Charlie Parker – Ballads and Birdland

★★★

   Much part of music techniques, but it concerns also other fields of artistic work, was focused on giving possibly objective vision of reality. In invention of printing (1492) first aim was number of copies, but some kind of side effect was the spelling and semantic discipline. In history of fine arts this tendency has an effect in inventions of colors and geometric perspective. Famous camera obscura technique was predecessor of photography or in fact it was photography where human was active agent before invention of chemical processing. In music the history of notation was also connected the developing process of changes. After invention of photography art has changed. It took off the reality imaging, but as before it was based on talent to compose good, stable or dynamic picture, it was mixing realism with symbolism and building narrative composition. In effect phonographic records in early 20th century as the photography in 19th century created fast esthetic change. Arts and music has been released of its mimetic aims and instrumental adequacy. 

   Probably the main genre where music has changed rapidly was jazz, and the crucial moment was bebop, the first moment jazz became avant-garde art over its starting dance usage. The recording technique generated the change and ironically new phonographic industry has missed the moment the bebop was born. Leading artists were recording sweet dance hits for years while their live performances were known only for small club audience. This underground spirit was probably most powerful jazz legend, giving it more than esthetic context. And in fact jazz in 1950’s was more political issue than any other part of artistic activity. 

Charlie Parker – Ballads and Birdland (1952)

   Although mainstream companies had been forcing easier, softer touch of jazz music, some independent producers were recorded and in next decades publish unique materials in small, private companies. One of such records was Charlie Parker’s New York club recordings from 1950 and 1952. Originally album was produced by Mark Gordon for Klacto label in 1968 and then reissued by ZuZazz Records in 1988 in mid-price series. Album comprises recordings made during four evenings. First side is 5 songs played in Birdland. First two (Ornitology and 52 Street Theme) Charlie Parker recorded in September 20, 1952 in quartet with Duke Jordan – piano, Charles Mingus – bass and Phil Brown – drums. Next set of three songs (How High the Moon, Embraceable You and 52 Street Theme) is unique document of Charlie Parker and Modern Jazz Quartet meeting at Birdland November 1, 1952. Parker’s alto sounds together with Milt Jackson – vibraphone, John Lewis – piano, Percy Heath – bass and Kenny Clarke – drums. All of them were known for their recordings with Parker, but not as a band.

   Second side presents two Café Society recordings. First set is Bewitched, Summertime, I Cover the Waterfront, Gone with the Wind, Easy to Love and 52 Street Theme recorded May 23, 1950, second comprises 52 Street Theme, Just Friends and April in Paris recorded last days of the same month. Both were recorded by the same quintet Charlie Parker – alto sax, Kenny Dorham – trumpet, Al Haig – piano, Tommy Potter – bass and Roy Haynes – drums. As it is document of jazz history, it is worth to remember the 1952 Birdland announcements are by Bob Garrity, while 1950 Café Society the host was Charlie Parker. Parker’s improvisations exceeded traditional melodic, harmonic and rhythmic patterns. He returns to root functions of music elements making it the way known from folk music. How this was is possible? After half century of recorded music, it was question of time when musicians will free of notation patterns. This is what has changed performed music. The way of listening changed the way of understanding and creating music. Every new medium sooner or later becomes a technique of an art. And art is a technique ruled by an esthetic idea, isn’t it?

Charlie Parker – Live Performances

★★★

   Jazz is undoubtedly the musical symbol of 20th century. It is considered as an expression of collective self as much as movies and culture of mass production. Among many phenomenal jazz performers only few became legends of 20th century. Otherwise than in cinema, where visual image constitutes a product, in music value comes out of musical creativity but popularity is build in most cases on different kinds of narration. Most effective since romanticism were stories on premature death. Sometimes this kind of legend gives only short life but when it concerns composer like Mozart, Schubert, it is only pretext for real recognition of great personality. This is also the case of iconic modern jazz artist Charlie Parker. Known also under his nickname Bird (shortened form of Yardbird), Parker died before reaching 35 years of age.

   Even 57 years after Charlie Parker’s death his musical heritage is still considered as a turning point in the history of jazz. He was the one who fully expressed young generation’s point of view and broke bonds with swinging and dancing music of prewar orchestras. His improvisations were more freely, passing altering chords in virtuoso passages and fast tempos. His improvised choruses have clear intellectual distance and flexible, sometimes even abstract emotional significance. The typical band had changed. Modern jazz combos’ lineups were reduced to saxophone and trumpet, piano or guitar, bass and drums, sometimes with second saxophone or trombone. This gave totally new sound and much wider space for improvisation. And while theme has became to be only a starting point, improvisation was more and more important, becoming the central topic of every performance.

Charlie Parker’s – Live Performances (1978)

   The history of creating bebop style is in fact hard to trace. There are almost no recordings of early concertos in clubs. Some tracks remained only as radio recordings of live performances. These recordings were compiled on two Charlie Parker’s albums published by ESP label in 1972 as Live Performances and in 1973 as Broadcast Performances. These recordings have been published in various sets and selections. In 1978 Live Performances vol. 1 has been republished in Poland by Polskie Nagrania. First volume of Parkers radio broadcasting recordings has special feature. Opening A-Side Tiger Rag was recorded September 20th, 1947 by legendary Barry Ulanov’s All Stars Modern Jazz Musicians where Parker played together with his long time trumpet partner Dizzy Gillespie, clarinetist John La Porta, pianist Lennie Tristano, bassist Ray Brown and drummer Max Roach. 
   The main part of the album is the seven recordings of Charlie Parker All Stars from Royal Roost club in New York. Two sessions were taken December 11th and 25th, 1948 – first lineup with Miles Davis (Groovin’ High, Big Foot, Ornithology and Slow Boat to China) and second with Kenny Dorham (Half Nelson, White Christmas, Little Willie Leaps). The rest of musicians in both quintets were Charlie Parker, pianist Al Haig, bassist Tommy Potter and drummer Max Roach. Program of second volume were live recordings of both lineups of Charlie Parker All Stars from Royal Roost from September 4th, 1948 and January 1st, 1949. Technical quality of this recordings sometimes can be little disappointing, especially when it is limiting the information about interpretations, phrasing, articulation. But this is still a chance for getting to know the real beginnings of modern jazz.