemond, drums; arranged by Joe Lipman (March 25, 1952)
10/11 Charlie Parker, alto sax; Al Haig, piano; Percy Heath, bass; Max Roach, drums (August 4, 1953)
12/ Charlie Parker, alto sax; Walter Bishop Jr., piano; Billy Bauer, guitar; Teddy Kotick, bass; Arthur Taylor, drums (December 1954)
Electronically reprocessed from mono originals at MGM Records Division Studios, New York
LICENCE DEUTSCHE GRAMMOPHON GESELLSCHAFT MBH
Kansas City - К. С. For short – lies almost in the centre of the United States, where Kansas River joins the Missouri. Most encyclopedias dwell only on the city's economic features, its meat-packing, canning and engineering plants, with hardly a word about its music. And yet this is the city, about which German jazz critic Joachim E. Berendt has written: "К. С has given jazz almost as much as New Orleans, and certainly more than Chicago. It is a paradox that the most progressive musicians have come from the most conservative part of America, from the Midwest, where everything has the speed and the smell of Missouri, lazy and muddy in its progress through the region." Those who have passed through that city, although many came from elsewhere and most of them left later on, have all helped to create the city's inspiring musical climate. K. C.'s musical tradition permeated their art in an undefinable way, to remain an integral part of their musical make-up. Charlie Parker, the most important creative force in modern jazz,
is a case in the point.
Disc-jockey Jazzbo Collins puts it very succinctly: no musician in the entire history of jazz has been more admired and less understood by his fans than Charlie Parker. The Bird, as he was called by his fellow musicians and later also by jazz writers, was born August 29, 1920, in Kansas City. It was during Charlie Parker's adolescence that the centre of jazz action moved to К. С: that was why he could, from the very outset . Of his musical career, draw on that unique musical climate which had fostered the famous style of the Negro swing bands, such Walter Page's Original Blue Devils, Andy Kirk and his Twelve Clouds of Joy, and above all, Count Basie. At the age of seventeen, Charlie Parker made his first professional appearance with one such band, led by pianist Jay McShann. This was also the origin of Parker's warm and intimate ties with the blues tradition, so characteristic for The Bird's entire creative work. Yet as early as that certain moments in Parker's life seemed to signalize his final tragic destiny. He took an adventurous trip to New York, where he slept in garages and washed dishes for a pittance in a miserable Harlem pub: a quarrel with a cab-driver brought him three weeks behind the bars. In the early forties, The Bird met another wild young man of the new generation of jazz musicians -- Dizzy Gillespie. They combined to contribute most forcefully to the emergence and character of a new jazz style - bebop. The misunderstanding which the bebop rebels had to face drove Parker to seek refuge in the unreal world of marihuana smoke and dope syringes. His increasing psychical complexes finally resulted in serious nervous disorder. While he was constantly gaining stature as musician - in the early fifties, says Leonard Feather, no important jazzman could escape The Bird's influence - Parker was fast disintegrating as a human being. By the time that New York's largest jazz club was renamed Birdland in his honour, Parker had become a mere shadow of the legendary Bird whose powerful flight to the summit of the jazz Olympus had several years before heralded the coming of a new spring. It was on Birdland's stage that Parker clashed scandalously with his sidemen. He left the club, and several minutes after that he was seen on the corner of Basin Street, sitting on the sidewalk with tears rolling on his cheeks. A few days after that scandal
- on March 12, 1955 - Charlie Parker died. Almost instantly, the Parker myth was born and The Bird was canonized as the beat generation's feted martyr.
This album features a representative review of Parker's final creative period (between 1949 and 1954). MOHAWK, NOW'S THE TIME, and particularly К. С BLUES forcefully demonstrate the osmosis of bop expression with the blues feeling of the Kansas City jazzmen: they also present Parker's most prominent partners, trumpeters Dizzy Gillespie and Miles Davis, pianists Thelonious Monk and Al Haig, and drummer Max Roach. LOVER MAN, I'LL REMEMBER APRIL, NIGHT AND DAY, I CAN'T GET STARTED and LOVE FOR SALE illustrate Parker's specific approach to the interpretation of classical evergreens, an approach on which most jazz greats continue to draw. Even Parker's own compositions SHE ROTE and CONFIRMATION are unique adaptations of evergreen themes (the theme-of She Rote is constructed on the harmonic progression of Out of Nowhere, and Confirmation is a combination of the harmonic schemes of I May Be Wrong and I Got Rhythm). Parker's limitless power of invention in improvisation with its dramatic and chromatically textured melody line full of unexpected interval leaps, with its ingenious polyharmonic merging of chords, with its complex rhythm structure, and - last but not least with its expressively cultured sound, continues to make his recordings an exciting and provocative experience, despite the passage of time.
