Jamey Aebersold and Ken Slone’s collection of transcriptions, Charlie Parker Omnibook, consists of sixty jazz alto saxophonist Charlie Parker’s improvisations, documenting Parker's improvisational style from 1944 to 1953. Four editions are available, including the C instrument editions in treble-clef and in bass-clef, the B-flat instrument edition, and the E-flat instrument edition, which increases the collection’s accessibility, securing its popular status among jazz enthusiasts.
Omnibook includes a recording listing for each transcription to assist users in finding Parker’s recordings as primary sources for further study. However, some listed recordings have been long out of print and a considerable amount of new Parker recordings in the format of compact disc and MP3 have been issued since the debut of Omnibook back in 1978. Discographical issues have also occurred, including the confusion of recording takes, the perplexity of composition titles, and the frequent duplication of tracks among the massive number of available recordings. Hence, this reference chart was compiled to enhance the usage of Omnibook by examining the transcriptions and their associated recordings to provide data as to the date of sessions, recording takes, names of recording companies, location of recording studios, running time of tracks, and other associated information, aiding users in locating the needed recordings.
The selected primary sources to validate the versions of Parker’s improvisations in this reference chart include Charlie Parker: The Complete Savoy and Dial Studio Recordings 1944-1948 (Savoy, Dial, and Guild), Bird: The Complete Charlie Parker on Verve (Mercury), and Charlie Parker: At Birdland Vol. 2. The first two sets of recordings are the most authoritative reissues of Parker’s music, offering the complete listing of official studio and live recording sessions and the newly written liner notes by jazz scholars. The only transcription that is not included in the first two sets is Anthropology, which can be found in the last set of recordings issued by the Ember Records. Additionally, the E-flat edition of Omnibook that was chosen as the primary reference for this chart.
AH-LEU-CHA
Date • 18 September 1948
Version • Take 2 / Master Take
Recording Company • Savoy
Location • Harris Smith Studios, New York
Running Time • 2:52
Available Version • 2
Note • The spelling of this composition’s title has not been consistent. Two versions exist, including Au-Leu-Cha and Ah-Leu-Cha. It is also known as Ah Lev Cha.
ANOTHER HAIRDO
Date • 21 December 1947
Version • Take 4 / Master Take
Recording Company • Savoy
Location • United Sound Studios, Detroit
Running Time • 2:37
Available Version • 4
Note • The title is also spelled as Another Hair Do. The master is the only complete take of four available versions from the same recording session.
ANTHROPOLOGY
Date • 31 March 1951
Version • One Take
Recording Company • Private Recording
Location • Birdland, New York
Running Time • 4:55
Available Version • 17
Note • It was named as Thrivin’ from a Riff in the 26 November 1945 recording session with slight alterations in the melody.
AU PRIVAVE (NO. 1)
Date • 17 January 1951
Version • Take 2 / Alternate Take
Recording Company • Mercury
Location • Unknown Studios, New York
Running Time • 2:37
Available Version • 3
Note • The third version is a privately recorded jam session on 8 July 1952.
AU PRIVAVE (NO. 2)
Date • 17 January 1951
Version • Take 3 / Master Take
Recording Company • Mercury
Location • Harris Smith Studios New York
Running Time • 2:41
Available Version • 2
Note • Omnibook presents only improvisation in this version to avoid the duplication of the thematic material.
BACK HOME BLUES
Date • 8 August 1951
Version • Take 1 / Alternate Take
Recording Company • Mercury
Location • RCA 24th Street Studios, New York
Running Time • 2:35
Available Version • 2
Note • The four measures of the introduction are not notated in Omnibook.
BALLADE
Date • Fall 1950
Version • One Take
Recording Company • Mercury
Location • Gjon Mili Studio, New York
Running Time • 2:54
Available Version • 1
Note • Coleman Hawkins and Parker shared choruses in the JATP recording session for the soundtrack of a film which was not officially released. However, the footage has survived and can be accessed through commercially released DVD.
BARBADOS
Date • 18 September 1948
Version • Take 4 / Master Take
Recording Company • Savoy
Location • Harris Smith Studios, New York
Running Time • 2:26
Available Version • 10
Note • It is noted that the four measures of the introduction and the theme are accompanied with Latin feel by the rhythm section. The second entrance of the theme is accompanied with Swing feel.
BILLIES’ BOUNCE
Date • 26 November 1945
Version • Take 5 / Master Take
Recording Company • Savoy
Location • WOR Studios, New York
Running Time • 3:07
Available Version • 8
Note • Some parts of the melody are harmonized by Parker. Thematic harmonization is not notated in Omnibook.
THE BIRD
Date • December 1947
Version • One Take
Recording Company • Mercury
Location • Carnegie Hall, New York
Running Time • 4:43
Available Version • 2
Note • The piano introduction is not notated.
BIRD GETS THE WORM
Date • 21 December 1947
Version • Take 3 / Master Take
Recording Company • Savoy
Location • United Sound Studios, Detroit
Running Time • 2:34
Available Version • 3
Note • The multi-measure rest at the end of the transcription was played by trumpeter Miles Davis, trading fours with Parker.
BLOOMDIDO
Date • 6 June 1950
Version • One Take
Recording Company • Mercury
Location • Unknown Studios, New York
Running Time • 3:23
Available Version • 1
Note • The introduction is not notated.
BLUE BIRD
Date • 21 December 1947
Version • Take 3 / Master Take
Recording Company • Savoy
Location • United Sound Studios, Detroit
Running Time • 2:49
Available Version • 3
Note • The title is also spelled as Bluebird.
BLUES (FAST)
Date • Early April 1950
Version • One Take
Recording Company • Mercury
Location • Unknown Studios, New York
Running Time • 2:44
Available Version • 1
Note • The multi-measure rest after the piano solo signifies the drum solo.
BLUES FOR ALICE
Date • 8 August 1951
Version • One Take
Recording Company • Mercury
Location • RCA 24th Street Studios, New York
Running Time • 2:45
Available Version • 1
Note • The four measures of introduction are not notated.
BUZZY
Date • 8 May 1947
Version • Take 5 / Master Take
Recording Company • Savoy
Location • Harris Smith Studios, New York
Running Time • 2:29
Available Version • 5
Note • All available versions were recorded on the same recording session.
CARD BOARD
Date • Circa March 1949
Version • One Take
Recording Company • Mercury
Location • Unknown Studios, New York
Running Time • 3:10
Available Version • 1
Note • The title is also spelled as Cardboard.
CELERITY
Date • Circa Fall 1950
Version • One Take
Recording Company • Mercury
Location • Gjon Mili Studio, New York
Running Time • 1:33
Available Version • 1
Note • The title is sometimes spelt as Celebrity.
CHASING THE BIRD
Date • 8 May 1947
Version • Take 4 / Master Take
Recording Company • Savoy
Location • Harris Smith Studios, New York
Running Time • 2:44
Available Version • 8
Note • The title is also spelled as Chasin’ The Bird. Countermelody played by Miles Davis is also an interesting thematic treatment for further study.
CHERYL
Date • 8 May 1947
Version • Take 1 & 2 / Master Take
Recording Company • Savoy
Location • Harris Smith Studios, New York
Running Time • 2:55
Available Version • 16
Note • Take 1, a false start, was added to take 2 and released as one track.
CHI CHI
Date • 30 July 1953
Version • Take 1 / Alternate Take
Recording Company • Mercury
Location • Fulton Recording, New York
Running Time • 3:08
Available Version • 6
Note • The introduction is not notated. All available versions were recorded on the same recording session.
CONFIRMATION
Date • 30 July 1953
Version • Take 3 / Master Take
Recording Company • Mercury
Location • Fulton Recording, New York
Running Time • 2:58
Available Version • 7
Note • The pick-up note of the theme is not notated.
CONSTELLATION
Date • 18 September 1948
Version • Take 5 / Master Take
Recording Company • Savoy
Location • Harris Smith Studios, New York
Running Time • 2:26
Available Version • 5
Note • Four-measures introduction is not notated.
COSMIC RAYS
Date • 30 December 1952
Version • Take 2 / Master Take
Recording Company • Mercury
Location • Unknown Studios, New York
Running Time • 3:04
Available Version • 2
Note • The introduction is not notated. Two available versions were recorded on the same date. Two takes have different improvised themes.
DEWEY SQUARE
Date • 28 October 1947
Version • Take C / Master Take
Recording Company • Dial
Location • WOR Studios, New York
Running Time • 3:05
Available Version • 3
Note • The introduction is not notated. All available versions were recorded on the same date.
DIVERSE
Date • 5 May 1949
Version • Tune X alternate
Recording Company • Mercury
Location • Unknown Studios, New York
Running Time • 3:16
Available Version • 1
Note • The introduction is not notated. The confusion as to the identification of the track on this recording date has been noted. For instance, Segment and Diverse are the same composition with same thematic material, but listed with different titles.
DONNA LEE
Date • 8 May 1947
Version • Take 5 / Master Take
Recording Company • Savoy
Location • Harris Smith Studios, New York
Running Time • 2:32
Available Version • 9
Note • A fragment of Honeysuckle Rose is used in measure 15.
K.C. BLUES
Date • 17 January 1951
Version • One Take
Recording Company • Mercury
Location • Unknown Studios, New York
Running Time • 3:24
Available Version • 1
Note • K.C. is short for Kansas City.
KIM (NO. 1)
Date • 30 December 1952
Version • Take 2 / Alternate Take
Recording Company • Mercury
Location • Unknown Studios, New York
Running Time • 2:58
Available Version • 2
Note • The introduction is not notated. Themes are improvised.
KIM (NO. 2)
Date • 30 December 1952
Version • Take 4 / Master Take
Recording Company • Mercury
Location • Unknown Studios, New York
Running Time • 2:58
Available Version • 2
Note • The introduction is not notated. Themes are improvised.
KLAUN STANCE
Date • 21 December 1947
Version • One Take
Recording Company • Savoy
Location • United Sound Studios, Detroit
Running Time • 2:41
Available Version • 1
Note • The title is also spelled as Klaunstane.
KO KO
Date • 26 November 1945
Version • Take 2 / Master Take
Recording Company • Savoy
Location • WOR Studios, New York
Running Time • 2:53
Available Version • 10
Note • The multimeasure rest in the theme signifies a solo passage played by the trumpeter.
LAIRD BAIRD
Date • 30 December 1952
Version • One Take
Recording Company • Mercury
Location • Unknown Studios, New York
Running Time • 2:44
Available Version • 1
Note • Omnibook notes Parker’s use of Diminished Scale in the improvisation.
LEAP FROG
Date • 6 June 1950
Version • Take 11 / Master Take
Recording Company • Mercury
Location • Unknown Studios, New York
Running Time • 2:29
Available Version • 11
Note • Drum introduction is not notated. All eleven available versions were recorded on the same date.
MARMADUKE
Date • 24 September 1948
Version • Take 12 / Master Take
Recording Company • Savoy
Location • Harris Smith Studios, New York
Running Time • 2:42
Available Version • 12
Note • All twelve available versions were recorded on the same date.
MERRY-GO-ROUND
Date • 24 September 1948
Version • Take 2 / Master Take
Recording Company • Savoy
Location • Harris Smith Studios, New York
Running Time • 2:25
Available Version • 2
Note • Both available versions were recorded on the same date. The title is also spelled as Merry Go Round.
MOHAWK (NO. 1)
Date • 6 June 1950
Version • Take 6 / Master Take
Recording Company • Mercury
Location • Unknown Studios, New York
Running Time • 3:34
Available Version • 2
Note • In Mohawk (No. 1), the melody, played by Parker, is notated one octave higher. In Mohawk (No. 2), the transcription shows the actual register for E-flat saxophone.
MOHAWK (NO. 2)
Date • 6 June 1950
Version • Take 3 / Alternate Take
Recording Company • Mercury
Location • Unknown Studios, New York
Running Time • 3:48
Available Version • 2
Note • In Mohawk (No. 1), the melody, played by Parker, is notated one octave higher. In Mohawk (No. 2), the transcription shows the actual register for E-flat saxophone.
MOOSE THE MOOCHE
Date • 28 March 1946
Version • Take 2 / Master Take
Recording Company • Dial
Location • Radio Recorders Studios, Hollywood
Running Time • 3:02
Available Version • 13
Note • The title is the nickname of Emery Byrd, who was Parker’s drug supplier in Los Angeles.
MY LITTLE SUEDE SHOES
Date • 12 March 1951
Version • One Take
Recording Company • Mercury
Location • Unknown Studios, New York
Running Time • 3:03
Available Version • 7
Note • Eight measures of percussion introduction are not notated.
NOW’S THE TIME (NO. 1)
Date • 30 July 1953
Version • One Take
Recording Company • Mercury
Location • Fulton Recording, New York
Running Time • 3:01
Available Version • 23
Note • The theme was omitted in the transcription which can be found in Now’s The Time (No. 2). It is noted that Parker treated the theme freely in this version.
NOW’S THE TIME (NO. 2)
Date • 26 November 1945
Version • Take 4 / Master Take
Recording Company • Savoy
Location • WOR Studios, New York
Running Time • 3:15
Available Version • 23
Note • The actual tempo seems slower than the tempo marking (M.M. = 220).
ORNITHOLOGY
Date • 28 March 1946
Version • Take 4 / Master Take
Recording Company • Dial
Location • Radio Recorders Studios, Hollywood
Running Time • 2:59
Available Version • 44
Note • One of Parker’s favorite themes. It is noted that the triplet figures at the end of the theme were replaced with simpler melodic figures in the later versions.
AN OSCAR FOR TREADWELL
Date • 6 June 1950
Version • Take 4 / Master Take
Recording Company • Mercury
Location • Unknown Studios, New York
Running Time • 3:22
Available Version • 2
Note • Both available versions were recorded on the same date.
PARKER’S MOOD
Date • 18 September 1948
Version • Take 5 / Master Take
Recording Company • Savoy
Location • Harris Smith Studios, New York
Running Time • 3:02
Available Version • 6
Note • The multi-measure rest between Parker’s improvisation signifies ten measures of piano solo.
PASSPORT
Date • 5 May 1949
Version • Tune Z
Recording Company • Mercury
Location • Unknown Studios, New York
Running Time • 2:59
Available Version • 1
Note • Two different songs share the same title, including Passport (Tune Y) and Passport (Tune Z). The latter is included in Omnibook.
PERHAPS
Date • 24 September 1948
Version • Take 7 / Master Take
Recording Company • Savoy
Location • Harris Smith Studios, New York
Running Time • 2:32
Available Version • 7
Note • The introduction is not notated. All available versions were recorded on the same date.
RED CROSS
Date • 15 September 1944
Version • Take 2 / Master Take
Recording Company • Savoy
Location • WOR Studios, New York
Running Time • 3:08
Available Version • 2
Note • Both available versions were recorded on the same date. There is a slight alternation of the thematic treatment in the bridge of take 1 and take 2.
RELAXING WITH LEE
Date • 6 June 1950
Version • Take 4 / Alternate Take
Recording Company • Mercury
Location • Unknown Studios, New York
Running Time • 3:56
Available Version • 6
Note • Four measures of introduction are not notated. It is noted that the melodic fragment of Bizet’s Carmen was quoted from measure eight to eleven in this improvised theme.
SCRAPPLE FROM THE APPLE
Date • 4 November 1947
Version • Take C / Master Take
Recording Company • Dial
Location • WOR Studios, New York
Running Time • 2:54
Available Version • 21
Note • The introduction is not notated.
SEGMENT
Date • 5 May 1949
Version • Tune X
Recording Company • Mercury
Location • Unknown Studios, New York
Running Time • 3:19
Available Version • 1
Note • The introduction is not notated. The confusion as to the identification of the track in this recording date has been noted. For instance, Segment and Diverse are the same composition, but listed with different titles.
SHAWNUFF
Date • 11 May 1945
Version • One Take
Recording Company • Guild
Location • Unknown Studios, New York
Running Time • 3:00
Available Version • 3
Note • The title is also spelled as Shaw ‘Nuff.
SHE ROTE (NO. 1)
Date • 17 January 1951
Version • Take 3 / Alternate Take
Recording Company • Mercury
Location • Unknown Studios, New York
Running Time • 3:09
Available Version • 2
Note • Both available versions were recorded on the same date.
SHE ROTE (NO. 2)
Date • 17 January 1951
Version • Take 5 / Master Take
Recording Company • Mercury
Location • Unknown Studios, New York
Running Time • 3:06
Available Version • 2
Note • Both available versions were recorded on the same date.
SI SI
Date • 8 August 1951
Version • One Take
Recording Company • Mercury
Location • RCA 24th Street Studios, New York
Running Time • 2:38
Available Version • 1
Note • Similar chord frame as Blues For Alice.
STEEPLECHASE
Date • 24 September 1948
Version • Take 1 & 2 / Master Take
Recording Company • Savoy
Location • Harris Smith Studios, New York
Running Time • 3:11
Available Version • 3
Note • The short take 1 has a false start which was released with take 2 as one track. The third version was privately recorded on 23 June 1951.
THRIVING FROM A RIFF
Date • 26 November 1945
Version • Take 3 / Master Take
Recording Company • Savoy
Location • WOR Studios, New York
Running Time • 2:55
Available Version • 3
Note • The title is also spelled as Thrivin’ From A Riff. This composition was later renamed as Anthropology.
VISA
Date • March 1949
Version • One Take
Recording Company • Mercury
Location • Unknown Studios, New York
Running Time • 2:58
Available Version • 3
Note • Trumpeter Kenny Dorham can be heard in this version.
WARMING UP A RIFF
Date • 26 November 1945
Version • One Take
Recording Company • Savoy
Location • WOR Studios, New York
Running Time • 2:35
Available Version • 1
Note • Parker’s improvisation based upon the chord frame of Cherokee.
YARDBIRD SUITE
Date • 28 March 1946
Version • Take 4 / Master Take
Recording Company • Dial
Location • Radio Recorders Studios, Hollywood
Running Time • 2:53
Available Version • 6
Note • The melodic phrase in system 9, first and fourth measures, was developed into the theme of Cool Bues.
REFERENCE
Aebersold, Jamey and Ken Slone. Charlie Parker Omnibook. Lynbrook: Atlantic Music Corp., 1978.
Parker, Charlie. Charlie Parker: At Birdland Vol. 2. Ember EMBCD 504, 2000. Compact discs.
____________. Charlie Parker: The Complete Savoy and Dial Studio Recordings 1944-1948. Savoy 92911-2, 2000. Compact discs.
____________. Bird: The Complete Charlie Parker on Verve. Verve 837 141-2, 1988. Compact discs.
