About 482-and-half days before configuring myself into a fully-boring attaché of music research machine to complete Charlie Parker: The Analytical Study of Twenty-Two Performance Versions of Now’s The Time, I was sitting in a dusky corner of the White Library, all alone, slowly browsing through countless rolls of ancient microfilms (pretending they were yummy dinner rolls), yawning, and secretly thinking about al dente spaghetti, grilled veggies, and Alfredo sauce all while maintaining a somewhat serious-looking posture.
I was young, mildly hungry, and perfectly happy of being oh-so-geeky.
I thought: Even if the goofy bunny from Alice in Wonderland jumping out of nowhere to promise me a magical trip of my life time that might-or-might-not have "off-my-head" as bonus, I would have semi-respectfully declined the kind invitation (unless the free life-time espresso coupon from Dean & DeLuca café was also on the table) and again buried my head into the chronicle of historical fancies of Down Beat articles until the poor microfilm machine was at long last anointed by All Spark and transformed into a cute Autobots after years of prayers so it can finally run away from me, the zany-geeky-head that was, and still is, mildly hungry.
Down Beat magazine was chosen as the reference to conduct the preparatory research regarding jazz alto saxophonist Charlie Parker’s life, critics and public’s reactions to his music, and events related to Parker after his untimely death in 1955. Magazines such as Metronome and Esquire also occupied important roles in the jazz community during Parker’s active career as a musician. Nonetheless, Down Beat was selected due it accessibility and broad coverage of events associated with Parker after his death. Down Beat, originally based in Chicago, was first published in 1934 by its owner Albert J. Lipschultz. The magazine underwent several changes in its management and has gradually extended its influence from a directory with a short list of musicians to the authoritative publication in the field of modern jazz. Several notable jazz critics contributed articles in Down Beat over the decades, such as Ira Gitler, Dan Morgenster, and Leonard Feather, who became the magazine’s New York correspondent in 1951 and was a notable acquaintance of Parker.
As Parker’s recordings have been reviewed extensively in Down Beat, a brief explanation regarding Down Beat’s rating system is necessary. A preliminary four-step rating system was used by Down Beat writer Michael Levin in May 1946. In January 1951, a new rating system was adopted, using numbers from zero to ten to indicate the quality of recordings. In May 1952, the five step rating system replaced the second rating system and became the standard rating system and the practice has continued to the present. Changes regarding the rating system contribute to create confusion in understanding the reception of Parker’s music. For instance, a 1947 review which gave Parker’s Bird Lore a rating of two stars by using the first rating system and a June 1952 review which gave Parker’s Autumn In New York a rating of two stars by using the third rating system do not indicate the same reception due to the difference of rating systems.
1940s
Locke offered a brief introduction of the Jay McShann Orchestra with favorable comments. Locke, the first contributor to mention Parker’s music in Down Beat, stated that “Charlie Parker offers inspired alto solos, using a minimum of notes in a fluid style with a somewhat thin tone but a wealth of pleasing ideas.”
The author presented a brief but favorable review of Tiny's Tempo and I'll Always Love You Just the Same, that were included in Savoy 526. The author also claimed that “Tiny himself gets plenty of opportunity to display his single-string technique, which is after all the main attraction of these sides.” Parker was not mentioned. Nonetheless, this session produced Red Cross, named after Bob Redcross, which was the first composition to be copyrighted under Parker’s name.
Haynes focused the review upon Dizzy Gillespie, although the disc was recorded under the leadership of Parker. Negative comments were made about Parker, Gillespie, Miles Davis, and Max Roach. Haynes also accused the music that was presented by Parker and his colleagues of being harmful to the development of jazz music.
The author briefly presented the news of Parker’s nervous breakdown. It is noted that the term “re-bop” was used which was associated with the title of Parker’s 1945 recording Charley Parker’s Ree Boppers, suggesting the term Bebop was not fully established during 1946.
The author briefly noted Parker’s recovery in Camarillo State Hospital in California.
The author reviewed the six-sides recording by Bebop musicians. Parker’s Bird Lore, two stars, Bebop, three stars, Lover Man, three stars, and Confirmation, three stars, were given positive comments. The author also noted that he was “still bothered by a repetitiousness of dynamics and ideas,” but the overall review was favorable.
The author briefly presented the news of Parker’s release from Camarillo State Hospital.
The author briefly noted the news of Parker’s engagements with the Errol Garner Trio and Howard McGhee’s band after his release from Camarillo State Hospital.
The author briefly presented the news as to the dispute between Ross Russell’s Dial Records and Savoy Records over Parker’s contracts.
The author gave average ratings to Parker’s Moose The Mooche, two stars, and Yardbird Suite, three stars, that were included in Dial 1003. The author claimed that Parker’s Moose The Mooche was “too jerky even for bebop and the solos are for the most part ordinary.”
The author gave a favorable review of Parker’s Relaxin’ At Camarillo, three stars, which was released as Dial 1012.
The article focused upon Max Roach’s comments upon the music of Stravinsky, his study of vibes , and his associations with Parker, which was not elaborated upon. It is noted that Roach’s interest in Classical music and composition corresponded with Parker’s.
This article is one of the most cited interviews associated with Parker. The debatable information regarding Parker’s musical breakthrough was paraphrased by authors, citing that “working over Cherokee with Fleet, Charlie suddenly found that by using higher intervals of a chord as a melody line and backing them with appropriately related changes, he could play this thing he had been ‘hearing.’”
Wilson reported trumpeter Gillespie’s response to Parker’s remark in the 1949 Down Beat article “No Bop Roots in Jazz: Parker” regarding the origin of Bebop. Gillespie stated that “Bop is an interpretation of jazz,” establishing the association between traditional swing-oriented jazz and Bebop. Gillespie also stated that “Bop is part of jazz and jazz music is to dance to,” revealing the philosophical differences between Gillespie and Parker.
1950s
The authors provided an annotated transcription of Parker’s improvisation on Relaxin' at Camarillo, take C, master take, dated 26 February 1947, pointing out Parker’s innovative treatment regarding the placement of phrases. A transcription was provided for E-flat instruments.
The author reviewed Parker’s engagement with strings at Birdland in July 1950 which, along with the Parker with Strings album, which had a significant impact upon the acceptance by the general public of Parker’s music. The author also stated that reviewer Robert Sylvester of Daily News called for a revision of his previous negative review of Parker’s music due to Parker’s stringed ensemble engagement, revealing the importance of the event in Parker’s career.
Harris presented a report regarding Roy Haynes, who was the drummer in Parker’s stringed ensemble. “Pres and Bird are the greatest to work with because they have creative minds,” Haynes stated. “Which also helps me to be thinking at all times.”
The author reported Parker’s concert tour in Sweden which was booked by Shaw Artists Corp. with Estard, a Swedish jazz journal, and Nils Helstrom, the editor and the owner of Estard, offered sponsorship.
Lennie Tristano participated in a blindfold test conducted by Leonard Feather. Eight recordings, excluding Parker’s records, were played. However, Tristano discussed the importance regarding the musical influence of Charlie Parker. Tristano stated that “if Charlie Parker wanted in invoke plagiarism laws he could sue almost everybody who’s made a record in the last ten years.”
Parker contributed a short essay to discuss his own music in which he gave himself an unfavorable review of his performances in Lover Man, Be-Bop, and Gypsy. Parker stated that “they were all awful.”
The author gave both Parker’s Autumn In New York and Temptation, included in Mercury 11068, a two stars rating, arguing Parker should move on after the success of the first string album.
The author reported the news regarding Parker’s engagement in the Tiffany club in L.A., owned by Chuck Landis.
The author reported the dispute regarding the engagement of Charlie Parker and Flip Phillips in Say When club, owned by Dutch Neiman.
Hentoff’s article offered Parker’s arguments regarding his recordings with strings and other jazz related subjects. The account of Parker’s never-realized vision as to the further development of his music was presented. “I’d like to do a session with five or six woodwinds, a harp, a choral group, and a rhythm section.” Parker stated. “Something on the line of Hindemith’s Kleine Kammermusk.”
A brief note of Parker was given, claiming Parker as a pioneer of Bebop.
The author presented the news of Parker’s death.
Feather offers a perspective of Parker’s life and music from the standpoint of a personal friend. The article was followed by a collection of short essays by musicians, including Duke Ellington, Dizzy Gillespie, Benny Goodman, Norman Granz, Charlie Mingus, Bobby Hackett, and Jimmy Raney, documenting their reactions to Parker’s death.
The author reported the event of the memorial concert at Carnegie Hall to raise money to establish the memorial found to benefit Parker’s two sons, Francis Leon Parker and Larid Parker.
The author offered information as to the recording releases triggered by Parker’s death, noting Norman Granz’s 10 LPs project, The Charlie Parker Story, to be the most comprehensive memorial set. The author also noted that Concert Hall Society had purchased Ross Russell’s Dial recorders and released Parker memorial albums under the label of Jazztone Society.
Ulanov’s article presented his recollection and commentary associated with Parker, providing information about Parker’s performance on Tiger Rag in Battle of Bands, 1949
The author reviewed Parker’s reissued recording, The Magnificent Charlie Parker, Clef MG C-646, LP, which was rated as a five stars album. The author commented that “the set is one of many reminders that we have lost the most creative soloist of the modern jazz era.”
A photo of Parker, credited to Bob Parent, was presented.
The author briefly noted the news regarding the Parker memorial concert, that was held at Carnegie Hall, dated 31 March 1955. The concert raised $5,739.96, after tax reduction, to be placed in the trust fund to benefit Parker’s two sons, Leon and Larid Parker. The date of the concert that was cited by the anonymous author is questionable. The actual date of the concert was April 2, 1955.
The news that Parker was voted by readers to be the fourth person to enter the Music Hall of Fame of Down Beat was announced.
The author offered the news regarding the administration decision of the Charlie Parker Memorial Fund to turn over money generated by 2 April 1955 memorial concert to “Local 802 of AFM for the purpose of education and maintenance and support of Leon Parker and Laird Parker.”
Hoefer offered recollections of his personal experiences in hearing Parker’s music in two live situations.
Gold contributed an essay to criticize the Parker-worship phenomena, stating that “jazz needs individuality, not imitation.”
1960s
The author provided the news of the development as to Metro Goldwyn Mayer and Charlie Parker Foundation’s efforts to seek royalties, announcing the plan to establish the Charlie Parker Record Co. and the Charlie Parker Music Co. It is noted that Verve Records was purchased by Metro-Goldwyn-Mayer during December of 1960 as stated in the article.
The author presented the follow-up regarding the actions after the announcement on April 1961by M-G-M and Charlie Parker Estate to straighten out the legal situation of Parker’s recordings.
The author presented the transcriptions of Charlie Parker’s Relaxin' at Camarillo, take C, master take, dated 26 February 1947, and Groovin' High, dated 28 February 1945, along with other transcriptions of improvisations by Lester Young, Benny Goodman, Johnny Hodges, and Benny Carter. It is noted that Relaxin' at Camarillo was taken from a pervious 1950 Down Beat article by Russo, B, and L. Lifton "Jazz off the Record: Charlie Parker's Solo on Relaxin' at Camarillo." Transcriptions are provided for C instruments.
Lees transcribed the interview with Gillespie to document his recollections of Parker, emphasizing the events during 1939 to 1946. Gillespie’s opinions regarding Parker’s musical contributions, such as Parker’s use of accent, melodic sense, and accompaniment skill, were also documented.
The author documented the event when Dizzy Gillespie and other musicians gathered around Parker’s grave that was located in Lincoln Cemetery, Missouri.
Hoefer offered a summery of Parker’s musical activities during 1940 to late 1942. A brief discography that outlined Parker’s association with the Jay McShann Orchestra was provided.
Wiedemann provided arguments regarding Parker’s discography included in Robert G. Reisner’s book Bird: The Legend of Charlie Parker. Wiedemann stated that Reisner’s discography of Parker’s recordings, credited to Wiedemann, was out-of-date and was reprinted in other publications without permission.
Hoefer offered a summery of Parker’s association with Earl Hines’s big band during late 1942 to 1943. The band, claimed by Hoefer as the first big band to incorporate Bebop elements, was not recorded due to the first recording ban imposed by the American Federation of Musicians. It is noted that Parker played tenor saxophone in Hines’s big band.
Welding reviewed the memorial concert to honor Parker, presented by Gene Shaw Quintet, Joe Daley Trio, Dodo Marmarosa Trio, and Roland Kirk Quartet.
Hoefer offered some short biographical data of trumpeter Buddy Anderson, who introduced Parker to Dizzy Gillespie. A brief discography of Buddy Anderson is provided.
Gitler presented a summery regarding the development of Bebop during the ‘40s, Parker’s musical activities, and his status. Gitler also stated that “at the Royal Roost, Parker would blow the opening phrases of Paul Hindemith’s Kleine Kammermusick, as a call to let his sidemen know it was time to join him on the stand for the next set,” offering insight of Parker’s knowledge regarding Classical music.
The author offered the news regarding the up-coming movie, The Bird, based on John A. Williams’s novel Night Song, in which Dick Gregory, a comedian, was offered the leading role.
Ross Russell, the owner of Dial Records, was interviewed by Martin Williams, discussing various subjects relating to the recording firm. Russell recalled events such as Parker’s hospitalization in Camarillo State Hospital. The article was continued in the next issue of Down Beat.
The second part of the article interviewing Ross Russell was presented. Russell offered more recollections regarding Parker, along with other jazz related subjects. Russell confirmed that Parker did credit Benny Harris as the co-composer for Ornithology, stating that “he did say that it was a co-composer credit, Benny Harris and himself.”
As a featured article in Down Beat’s tribute for the 10th anniversary of Parker’s death, Cohen, the attorney for members of the Parker family, criticized the presentations in publications that unfaithfully portrayed Parker. The author provided two sources, Parker’s 1953 letter to New York State Liquor Authority and 1954 telegrams regarding the death of Pree, Parker’s daughter with Chan Parker, to support his arguments.
As a featured article in Down Beat’s tribute for the 10th anniversary of Parker’s death, Feather presented his personal recollections regarding Parker’s music and life. Parker’s knowledge of Classical music was stated, citing Parker’s interest in Schoenberg, Debussy, Shostakovitch, and Beethoven’s music.
This is a reprint of Parker participation in a blindfold test conducted by Leonard Feather during August of 1948 for Metronome, titled “A Bird’s-Ear Vew of Music.” Twelve music passages, including Stan Kenton’s Monotony and Elegy for Alto, Benny Goodman’s Nagasaki, Sonny Stitt’s Seven Up, Jay McShann’s Sepian Bounce, George Wettling’s Heebie Jeebies, Eugene Goosens-Cincinnati Symphony’s The Song of the Nightingale, Oran Page’s Lafayette, Count Basie’s House Rent Boogie, Charlie’s Barnet’s The Gal from Joe’s, Dizzy Gillespie’s Stay on It, and Johnny Hodges’s Passion Flower, in 78s format were played. Parker unerringly identified the performers or composers and provided a rating and commentary for each music passage. It is noted that Parker gave low rating to his own work in Sepian Bounce and successfully identified Stravinsky as the composer for The Song of the Nightingale, expressing his admiration for composers such as Prokoviev, Hindemith, Ravel, Debussy, Wagner, Bach, and Stravinsky.
Parker’s ability to develop complex improvisations from basic motives is addressed with supplemental transcribed solo excerpts. Excerpts of Groovin’ High and Chasin’ the Bird are listed in parallel to provide critical comparison. Transcriptions include Parker’s solo on The Jumpin’ Blues, dated 2 July 1942; Just Friends, dated 30 November 1949; Klact-oveeseds-tene take B, dated 4 November 1947; Thrivin’ from a Riff take 3, dated 26 November 1945; Groovin’ High, solo break and first 9 bars, dated 28 February 1945 as 1st version indicated in the article; Groovin’ High, 2 bars solo break followed by first 9 bars of 2nd chorus, dated 11 December 1948 as 2nd version indicated in the article; Groovin’ High, solo break and first 9 bars, dated 29 September 1947 as 3rd version indicated in the article; the improvised bridge on the melody of Chasin’ the Bird take 1 (as 1st notated excerpt), take 3 (as 2nd notated excerpt), and take 4 (as 3rd notated excerpt), dated 8 May 1947. A transcription is provided for C instruments.
The original interview, dated 9 September 1949, was reprinted in this reduced and revised version as Down Beat offered a tribute for the 10th anniversary of Parker’s death.
As a featured article in Down Beat’s tribute for the 10th anniversary of Parker’s death, Segal offered his recollections regarding Parker’s 1948, 1949, 1953, and 1955 appearances in Chicago.
A transcription of Parker’s solo on Parker’s Mood take 5, dated 18 September 1948, is provided for C instruments.
As a featured article in Down Beat’s tribute for the 10th anniversary of Parker’s death, Williams’s essay, which was partially included in author’s book The Jazz Tradition, it presented commentaries regarding Parker’s music and his musical innovations.
Chesmore reviewed the opera, Without Memorial Banners, which was dedicated to Parker. The opera’s libretto was written by Dan Jaffe and the music was composed by Herb Six as noted.
Quinn reviewed the 11th annual Charlie Parker Memorial Concert, held in Chicago by Joe Segal.
Hoefer’s article provided some brief biographical data of Miles Davis’s early development, including the discussion of Davis’s association with Parker.
1970s
Gitler offered an essay on Parker’s music, providing recollections by Stan Levey and Barry Harris. Parker’s innovative rhythmic sense was discussed.
Williams briefly analyzed Parker’s Embraceable You take A, dated 28 October 1947. A transcription is provided for C instrument.
The author presented the news of the Modern Jazz Showcase in Chicago, organized by Joe Segal, paying homage to Parker’s musical contributions.
The author provided the news of the activities organized by the Parker Center Foundation, pursuing an institution of Charlie Parker Center of Performing Arts. It is noted that 1971 was designated by Eddie Baker as “Charlie Parker Year” in Kansas as stated. Baker is the founder of the Charlie Parker Memorial Foundation.
The author presented the news of the event, organized by the Charlie Parker Memorial Foundation, to unveil a bronze headstone on Parker’s grave. It is noted that the article stated that Kansas City mayor, Charles B. Wheeler, also designated 1971 as “Charlie Parker Year.”
Baker briefly analyzed Parker’s Now’s the Time, dated 30 July 1953. A transcription is provided in alto key with chord symbols for C instruments.
Keepnews gave a favorable review of The Comprehensive Charlie Parker Live Performance, Vol. 1, ESP-Bird-1, five stars.
Balleras reviewed Supersax Plays Bird, Capitol ST-11177, giving it a five-stars rating.
The authors presented an introductory essay regarding the development of Supersax, a band that specialized in performing orchestrated improvisations by Parker, including the transcription of an interview with Med Flory, the alto saxophonist in the band.
Fowler used Parker’s Ornithology as an example to demonstrate the technique of motivic development.
Shaw offered reviews on five recordings, including Parker’s The Verve Years 1950-1954, Verve VE 2-2512, four stars.
Tesser offered discographical commentary and reviews as to Savoy Records producer Bob Porter’s projects, including Milt Jackson’s The First Q, Savoy SJL 1106, four stars, Charlie Parker’s Encores, Savoy SJL 1107, three stars, Stan Getz’s Opus De Bop, Savoy SJL 1105, four stars, Art Pepper’s Discoveries, Savoy SJL 2217, three-and-one-half stars, Fats Navarro’s Fat Girl, Savoy SJL 2216, five stars, and Pete Johnson and Cozy Cole’s All-Star Swing Groups, Savoy SJL 2218, two stars.
McDonough offered reviews of 16 recordings, including Charlie Parker’s Apartment Jam Session, Zim ZM 1006, four and half stars, and At The Pershing Ballroom, Zim 1003, three stars.
Berg reviewed ten recordings, including Afro-Cuban Jazz, Verve-2-2522, featuring Parker, four stars, and Parker’s Bird At The Roost, Savoy SJL 1108, five stars.
McDonough offered reviews of Parker’s recordings One Night at Birdland, Columbia JG 34808, four stars, Summit Meetings at Birdland, Columbia JC 34831, five stars, and Bird with Strings, Columbia JC 34832, five stars.
1980s
McDonough reviewed Supersax’s Chasin’ the Bird, PA/USA 7038, giving it a rating of four and half stars.
The authors provided recollections regarding Parker from jazz musicians, including Max Roach, Art Blakey, Sonny Rollins, Johnny Griffin, Jimmy Heath, Leonard Feather, J. J. Johnson, Jackie McLean, Norman Granz, Charles Owens, Med Flory, and Benny Carter. A short selected Parker discography was also included.
Knight provided a biographical outlook of Parker’s life. A short bibliography was included.
Jeske provided a biographical outline of Jay McShann, including McShann’s recollections of Parker. “They never even applauded when Bird got through,” McShann recalled. “The crowd would just go crazy when Jimmy got through playing. Jimmy could blow, but it was no comparison to what Bird was doing. But the people weren’t ready for it.” A brief selected discography of McShann is included.
Davis reviewed Shepp’s album, SteepleChase, SCS1149, five stars. This album consisted of six Parker original compositions and two standards that were performed frequently by Parker.
Sohmer reviewed Parker’s recordings, including One Night in Washington, Elektra Musician E1-60019, five stars, and Jazz Perennial: The Genius Vol. 7, Verve UMV 2617, five stars.
Lange reviewed recordings, including Charlie Parker on Verve, 1946-54, Verve OOMJ 3268 77, and The Complete Pacific Jazz Small Group Recordings of Art Pepper, Mosaic MR3-105.
Lateef offered discussions as to Parker’s musical innovations, including Parker’s timbre on alto saxophone, Parker’s use of “contrafactum,” and the aesthetic value of Parker’s music.
Lynch offered reviews of jazz videos, including Jazz Hoofer in which a film clip of Parker was included.
Cordle reviewed recordings, including Parker’s Birth of Bebop: Bird on Tenor, Stash 260, Bird: The Complete Royal Roost Performance Vol. 1 and 2, Savoy 2259-2260, Charlie Parker at Storyville, Blue Note 85108, and other recordings by Dizzy Gillespie, such as Groovin’ High, Musicraft 2009, featuring Charlie Parker on alto saxophone.
Bourne provided an introductory essay to Gary Giddin’s book Celebrating Bird: The Triumph of Charlie Parker and its associated video tape of the same name. The video tape is now also available in DVD format.
Lange reviewed Parker’s Bird: The Savoy Recordings, Master Takes, Savoy ZD 70737.
Isherwood presented the news of the filming process of Bird, directed by Clint Eastwood.
McDonough provided information of Philology Records, citing the release by the label of Parker’s Bird’s Eyes series, a large collection of privately recorded performances by Parker.
Lynch provided reviews of jazz videos, including Celebrating Bird: The Triumph of Charlie Parker, directed by Gary Giddins.
Thielemans participated in a blindfold test conducted by Fred Bouchard. Five music passages were played. Thielemans identified Benny Carter as the performers in Jam Blues, stating “Not Oscar or Bird.” Although Parker was listed as one of the performer in Jam Blues, however, the Bouchard did not state the method used to conduct the test. Thus, the readers were given no information as to whether or note the complete track was played. It is noted that Oscar Peterson played piano in Jam Blues which differed from Thielemans’s observation.
Yanow offered commentary on Clint Eastwood’s film Bird, which won two awards at Cannes Film Festival, presenting comments by Eastwood, the director, Forest Whitaker, the leading actor who portrayed Parker, and Lennie Niehaus, the writer. It is noted that the file was awarded the Grand Prix Technique de la Commission Supérieure Technique and Prix d'interprétation masculine du Festival International du Film in the Cannes Film Festival, 1988.
Ephland’s interview transcription contained Miles Davis’s brief commentary on Parker’s music. “If you listen to Ben Webster,” Davis stated. “You can heard Bird. You can hear the same breaks, like in Cottontail and C Jam Blues.”
Alto saxophonist Arthur Blythe participated in a blindfold test conducted by Howard Mandel. Six music passages were played, including Parker’s Just Friend. Blythe successfully identified Parker, commenting that Parker was “one of my foster parents” in his musical development.
Vocalist Cassandra Wilson participated in a blindfold test conducted by Gene Santoro. Six musical passages were played, including Parker’s This Time The Dream’s On Me. Cassandra successfully identified Parker as the performer, commenting that “Bird had such a command, could create such an atmosphere with the sound that he had.”
Whitehead offered commentary on Bird, a film directed by Clint Eastwood.
Pianist Tommy Flanagan participated in a blindfold test conducted by Fred Bouchard. Nine musical passages were played, including Parker’s Thrivin’ On A Riff. Flanagan identified the tune as Anthropology without commenting on Parker’s performance. It is noted that Thrivin’ On A Riff is also known as Anthropology.
Helland’s essay criticized the ignorance of the Citizens Stamp Advisory Committee to fail to issue a stamp to honor Charlie Parker, citing Gabon, a western Africa nation, has issued a Charlie Parker memorial stamp in 1984.
Whitehead offered reviews of Parker’s recordings that were reissued following the release of Eastwood’s film Bird, including The Complete Savoy Studio Sessions, Savoy Jazz ZDS 5500, Bird: The Complete Charlie Parker On Verve, Verve 837 141-2, four volumes of Bird At The Roost: The Savoy Years-The Complete Royal Roost Performance, ZDS 4411-4414, The Bird You Never Heard, Stash CD-10, and Bebop and Bird, Vols. 1 and 2, Hipsville R2 70197-70198.
The presentation is an excerpt of Smith’s piano arrangement based upon Parker’s Dewey Square, take C, dated 28 October 1947. An arrangement is provided for C instruments.
The author provided an event list to outline important activities of jazz musicians documented in Down Beat from 1940 to 1949, citing Parker’s nervous breakdown in 1946.
This article was reprinted from Down Beat, dated 26 August 1946, citing the event of Parker’s nervous breakdown in the late 1946.
McDonough provided an overview of Down Beat published during the 40's, citing the 1942 Down Beat review of Parker’s performance which was considered as the first documented account of Parker in Down Beat.
1990s
Stein presented information regarding the second annual benefit concert hosted by Doris Parker in Birdland to “help fund a center for addicted pregnant teenagers and their children.”
McDonough reviewed Cool Blues: Charlie Parker in Canada 1953, written by Mark Miller.
Davis presented arguments as to the historical background of Parker’s early recording session, dated 30 November 1949, interviewing Jay McShann, Frank Driggs, Pete Armstrong, and Bud Gould. Further discussions regarding Parker’s musical innovations were also provided.
This was a reduced reprint of Levin and Wilson’s article published in Down Beat, dated 9 September 1949.
Pulliam’s essay emphasized the significant discovery of Dean Benedetti’s privately recorded tapes of Parker’s improvisations, citing that the complete set will be issued by Mosaic Records.
Whiteis offered a short essay presenting McShann’s recollection of Parker.
Whitehead reviewed The Complete Dean Benedetti Recordings of Charlie Parker, Mosaic MD7-129, four and half stars.
Sohmer submitted a favorable review of The Complete Birth of the Bebop, Stash ST-CD-535, compact disc, giving it a five-stars rating.
Himes offered information regarding the creative process in the Allman Brothers’s album, Shades of Two Worlds, Epic 47877. Himes noted that Dickie Betts listened to Parker’s Cool Blues for inspiration.
A photo of Parker and Miles Davis performing together was printed with an account by Davis taken from the article printed in Down Beat, dated 6 April 1967.
Abern offered reviews of jazz videos, including Celebrating Bird: the Triumph of Charlie Parker, which was directed by Gary Giddins and Kendrick Simmons.
Corbett reviewed reissues by Savoy Records, including Parker’s The Genius of Charlie Parker, Savoy SV-0104, four stars, Charlie Parker Memorial, Savoy SV-0101, five stars, The Charlie Parker Story, Savoy SV-0105, five stars.
Shoemaker’s article offered reviews of compact disc reissues of Parker’s music, including The Complete Dial Sessions, Stash 567-70, five stars, The Immortal Charlie Parker, Savoy SV-0102, four stars, Charlie Parker Memorial, vol. 2, Savoy-0103, four stars, Bird At the High-Hat, Blue Note CDP 7 99787 2, five stars, An Evening At Home With Bird, Savoy SV-0154, four stars, and The Bird Returns, Savoy SV-1055, five stars.
This article was reprinted from the interview by Michael Levin and John S. Wilson, published in Down Beat, dated 9 September 1949.
This article was reprinted from the essay by John S. Wilson, published in Down Beat, dated 7 October 1949.
This essay was reprinted from the review by Nat Hentoff, published in Down Beat, dated. 6 March 1957.
This was a reprint of Nat Hentoff’s article published in Down Beat, dated 28 January 1953.
Williams interviewed alto saxophonist Frank Morgan, citing Parker’s influence upon Morgan. “It was actually Bird who made me start out on Clarinet.” Morgan stated. “He wouldn’t allow me to start on saxophone. Of course, my father agreed. At the time, the wisdom of it escaped me and I was mad at Bird for years about that.”
Birnbaum reviewed the compact disc reissues by Drive Archives Records, including Parker’s Carvin’ The Bird, Drive Archive 41020, four and half stars.
Ephland provided a concise discography of Parker’s recordings.
Gitler offered commentaries on Parker’s life and music in tribute to the 75th anniversary of Parker’s birth, presenting recollections and comments by Gerry Mulligan, Jackie McLean, Phil Woods, Percy Heath, Max Roach, Michael Weiss, and the author himself.
The transcription of Parker’s Parker’s Mood, take 5, dated 18 September 1948, is presented with a brief analysis. A transcription is provided for C instruments.
The transcription of Jackie Mclean’s solo on Dig, recorded in 1950, is presented with a brief theoretical annotation. According to Mclean, this particular performance was an attempt to duplicate Parker’s improvisational style, constituting as an important source in studying Parker’s musical influence.
Barros reviewed seven reissues by Savoy Records, including Parker’s Newly Discovered Sides by the Immortal Charlie Parker, Savoy 78809, three stars.
Anglesey presented the news of the second annual Charlie Parker Birthday Celebration at the Brooklyn Conservatory of Music.
Bourne interviewed alto saxophonist Phil Woods, citing Parker’s influence upon Woods.
Corbett reviewed Parker’s Yardbird Suite: the Ultimate Collection, Rhino 72260, five stars.
Barros reviewed books in the field of jazz study, including Charlie Parker: His Music and Life by Carl Woideck.
Corbett reviewed Charlie Parker, Verve 539 757, giving it a five stars rating.
Kavanaugh presented the news regarding ongoing developments as to the possibility of relocating Parker’s grave.
Conrad reviewed three reissues by Savoy, including Parker’s The Complete Live Performances on Savoy, Savoy Jazz 17921, five stars.
Koranksy presented the news regarding the development of Charlie Parker Memorial Park in the American Jazz Museum, citing that the move to relocate Parker’s remains was cancelled.
This was a reprint of Feather’s article in Down Beat, dated 20 April 1955.
This was a reprint of Hoefer’s article in Down Beat, dated 14 December 1951, reporting the event of Sidney Bechet and Parker performing at the Paris Jazz Festival.
2000s
This was a reprint of the Feather article in Down Beat in 1954. Shorty Rogers participated in a blindfold test conducted by Leonard. Rogers commented and rated six musical passages, including Parker’s She Rote. Rogers criticized Parker’s improvisation as “nothing but variations!”
The author presented the news from the Charlie Parker Jazz Festival, held annually at Tompkins Square Park in New York.
Panken reviewed Charlie Parker: The Complete Savoy And Dial Studio Recordings (1944-1948), Savoy Jazz B2911, five stars.
Ephland reviewed six record sets released by Savoy Records in the format of compact disc, including Charlie Parker: The Complete Savoy & Dial Master Takes, Savoy Jazz 17149, five stars.
Buium offered commentaries on the Massey Hall concert, that has been hailed as one of the most important events in jazz history as it was the only time that five leading jazz musicians, Charlie Parker, Dizzy Gillespie, Bud Powell, Charles Mingus, and Max Roach, played together. The author also provided an opposite account by Robert Fulford, Down Beat’s Toronto correspondent at the time, citing that “when the five stars worked as a quintet, the effect was less electric. They were not prepared, and their set was ragged at the edges. This was definitely not history’s best evening of jazz.”
Hadley reported events regarding the annual spring festival to honor Parker at the New England Conservatory.
Tenor saxophonist Wayne Shorter recalled his initial awareness of Parker’s music, stating Parker’s quotations technique in incorporating musical lines from Stravinsky’s Pétrouchka and Histoire du soldat.
