Charlie Parker and Chet Baker 70 years ago

In late October of 1953, about 70 years ago, producer Gene Norman—he of the label GNP/Crescendo—organized a mini-tour of the West Coast with two bands. The header was the Dave Brubeck Quartet, with Brubeck on piano, Paul Desmond on alto sax, Ron Crotty on bass, and Lloyd Davis on drums—1953 was a significant year for Brubeck: the quartet recorded Jazz at Oberlin on March 2 and Jazz at College of the Pacific on December 14, a month after that mini-tour.

The other band in the bill was a Charlie Parker quintet with Chet Baker on trumpet, Jimmy Rowles on piano, Carson Smith on bass, and Shelly Manne on drums (Parker and Baker had met the year before in California). As for Parker, on May 15 he had taken part in the famous "Quintet of the Year" concert at Massey Hall in Toronto, and in the second half of the year he would play at the Open Door in New York City, the location of some spectacular recordings and some well-known photographs by Bob Parent.

According to Leif Bo Petersen's chronology, the dates of that tour were as follows:

    October 30: Olympia, WA

    October 31: Seattle, WA

    November 1: Portland, OR

    November 2: Vancouver, BC, Canada

    November 4: Eugene, OR

    November 7: Hollywood, CA

    November 8: San Diego, CA

In Portland, OR, they were snapped by local photographer Carl Henniger:

Carson Smith and Charlie Parker

A few notes about Charlie Parker

Charlie Parker

After all the work putting together a three-hour podcast for Club de Jazz to celebrate Charlie Parker-s centennial (in Spanish), these are few notes I've jotted down: 

New Charlie Parker interview

Leigh Kamman

Wonders never cease. I've just discovered broadcaster Leigh Kamman's YouTube channel, as well as his website. Kamman passed away in 2014, aged 92.

Among the jewels in his vaults, there is the short interview below with Charlie Parker, posted only yesterday. It's a phone-in, and Kamman introduces himself as "The Little Bandmaster" from The 1280 Club on WOV, New York.

Bird quotes Satchmo

When Charlie Parker and Dizzy Gillespie burst into the jazz scene in the mid-1940s, much was made of the presumed animosity between the new and the older generations of musicians. Although there were some noises in that direction, let's just say that jazz journalism paid too much attention to celebrity status, fans and gossip.

Back in 1928, Louis Armstrong recorded this classic cadenza as the opening for his "West End Blues":

Charlie Parker must have been listening, since he used it twenty years after Armstrong, at least twice on record, both times while playing the blues, one at Carnegie Hall on Christmas day, 1949:

the other at St. Nicholas Arena in New York (St. Nick's), a couple of months later:

PS 2022-03-25: And a third one, on May 30, 1953, at Birdland with Bud Powell on piano and Charles Mingus on bass.

Barbara Carroll's first gig in NYC

(All the photos below are by William P. Gottlieb, and are available at the Library of Congress website.—click on them for a larger view.)

Pianist and singer Barbara Carroll passed away on February 12. She was 92, and hadn't quite retired. She was a two-handed pianist, as Hank Jones and Billy Taylor were, with big ears, and was active throughout her life, with a pause in the 1960s to raise a child. She has plenty of music available, much of it in trio format. Her "repertory" recordings for SESAC from 1959 (available as a download or via streaming through the "... And More Bears" label) are well worth a listen.

Carroll had piano lessons from a very early age, and attended the New England Conservatory, although her enthusiasm was aimed at jazz. During World War II, she toured her all-fermale trio around army camps in that part of the country, and after that, when she was just 22 years old, she landed her first gig in the Big Apple, almost by chance...

"When I came to New York, I knew nobody there except one musician, who introduced me to an agent, and immediately he was fortunate enough to get me a job opposite Dizzy Gillespie’s big band. I had a trio of my own, which consisted of Chuck Wayne on guitar, Clyde Lombardi on bass, and myself. Needless to say, I was so impressed with these two marvellous musicians I was working with that I was practically overwhelmed. Plus sharing the engagement with Dizzy’s band, which at that time included some great players like Ray Brown on bass, John Lewis on piano. Really fantastic."

Carroll interviewed by Les Tomkins in 1973

Barbara Carroll, Clyde Lombardi, Chuck Wayne
Downbeat Club, c. 14-20 August 1947

November 26, 1945 at Savoy Records

(Image from London Jazz Collector)
"Hen Gates" is Dizzy Gillespie

Monday, November 26, 1945. Just another day at the office for the small independent Savoy Records label from New Jersey, for which they booked WOR Studios in Manhattan. First on, Don Byas and his quintet:

Benny Harris (trumpet) Don Byas (tenor sax) Jimmy Jones (piano) John Levy (bass) Fred Radcliffe (drums)
   S5845    Candy
   S5846    How High The Moon
   S5847    Don By
   S5848    Byas-A-Drink

Next up (note the consecutive matrix numbers), the quintet lead by Charlie Parker, in his first ever session as a leader:

Miles Davis (trumpet) Charlie Parker (alto sax) Argonne Thornton (a/k/a Sadik Hakim, piano) Dizzy Gillespie (trumpet* and piano) Curley Russell (bass) Max Roach (drums)

WOR Studios, Broadway, NYC, November 26, 1945
   S5849-1  Warming Up A Riff
   S5850-1  Billie's Bounce
   S5850-2  Billie's Bounce
   S5850-3  Billie's Bounce
   S5850-4  Billie's Bounce
   S5850-5  Billie's Bounce
   S5851-1  Now's The Time
   S5851-2  Now's The Time
   S5851-3  Now's The Time
   S5851-4  Now's The Time
   S5852-1  Thriving On A Riff
   S5852-2  Thriving On A Riff
   S5852-3  Thriving On A Riff
            Meandering
   S5853-1  Ko Ko * 
   S5853-2  Ko Ko *

Listen to the music on YouTube or Spotify (below).

 

Newly discovered recordings of Charlie Parker, unveiled

UPDATE : One of two unissued tracks unveiled back in 2013 has surfaced on YouTube. However, this had been online for two years already, since Phil Schaap, who else?, aired it on September 20, 2018. The show is here (he plays the clip at 6:40, 9:42, 17:56, and 1:09:44). The clip at the bottom has been pitch-corrected by master guitarist Nick Rossi.

 

Chuck Haddix

This Autumn is being very rich for fans of Charlie Parker. Besides the two newly-published biographies by Chuck Haddix and Stanley Crouch (which I reviewed in Spanish for Cuadernos de Jazz), some months ago two previously unknown recordings by Bird were unveiled. They're actually by the Jay McShann Orchestra, but that's posterity for you.

Haddix's book

These treasures have been dug up by none other than Chuck Haddix, curator of the Marr Sound Archive and author of one of the aforementioned books, where he explains (on p. 48) with no mention to his own role in the story, that it was John Tumino, McShann's manager, who recorded two tracks on February 6, 1941, “Margie” and “I’m Getting Sentimental Over You”, which are today remembered as cornerstones of Tommy Dorsey's repertoire. Parker is featured in both tracks, and he's especially good in the latter, for the length and originality of his solo.

Both recordings were played in public in early September, during the annual convention of the International Association of Jazz Recording Collectors, or IAJRC, which actually took place in Kansas City. The acetates reside in John Tumino Collection at Marr Sound Archive.

The über-expert in jazz cinematography, Mark Cantor, was present and heard the records. This is what he says:

In the first, "Margie", in which the arranger seems to be channeling Sy Oliver and the Jimmie Lunceford recording, Bird has an 8-bar solo during a release late in the performance. What I found absolutely astounding [...] is a performance of "I'm Getting Sentimental Over You", as much a dance performance as jazz, in which Bird takes a 32-bar solo that is amazing in its maturity, complexity, and melodic invention. Let's hope these will be issued someday for all of us to enjoy over and over.

 Amen to that.

PS (September 28, 2020): This is "I'm Getting Sentimental Over You", by the Jay McShann orchestra, with Joe Coleman on vocals, and an astonishing solo by Parker.

nickrossimusic · I'm Getting Sentimental Over You

Sidney Bechet... and Eddie Condon (and Bird!) in colour

The wonders of the Internet. I just saw this beautiful montage on Sidney Bechet (the song is "Dans les Rues d'Antibes"):

Watching carefully, you'll be able to see Eddie Condon and his 4-string guitar in different occasions with his all-stars, also, although very briefly Buddy Rich, Kid Ory, and Muggsy Spanier, and, most surprising of all, the unlikely group of Charlie Parker, Chubby Jackson, and George Wettling, starting at 1:51.

L to R: Charlie Parker, Chubby Jackson, George Wettling

SALT PEANUTS!!! SALT PEANUTS!!! – Massey Hall, 60 years after

Bud Powell, Charles Mingus, Max Roach, Dizzy Gillespie, Charlie Parker
Massey Hall, Toronto, May 15, 1953
Photo by Harold Robinson

Sixty years ago today, at about 20:30, Toronto time, everything was ready for a historical evening. The best quintet in history, reuniting the founder fathers of bebop, a bunch of jazz revolutionaries, were going to play together in a summit meeting of music. This is the infamous night when a plastic sax had to be borrowed for Charlie Parker, because he hadn't brought his instrument. The night when he and his former soulmate, Dizzy Gillespie, exchanged musical punches. The night of Bud Powell's first appearance after his release from hospital.

You probably knew that. Every jazz fan knows that. However, half of the paragraph above is untrue. Of course, we've read that story many times, and it's very likely that we will read it again. But it is essentially false. Untrue. Even so, it's a story that has been repeated over and over again in the media, either general or specialized, in Spanish and in English.

Barenboim & Bird on improvisation

Improvisation is the highest form of art for me, because when you see a score for the first time [... T]he first reaction is gut, instinct [...] We only get to this possible stage of making music [as art] - possible - the moment we have digested all that and we achieve a kind of conscious naivete which allows us to improvise it, which allows us to play it at that moment as if it is on the spur of the moment. [...] It's a very blessed state in the life of a human being.

Daniel Barenboim in his 2006 Reith Lecture,

London, May 6th, 2006

First you learn the instrument, then you learn the music, then you forget all that and just play.

Charlie Parker quoted by Artie Shaw in Gene Lees's book
Meet Me at Jim and Andy's

(Oxford University Press, 1988)

Mixtapes and old friends

I come from a small town in Northern Spain, in the Basque Country. Although we had a good jazz festival nearby, in San Sebastián, music-wise there was not much going on. A neighbour ran the only bookshop in town, and I spent many idle hours at the best of two tiny record shops. This was a time before the internet, before mp3, before recordable CDs. Any music sharing was made through borrowing of actual records, or dubbing on cassettes.

Musicians' quotes: Max Roach on historical perspective

Some of the records were done 'under the table', because you were fined and thrown out of the union if you did record. It was always a hustle and a rush. Much of the music written by Charlie Parker was written in taxi cabs on the way to the studio [...] It was get in, get out immediately, because the union was always lurking around the corner. And it's amazing to me, when I remember how it was done, how today it is considered so profound.

Max Roach on the sessions recorded during the 1948 Musician's Union ban, which include Charlie Parker's "Parker's Mood", quoted on Geoffrey Haydon's Quintet of the Year (Aurum Press, 2002).