#Charlie parker compositions plus#

It contains Passaport (march 1949), Visa (may 1949), and pieces recorded in june 1950: Bloomdido, Relaxing With Lee, Leap Frog, An Oscar For Treadwell and Mohawk. Now’s The Time (1957) collects two studio sessions (december 1952 and july 1953) by the Charlie Parker Quartet featuring Percy Heath (bass), Max Roach (drums) and pianists Al Haig and Hank Jones.īird And Diz (Mercury, 1952), credited to the Charlie Parker Quintet, documents a session by Charlie Parker (alto sax), Thelonius Monk (piano), Dizzy Gillespie (trumpet), Buddy Rich or Max Roach (drums) and Curly Russell (bass), the final performance of Parker and Gillespie together. Three albums titled Bird With Strings (1950-52) were made In 1947 Parker's jazz band toured with a philharmonic orchestra, and later John Lewis on piano, stood out as his artistic manifesto,Īnd Constellation (same session) was his dizziest group improvisation. The bluesy Parker's Mood (september 1948), featuring With trombonist James 'J.J.' Johnson added to the quintet.

#Charlie parker compositions plus#

Plus Crazeology, based on George Gershwin's I Got Rhythm, and Drifting On A Reed (both december) That recorded spectacular performances of In 1947 he formed a New York-based Quintet with Miles Davis on trumpet, Duke Jordan (and later Bud Powell) on piano, Tommy Potter on bass, Max Roach on drums, The saxophone, he was trying to secrete as much emotion as possible.īy a septet (alto, tenor, trumpet, piano, guitar, drums, bass) His playing did obey a meta-rule, though: emotion. His phrasing sounded hysterical and contradictory. His music was revolutionary because it was based on discontinuity instead The player of a melodic instrument who indirectly focused on rhythm. His rhythm section, but made possible by his melodies, that toyed with beatsĪnd with the space between beats. The polyrhythmic essence of his playing was emphasized by the detours of Thus each solo appeared toīe unique in nature, not the repetition of a distinctive pattern. His solos seemed to have no rule, occasionally soundingĪrbitrary in the context of the group's playing. Parker extended both the melodic and the rhythmic range of jazz music inĪ systematic way. Now's the Time, all five recorded in november with Miles Davis, Gillespie, and Roach.

Ko Ko (november 1945), a reworking of Ray Noble's Cherokee,Īnd his classic compositions Billie's Bounce,Īnthropology/ Thriving on a Riff Meandering and He formed hiw own group and proceeded to develop a new tonal vocabulary via In 1945, besides recording the milestone performances with Gillespie, In 1942 he joined Earl Hines and played with Dizzy Gillespie and Sarah Vaughan,Īnd in 1943 the trio formed the nucleus of Billy Eckstine's new band.